Search results

1

SILENCES OF ALEKSANDER WAT

100%

Mitzner P.

Colloquia Litteraria

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2017

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issue 1

EN

The author focuses on the periods of Aleksander Wat’s poetic silence. He states that although after 1926 Wat – perhaps “out of disgust for language” and perhaps he felt that literature in a traditional sense is unnecessary – he becomes silent as a poet, he does not lose a great linguistic sensibility (a “bird” language of one of fellow-prisoners in 1931). An important event in the context of Wat’s thinking of the lanaguge, word, was his acquaintance with Evgeni Dunajewski in 1941 in a cell in Łubianka in Moscow who became Wat’s linguistic “mentor”. When returning to poetry (1940) Wat encounters difficulties: the poet obstinately searches for a language suitable for the description of the world plunged into communism, he was convinced that everything was already said and simultaneously that a lot of truths were not touched upon, the poet wavered between love and hate for words. And besides words there was silence, holy silence which for Wat had a metaphysical dimension, and it was the silence (and not speech) that he enumerated as one of the instruments of cognition (Trzy starości. Trzecia [Three ages. The third one]).

2

ALEKSANDER WAT AND HISTORICAL EXPERIENCE

100%

Czajkowska A.

Colloquia Litteraria

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2017

|

issue 1

EN

Aleksander Wat and historical experience An exceptionally complex biography of Aleksander Wat, apparently present in his literary output, makes him a person especially privileged that betoken the history of the 20th century. A historical experience constitutes for Wat an artistic problem, literature becomes a record of his experience – a direct and authentic record. However, since writing is not only an ethnic obligation but also the inclusion into a widely understood cultural context, Wat undertakes the attempts of communicating with the world, it becomes though more and more difficult for the poet due to the lack – in his opinion – of a suitable poetic language for the description of the world. The outcome of it is Wat’s reaching the borders of the speech – to silence ([Zakułem się w pancerz myślenia...]). What Wat considered in his experience as the most important, it becomes therefore strengthened not only in his poetry but, above all, in Mój wiek [My Century] – a text not written but spoken, tape recorded; richness (“the excess of information”), digressiveness but also some breaking up, some formal “splitting up” of this text, reflects most fully heterogenous, complicated, full of suffering Wat’s experience. A vitally important in this situation is Czesław Miłosz, Wat’s interlocutor whose discreet presence, wise posing of questions orders the picture drawn chaotically by Wat.

3

Recenzja książki Piotra Pietrycha pt. "Aleksander Wat w Polsce powojennej (1945-1953). Teksty i konteksty"

63%

Mąkosa-Kowalczyk M.

Colloquia Litteraria

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2012

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vol. 12

|

issue 1

65-67

4

Bitwa pod Zurychem i pod Bernem. Szwajcarski epizod Aleksandra Wata. Dyptyk

63%

Zieliński J.

Colloquia Litteraria

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2012

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vol. 12

|

issue 1

69-105

PL

The Battle of Zurich and Berne. Swiss episode of Aleksander Wat. Diptych Aleksander Wat’s participation in the international congress of Pen Clubs in Zurich in June 1947, was for him an opportunity not only to reflect on his continuing role in journalism and cultural life in post-war Poland (among others indirectly influenced the decision to leave Poland permanently in 1963), but also to see the Cathedral of St. Vincent of Zaragoza in Bern and its famous stained glass window, depicting the mystical mill. A similar theme – the mill appears in the poem Condemned which the author interprets in multiple contexts: historical, biblical (the book of Samuel), literary (Gałczyński, Schulz, Dürrenmatt), painting (including Breughel, Schiele), film (Kondratiuk), and others. This interpretation also leads to a broader view of the importance of the theme (and symbol), which is in literature and art a mill in general.

5

Glosa do nienapisanej Historii Nowoczesnej Literatury Polskiej Aleksandra Wata

63%

Łukaszuk M.

Colloquia Litteraria

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2012

|

vol. 12

|

issue 1

143-159

PL

Commentary on the unwritten history of modern Polish literature of Aleksander Wat The starting point for further consideration is for the author the intriguing convergence between the modern division of twentieth-century literature, proposed by Michał Paweł Markowski (for the “conservative” and “critical” modernism), and related to the same topic more than half century earlier Wat’s intuitions. In his Dziennik bez samogłosek [Diary without Vowels] (from January 1964) arguing with Milosz (who once teased Wat with a careless treatment of his work JA z jednej strony i JA z drugiej strony mego mopsożelaznego piecyka [Me from One Side and Me from the Other Side of My Pug Iron Stove]) draws an original story of Polish literature. Among important to Wat’s number of authors like Witkacy, Leśmian, Białoszewski and Różewicz, the author focuses on the last two, explaining why they occupy such a high place in Wat’s hierarchy. “Baka’s child” Białoszewski is dear to Wat because of the discoveries in the language area, and Różewicz on the other hand, although his presence in this statement may appear surprising, is for Wat a successor to the “full” stylistic secession. Another of the interesting to Wat writers – Gombrowicz, awakens in him ambivalent feelings from unrelenting criticism of a fellow writer (“complete ignorance”), to admiration of the Kosmos [Cosmos] (“Kosmos is a great book”).

6

Wat i doświadczenie historyczne

63%

Czajkowska A.

Colloquia Litteraria

|

2012

|

vol. 12

|

issue 1

19-34

PL

Aleksander Wat and historical experience An exceptionally complex biography of Aleksander Wat, apparently present in his literary output, makes him a person especially privileged that betoken the history of the 20th century. A historical experience constitutes for Wat an artistic problem, literature becomes a record of his experience – a direct and authentic record. However, since writing is not only an ethnic obligation but also the inclusion into a widely understood cultural context, Wat undertakes the attempts of communicating with the world, it becomes though more and more difficult for the poet due to the lack – in his opinion – of a suitable poetic language for the description of the world. The outcome of it is Wat’s reaching the borders of the speech – to silence ([Zakułem się w pancerz myślenia...]). What Wat considered in his experience as the most important, it becomes therefore strengthened not only in his poetry but, above all, in Mój wiek [My Century] – a text not written but spoken, tape recorded; richness (“the excess of information”), digressiveness but also some breaking up, some formal “splitting up” of this text, reflects most fully heterogenous, complicated, full of suffering Wat’s experience. A vitally important in this situation is Czesław Miłosz, Wat’s interlocutor whose discreet presence, wise posing of questions orders the picture drawn chaotically by Wat.

7

Milczenia Aleksandra Wata

63%

Mitzner P.

Colloquia Litteraria

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2012

|

vol. 12

|

issue 1

7-17

PL

The author focuses on the periods of Aleksander Wat’s poetic silence. He states that although after 1926 Wat – perhaps “out of disgust for language” and perhaps he felt that literature in a traditional sense is unnecessary – he becomes silent as a poet, he does not lose a great linguistic sensibility (a “bird” language of one of fellow-prisoners in 1931). An important event in the context of Wat’s thinking of the lanaguge, word, was his acquaintance with Evgeni Dunajewski in 1941 in a cell in Łubianka in Moscow who became Wat’s linguistic “mentor”. When returning to poetry (1940) Wat encounters difficulties: the poet obstinately searches for a language suitable for the description of the world plunged into communism, he was convinced that everything was already said and simultaneously that a lot of truths were not touched upon, the poet wavered between love and hate for words. And besides words there was silence, holy silence which for Wat had a metaphysical dimension, and it was the silence (and not speech) that he enumerated as one of the instruments of cognition (Trzy starości. Trzecia [Three ages. The third one]).

8

Wat, poeta orficki

63%

Kuczyńska-Koschany K.

Colloquia Litteraria

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2012

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vol. 12

|

issue 1

123-142

PL

Wat, an orphic poet The most important context for many 20th century references to the myth of Orpheus and Eurydice remained Rilke’s poem Orpheus. Eurydice. Hermes (among others, Jastrun, Herbert, Miłosz); the author of the article wonders whether Rilke was equally important for Aleksander Wat as the author of Wiersze somatyczne [Somatic poems] as well as Wiersz ostatni [A Final Poem]. A comparison of the first edition of Wiersze somatyczne (“New Culture”, 1957) with its first book publishing (also in 1957) inclines the author to pose a question, why is this first version much more dramatic, somehow more “orphic”: did Wat soften a book version of the poem due to personal reasons (a soften phase of the illness) or was it because of censorship’s intervension? Referring to Orpheus, the author also indicates significant painting contexts (Moreau, Delville, Redon) and sculpture contexts (Rodin); it becomes useful during Wat’s interpretation – his very pictorial illustration (e.g. in the poem Na wystawie Odilon Redona) is also “orphic”, full of blackness. Nevertheless, it seems that Wat’s orphic descent into blackness, inside oneself, into death is even more acute than Rilke’s – since Wat writes about himself, his own death and his own funeral (Wiersz ostatni).

9

Aleksander Wat i romantyzm. (Jeszcze)

63%

Kuczera-Chachulska B.

Colloquia Litteraria

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2012

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vol. 12

|

issue 1

107-121

PL

Aleksander Wat and romanticism (once more) In the sketch, the problem taken is the relation of Aleksander Wat to the Polish romanticism, both in terms of how to troubleshoot inherently more formal as well as final transfer of the works. Analysis of individual poems (including The Persian Parable, Across the Square) lead to the conclusion of a distinct connection between Wat and the Lausanne lyricism of Adam Mickiewicz.

10

ALEXANDER WAT AND ROMANTICISM (ONCE MORE)

63%

Kuczera-Chachulska B.

Colloquia Litteraria

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2017

|

issue 1

EN

In the sketch, the problem taken is the relation of Aleksander Wat to the Polish romanticism, both in terms of how to troubleshoot inherently more formal as well as final transfer of the works. Analysis of individual poems (including The Persian Parable, Across the Square) lead to the conclusion of a distinct connection between Wat and the Lausanne lyricism of Adam Mickiewicz.

11

Atopia archiwum. Maszynopisy esejów politycznych Aleksandra Wata z lat 60.

63%

Kmiecik M.

|

2020

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vol. 74

|

issue 1-2 (328-329)

371-377

EN

An attempt at describing the Aleksander Wat archive as a space that makes it possible to present the non-identity of the text, its multi-verse nature as well as non-continuous and defective (understood as: subjected to the impact of an illness) character. In order to achieve this goal it is necessary to create a theoretical constellation in which concepts of atopy and defective subjectivity will be included; they will make it possible to draw attention to the expropriation of rough copies/typescripts from the universe of the oeuvre. The notion of topos is supported by editions prepared by researchers (Świat na haku i pod kluczem, prep. by K. Rutkowski; Publicystyka, prep. by P. Pietrych): harmonised editions re-constructing the leitmotifs of Wat’s essays and granting his scattered and deformed sketches a holistic shape. Atopy is a non-place, a seat of incohesion, in which products with an unstabilised ontological status may exist. It is precisely within atopy that texts infected with Wat’s physical and psychic dissolution could take root. The conception of the archive’s atopy is illustrated by analyses of excerpts from political essays about the Chinese-Soviet conflict – an excellent example of the dismembered body. The author of this article observes them from a poetological viewpoint: analysing their composition, seeing certain regularities in shaping the syntax, and a compulsive perpetration of always the same errors as well as curious manners of “accelerating writing” so as to keep up with thought. Thus created notes become a reflection of somatic and psychological “crushing” by assuming the form of “verbal pulp”, a logorea not subjected to the control of the conscious mind. In this way deciphering their contents proves to be a difficult task relegated to the background by the infected (and infectious) text, which changes into a “code without a message” (G. Genette).

12

Pół głosem, pół pismem. Wokół nowej edycji „Dziennika bez samogłosek” Aleksandra Wata

51%

Baron-Milian M.

Pamiętnik Literacki

|

2019

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vol. 110

|

issue 1

149-160

PL

Artykuł stanowi próbę analizy fenomenu "Dziennika bez samogłosek" Aleksandra Wata w perspektywie materialności tekstu. Do podjęcia tematu prowokuje nowa edycja dziennika, przygotowana przez Michalinę Kmiecik, po raz pierwszy pozwalająca czytelnikowi zetknąć się z oryginalną postacią maszynopisu Wata i z jej nowym – niezapośredniczonym przez ingerencje Oli Watowej – odczytaniem. Punktem wyjścia do refleksji jest konfrontacja różnych interpretacji i uwag badaczy na temat formy "Dziennika bez samogłosek", będących zarazem odmiennymi próbami odpowiedzi na pytanie o specyfikę zastosowanego przez Wata szyfru i o powody, dla których prozaik dokonuje takiego właśnie wyboru. Analiza owej formy prowokuje jednak ostatecznie do ujęcia problemu w horyzoncie nieustannych konfrontacji pisarza z awangardą. W tej perspektywie szyfr jawi się raczej jako swoisty eksperyment, w którym miazga słowna pozostaje w bezpośrednim związku z – awangardową z ducha – nieufnością wobec języka, próbą defragmentacji systemu i pasją destrukcyjną.

EN

The article is an attempt at analysing the phenomenon of “Dziennik bez samogłosek” (“Diary without Vowels”) from the perspective of the text’s materiality. The subject was undertaken as a result of the diary’s Michalina Kmiecik’s new edition which for the first time allows to insight into Wat’s original typescript and into its new reading unmediated by Ola Watowa’s interventions. The reflection’s starting point is a confrontation of the various interpretations and scholarly remarks on the form of “Diary without Vowels”, all being both possibly different answers to settle the problem of specificity of Wat’s use of the code and to expound the reasons the poet makes such a choice. The analysis of the form ultimately prompts to resolve the issue on the level of Wat’s constant confrontation with the avant-garde. From this perspective the code is seen rather as a peculiar experiment in which lexical material remains in direct connection with (avant-garde in its nature) mistrust to language, an effort to defragment language and passion for destruction. The article is an attempt at analysing the phenomenon of “Dziennik bez samogłosek” (“Diary without Vowels”) from the perspective of the text’s materiality. The subject was undertaken as a result of the diary’s Michalina Kmiecik’s new edition which for the first time allows to insight into Wat’s original typescript and into its new reading unmediated by Ola Watowa’s interventions. The reflection’s starting point is a confrontation of the various interpretations and scholarly remarks on the form of “Diary without Vowels”, all being both possibly different answers to settle the problem of specificity of Wat’s use of the code and to expound the reasons the poet makes such a choice. The analysis of the form ultimately prompts to resolve the issue on the level of Wat’s constant confrontation with the avant-garde. From this perspective the code is seen rather as a peculiar experiment in which lexical material remains in direct connection with (avant-garde in its nature) mistrust to language, an effort to defragment language and passion for destruction.

13

DYSKUSJA WOKÓŁ PROJEKTÓW WYDAWNICZYCH W KORESPONDENCJI JERZEGO GIEDROYCIA I ALEKSANDRA WATA

51%

Kudyba W.

Colloquia Litteraria

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2012

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vol. 12

|

issue 1

161-170

PL

A discussion on publishing projects in the correspondence between Jerzy Giedroyc and Aleksander Wat Having read a correspondence between Aleksander Wat and Jerzy Giedroyc from 1959–1967 (approximately 30 letters of each correspondent), the author notes that it concerns mainly professional issues, among others, Wat’s working in the post of the editor in Milan’s publishing house of Umberto Silva, who planned (the plans being carried out or not) to publish translations of books of Polish authors (among others, Noce i dnie by Maria Dąbrowska, Bolesław Chrobry by Gołubiew, Srebrne orły by Parnicki, Rodzinna Europa by Miłosz, Skrzydła ołtarza by Herling-Grudziński). An important topic – especially for Giedroyc – raised in these letters, is the picture of communism in the West, frequently wrongly interpreted there, and from the angle of this subject-matter Giedroyc organizes publishing plans in Literary Institute in Paris, among others he supports Wat in writing a book on a true facet of communist Russia – a collection Świat na haku i pod kluczem and Mój wiek [My Century], which were, however, to be published only after Wat’s death.

14

Wat w Polsce powojennej. Tezy

51%

Pietrych P.

Colloquia Litteraria

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2012

|

vol. 12

|

issue 1

35-64

PL

Wat in postwar Poland. Theses A postwar period (1946–1953) in Wat’s literary output is usually omitted by the critics (exceptions are Venclova and Ritz). Difficulties in making comments on this period perhaps stem from that which does not usually fit what critics write about Wat (for instance, that fact that since his arrival from Kazakhstan he was a confirmed anticommunist) and what he published then. A puzzling is the presence in Wat’s works (e.g. in Antyzoil) unanimous declarations of the support for the postwar political order. However, when Wat followed some voice of disagreement, it sounded silent, unconvincing (criticism of the project of realism in literature). A positive involvement in Polish reality at that time was certainly connected with Wat’s personal experiences who, having arrived from his wandering from the Soviet Union to Poland, felt it as “paradise” (this is the name he referred to Poland in Mój wiek [My Century]), seemed not to perceive that it was only a “sham” of paradise. Besides, Wat wanted to participate in Polish cultural life, especially because in postwar years he started to feel literary unfulfilment and a strong need to return to writing. A particularly meaningful example in this context is Wat’s unsuccessful drama of Kobiety z Monte Olivetto [Women from Monte Olivetto] – the writing of which was for the poet the act of desperation and it created a paradox: wanting to participate in postwar literary life in Poland, Wat decided to “collaborate with Social Realism” (Zdzisław Łapiński’s definition), in order to achieve his goal.

15

„Usługi bezimienne”. Figura marana w twórczości Aleksandra Wata

51%

Bogalecki P.

Pamiętnik Literacki

|

2019

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vol. 110

|

issue 4

79-107

PL

Choć obecność szeroko rozumianych motywów żydowskich w twórczości Aleksandra Wata (1900–1967) stanowi przedmiot wielu literaturoznawczych rozpoznań (m.in. autorstwa takich badaczy, jak W. Panas, S. J. Żurek, A. Lipszyc czy M. Benešova), nie była ona do tej pory interpretowana z perspektywy wyznaczonej przez figurę marana. Ta ostatnia tymczasem –podsuwana przez samego poetę, dziś zaś eksponowana w filozoficznych i kulturowych analizach nowoczesności (Y. Yovel, J. Derrida, A. Bielik-Robson itd.) – dostarczyć może cennego i nieredukcjonistycznego wglądu w teksty Wata pochodzące z różnych okresów jego pisarskiej działalności: od debiutanckiego „Piecyka” i opowiadań z tomu „Bezrobotny Lucyfer” przez projekty powojenne (m.in. „Ucieczka Lotha” oraz „Moralia”) i antysowiecką publicystykę emigracyjną (m.in. „Czytając Terca”) do dojrzałej twórczości poetyckiej. Przedstawione w artykule analizy i interpretacje wymienionych tekstów uprawniają jego autora do postawienia tezy o maranicznym charakterze twórczości Wata.

EN

Though the presence of broadly understood Jewish motifs in Aleksander Wat’s (1900–1967) creativity is subject of multiple literary deliberations (by, for example, W. Panas, S. J. Żurek, A. Lipszyc, or M. Benešova), it has not so far been interpreted from the perspective set by a Marrano. The latter perspective, suggested by the poet himself and supported by some philosophical and cultural analyses of modernity (Y. Yovel, J. Derrida, A. Bielik-Robson, etc.) may add a valuable and non-reductionist insight into Wat’s pieces produced in different periods of his creativity, from the debut “JA z jednej strony i JA z drugiej strony mego mopsożelaznego piecyka” (“ME from One Side and ME from the Other Side of My Pug Iron Stove”), and the short stories from the collection “Bezrobotny Lucyfer (Lucifer Unemployed)”, later—his post-war projects (e.g. “Ucieczka Lotha ” and “Moralia”) as well as emigrant anti-Soviet political commentary journalism (e.g. “Czytając Terca ”), and ultimately his mature poetic creations. The analyses and interpretations of the pieces listed above lead Bogalecki to formulate a thesis on Marranic character of Wat’s output.

16

Dotkliwe wiersze Aleksandra Wata

51%

Szaj P.

Pamiętnik Literacki

|

2018

|

vol. 109

|

issue 1

105-127

PL

Artykuł podejmuje namysł nad jednym z najważniejszych tematów powojennej twórczości Aleksandra Wata – cierpieniem. Zostaje ono wpisane w kontekst hermeneutyki radykalnej Johna D. Caputo, który w swej filozofii ciała dokonuje rozróżnienia na body (ciało zdrowe) i flesh (ciało cierpiące). Podmiot Wata jest traktowany przez autora artykułu jako flesh, stawiające przed czytelnikiem – body – wyzwanie moralne. Interpretacja organizuje się wokół problemu „dotkliwości” tekstów Wata – poruszających, wywołujących zobowiązanie etyczne (jak odpowiedzialnie odpowiedzieć na cierpienie?), a przy tym skrajnie wieloznacznych, sensotwórczych, heterogenicznych (jak pozostać uczciwym wobec ich skomplikowania?). W toku interpretacji prześledzony zostaje fenomen konania, które jawi się jako nierozstrzygalność strukturyzująca całą powojenną poezję Wata i warunkująca jej aporetyczny charakter.

EN

The article takes up a thought over one of the most vital theme of Aleksander Wat’s post-war creativity, namely suffering. The notion is set into the context of radical hermeneutics of John D. Caputo who in his philosophy distinguishes between body (healthy body) and flesh (a suffering one). Wat’s subject is seen by the author as flesh which issues a moral challenge to body – the reader. Interpretation is organised around “acuteness” of Wat’s texts – moving ones, calling for ethical commitment (how to responsibly respond to suffering?), and at the same time radically ambiguous, sense-forming, heterogeneous (how to remain fair against their complexity?). In the course of interpretation the phenomenon of dying is scrutinised, and it is viewed as an insolvability that structures Wat’s entire post-war poetry and that conditions its aporetic nature.

17

O nieznanym rosyjskim rękopisie Aleksandra Wata

51%

Dziadek A., Fast P.

Pamiętnik Literacki

|

2019

|

vol. 110

|

issue 4

129-147

PL

Niniejszy tekst jest prezentacją nie znanego dotąd utworu Aleksandra Wata, który został odnaleziony w archiwum poety znajdującym się w Beinecke Rare Book and Manuscript Library w Yale University. Wchodzi w skład „Aleksander Wat Papers”, opatrzonych sygnaturą GEN MSS 705 (Box 22 Folder 467). Utwór został przez Wata zatytułowany „Przypowieść o wróblu, chłopie i wilku” i napisany jako libretto do kompozycji muzycznej Nicolasa Nabokova. Zamieszczono tu wersję rosyjską utworu, jego transkrypcję oraz przekłady dosłowny i poetycki na język polski. Do całości dołączono komentarze filologiczne i historycznoliterackie

EN

This text is a presentation of a so far unknown work by Aleksander Wat found in the archive of the poet in the Beinecke Rare Book and Manuscript Library at Yale University. It is a part of Alexander Wat Papers with the signature GEN MSS 705 (Box 22 Folder 467). The work was entitled “Przypowieść o wróblu, chłopie i wilku” (“Parable of a Sparrow, a Peasant and a Wolf”) and was written as a libretto to the musical composition of Nicolas Nabokov entitled “The Parable of the Sparrow”. The Russian version of the song, its transcription, and literal and poetic translations into Polish are included in the paper. Philological and historical literary commentaries complement the presentation.

18

Chrystus, Wat, Różewicz. Uwagi o książce Tomasza Żukowskiego. Rec.: Tomasz Żukowski, Obrazy Chrystusa w twórczości Aleksandra Wata i Tadeusza Różewicza. Warszawa 2013

51%

Olejniczak J.

Pamiętnik Literacki

|

2015

|

vol. 106

|

issue 3

233-236

PL

Recenzja omawia książkę Tomasza Żukowskiego "Obrazy Chrystusa w twórczości Aleksandra Wata i Tadeusza Różewicza", wskazując z jednej strony na trafność wyboru klucza interpretacji poezji Wata i Różewicza oraz trafność zestawienia tych poetów, a z drugiej na szereg metodologicznych niespójności prowadzonego w niej wywodu. W konsekwencji wysokiej ocenie wielu fragmentów interpretacyjnych książki towarzyszy krytyczna ocena warsztatu metodologicznego jej autora, deklarującego przywiązanie do postrukturalnych kierunków myślenia, a głęboko zakorzenionego w tradycji hermeneutycznej.

EN

The review discusses Tomasz Żukowski’s book "Obrazy Chrystusa w twórczości Aleksandra Wata i Tadeusza Różewicza" ("Images of Christ in Aleksander Wat’s and Tadeusz Różewicz’s Writings") and points, on the one hand, at the correctness of choosing an interpretive key to Wat’s and Różewicz’s poetry and accuracy of confronting the two poets and, on the other hand, at a series of methodological inconsistencies in the book’s line of reasoning. In consequence, high evaluation of the study’s numerous interpretive fragments is accompanied by a criticism of the author’s methodological technique who declares his adherence to post-structural thinking but is deeply rooted in hermeneutical tradition.

19

***

51%

Łukaszuk M.

Colloquia Litteraria

|

2013

|

vol. 14

|

issue 1

5-6

PL

Artykuł wprowadza do problematyki numeru, poświęconego twórczości Jerzego Stempowskiego.

20

Transakcje Aleksandra Wata

51%

Baron-Milian M.

Pamiętnik Literacki

|

2015

|

vol. 106

|

issue 3

37-62

PL

Szkic jest próbą analizy różnych znaczeń, jakie w twórczości Aleksandra Wata przyjmuje ekonomiczne pojęcie wymiany. Autor "Buchalterii" nie tylko wpisuje się w – sięgającą starożytności – tradycję pojmowania myślenia, języka i literatury w kategoriach wymiany, ale i na różnych etapach swojej twórczości wielokrotnie buduje teoretyczne modele literatury i języka literackiego oparte na kategorii wymiany. Punkt wyjścia szkicu stanowi zarysowana przez Michała Pawła Markowskiego definicja „ekonomii literatury” i jej ścisły związek z pojęciem realizmu oraz odnalezienie przez badacza jednej z podstawowych właściwości „literatury krytycznej nowoczesności” w ujęciu jej języka jako „mowy niewymiennej”. Interpretacja tekstów Aleksandra Wata pokazuje jednak nieco inny sposób opisania literatury nowoczesnej w kategoriach wymiany, w którym idiomatyczność języka leży właśnie w nieskończonej możliwości substytucji.

EN

The sketch is an attempt at analysing the different meanings in which the economical concept of exchange is revealed in Aleksander Wat’s creativity. The author of "Buchalteria" ("Bookkeeping") not only enters into the antique tradition of conceiving of thinking, language, and literature in the categories of exchange, but also many times at various stages of his creativity builds theoretical models of literature and literary language based on the category of exchange. The sketch’s starting point is the definition of “economy of literature” proposed by Michał Paweł Markowski and its close connection with the concept of realism as well as Markowski’s pointing at one of the most fundamental feature of “critical modernity literature” in which literary language is seen as “inexchangeable speech.” Yet, interpretation of Aleksander Wat’s texts shows a slightly different mode of describing modern literature in the categories of exchange in which language idiomaticity lies precisely in infinite possibility of substitution.

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SILENCES OF ALEKSANDER WAT

ALEKSANDER WAT AND HISTORICAL EXPERIENCE

Recenzja książki Piotra Pietrycha pt. "Aleksander Wat w Polsce powojennej (1945-1953). Teksty i konteksty"

Bitwa pod Zurychem i pod Bernem. Szwajcarski epizod Aleksandra Wata. Dyptyk

Glosa do nienapisanej Historii Nowoczesnej Literatury Polskiej Aleksandra Wata

Wat i doświadczenie historyczne

Milczenia Aleksandra Wata

Wat, poeta orficki

Aleksander Wat i romantyzm. (Jeszcze)

ALEXANDER WAT AND ROMANTICISM (ONCE MORE)

Atopia archiwum. Maszynopisy esejów politycznych Aleksandra Wata z lat 60.

Pół głosem, pół pismem. Wokół nowej edycji „Dziennika bez samogłosek” Aleksandra Wata

DYSKUSJA WOKÓŁ PROJEKTÓW WYDAWNICZYCH W KORESPONDENCJI JERZEGO GIEDROYCIA I ALEKSANDRA WATA

Wat w Polsce powojennej. Tezy

„Usługi bezimienne”. Figura marana w twórczości Aleksandra Wata

Dotkliwe wiersze Aleksandra Wata

O nieznanym rosyjskim rękopisie Aleksandra Wata

Chrystus, Wat, Różewicz. Uwagi o książce Tomasza Żukowskiego. Rec.: Tomasz Żukowski, Obrazy Chrystusa w twórczości Aleksandra Wata i Tadeusza Różewicza. Warszawa 2013

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Transakcje Aleksandra Wata