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1

Dzisiaj komparatystyka. Badania porównawcze, kryzys i literaturoznawstwo. Rec.: Komparatystyka dzisiaj. Redakcja naukowa: Ewa Szczęsna, Edward Kasperski. T. 1: Problemy teoretyczne. Kraków 2010. T. 2: Interpretacje. Warszawa 2011

100%
Wolski P.
Pamiętnik Literacki
|
2015
|
vol. 106
|
issue 2
250-254
PL
Tekst omawia miejsce badań komparatystycznych we współczesnej humanistyce na przykładzie dwutomowej publikacji "Komparatystyka dzisiaj". Autor dokonuje przeglądu stanowisk w tej sprawie, wychodząc z założenia, że komparatystyka jako dziedzina i jako specyficzna forma dyskursu naukowego stanowić może doskonałe laboratorium uwidaczniające kondycję humanistyki w ogóle, czego recenzowana książka jest świetnym przykładem.
EN
The text discusses the place of comparative studies in contemporary humanities as based on two volume publication "Comparative Studies Today". The author revises standpoints in this matter assuming that comparative studies as a discipline and a specific form of academic discourse may be seen as a perfect laboratory to demonstrate the condition of the humanities as such, the paragon of which the book in question.
2

Przeciw „literaturze w sosie własnym” .Edward Kasperski, Kategorie komparatystyki. Warszawa: nakładem Wydziału Polonistyki Uniwersytetu Warszawskiego, 2010

100%
Rajewska E.
Rocznik Komparatystyczny
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2012
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vol. 3
p. 267-276
EN
Kategorie komparatystyki [Categories of Comparative Literature] by Edward Kasperski presents comparative literature as a discipline going far beyond literary studies, responding to the needs of human consciousness, which develops constantly through comparison not only of objects and phenomena, but also of concepts, cultures and civilizations. According to the author, comparative research in this broad sense “should be the alternative to conceptions of «stewing literature in its own juice», that prevailed in XXth-century scholarship”. Literary studies, once a midwife of comparative literature, are now a subfield of cultural comparative studies, although Kasperski admits that literature has a privileged position in his discussion – it is his comparandum. The author declares himself an adherent of comparative literature “open” to visual images, film, theatre, music and dance as well as philosophy, cultural studies, literary anthropology, theory of discourse, hermeneutics. However, Edward Kasperski, is simultaneously not willing to open comparative literature to a perspective different than Western, unlike Gayatri Chakravorty Spivak who has proposed an inclusive comparative literature.
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