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THE PATH TOWARDS DISCOVERING MEANING IN THE MELTING POT OF CULTURES (Droga do odnalezienia sensu w tyglu kultur)

100%
Mankowska A.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
108-112
EN
The authoress evokes philosophers (including Jacques Derrida, Zygmunt Bauman, Martin Heidegger, and Michael Foucault), who while creating their intellectual systems tried to diagnose the condition of the post-Cartesian man torn between spirituality and corporeality, and submerged in endless discourse. She goes on to point out the philosophy of Friedrich Nietzsche and George Bataille as well as Mikhail Bakhtin's theory of the grotesque. All these thinkers stressed the possibility of rediscovering the path towards metaphysics and freedom. The 'Gardzienice' Theatre applied the grotesque in order to skilfully create a distance towards surrounding cultural excess. By annexing assorted beliefs and styles merged with ribald laughter it tried to provoke the collapse of the conscience, and by resorting to unadorned culture - to encourage a return to the primeval world of human spirituality. Friedrich Nietzsche indicated the moment of the fall of the tragedy as a time initiating the process of ridding the myth of all transcendence. Within this context the 'Gardzienice' spectacles endeavour, by creating a new type of drama, to generate an equally new mythical domain. In 'Bóg Nizynski' (God Nijinsky) the Wierszalin Theatre portrays the tragedy of a demented genius. As a post-Cartesian creature he experiences and believes in spiritual-corporeal unity and the cathartic might of the Absolute - the price is insanity. The contemporary anthropological theatre tries to discover meaning within a melting pot of assorted cultures. It is incapable, however, of reviving the old myths, since it is possesses the awareness and experience of post-modern dispersion. It attempts to build a horizon of senses based on a new myth, whose hero is man in the act of becoming, rent between insanity and recollections of sanctity. This moment of transgression can be grasped thanks to the distance emerging from the grotesque.
2
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THE FACES OF CARICATURE IN THE IMAGINATIVE PORTRAITS OF WLADYSLAW HASIOR

80%
Cembrzynska P.
Biuletyn Historii Sztuki
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2005
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vol. 67
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issue 3-4
301-324
EN
Wladyslaw Hasior (1928-1999) began creating imaginative portraits in the late 1950s. Almost never images of specific persons, they are representations of certain types of people. Clearly influenced by Witkacy, Hasior's portraits served as a pretext for socio-political comment in contemporaneous Poland, thus proving him to be a caricaturist. The cycle of portraits under consideration reflects the artist's interests in mythology, primitive and folk art, surrealism and popular culture. According to the authoress, Hasior's portrait-assemblages relate to the idea of 'doublevision', and she draws parallels with Arcimboldo as well as Pablo Picasso, although by making use of a mechanism known in psychology as projection, she also treats Hasior as a successor of Alberti and da Vinci. The full meaning contained in imaginative portraits is also sought in psychological mechanisms behind the rise of caricature, thus leading to interpretations based on Freud and Ernst Kris's further elucidations of dream sequence and such like, although the portraits are also recognised as 'visual jokes' based on wordplay carried over to the actual (twisted) image created: the humorous titles applied betray the artist's fascination for the pictorial possibilities contained in language. In conclusion, Hasior's laugh is not entirely the jeering of a satirist, but above all a reflection of the times in which he lived and the mass culture they gave rise to
3

GROTESKNO HAŠKOVÝCH CESTOVNÍCH POVÍDEK

70%
Hrbata Z.
Slovenská literatúra (Slovak Literature)
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2014
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vol. 61
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issue 3
181 – 198
EN
The article is focused on important part of Jaroslav Hašek´s work inspired by his travels made before the WW I around Central Europe, Eastern parts of the Austro-Hungarian Monarchy and the Balkans. The 1955 edition of these proses was titled „Črty, povídky a humoresky z cest“ (The Sketches, Short Stories and Humorous Writings). In comparison with the views highlighting the factual documentary-like nature of these proses or, on the contrary, those emphasising the autonomous structures, the present article assumes Hašek´s knowledge of the travel literature structures and their links to life events. However, these events when transformed often mock the travel literature paradigms, support the construction of the comic world (the created comic elements along with fantasy elements, „ludic“ inventions), which is mainly affected by two parallel factors: a) the ability to notice potentially comic aspects of the reality b) grotesque-like distortion of numerous occurrences using a particular style (comic, parodic, absurd combination of details, situations, utterances etc.). The analyses focusing on the „technique“ of unserious writing used in the short stories with documentary elements, where chance encounters and unimportant events become opportunities to create anecdotic sequences and humorous sketches which feature – besides food and alcohol – various tourist guides as the leading „agents“, the funniest characters of Hašek´s short travel stories.
4

PHILOSOPHY AS GROTESQUE: THE CASE OF NIETZSCHE

70%
Cohen Shabot S.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 6
503 – 513
EN
Reading philosophy through the figuration of the grotesque might provide us with an ontology that embraces change, fluidity, and disorder. In the author ś estimation, such ontological framework gives rise to an epistemology that stands out for incapacity to represent and be represented via classical tools of philosophy. She will argue that Nietzsche conceived of philosophy precisely in this fashion. Viewing Nietzsche through the lens of the grotesque, thus, holds the promise for enhancing our understanding of his style, outlook, and overall philosophy. More specifically, insights may be gleaned on different features of his work by comparing them to facets of a ‘grotesque theory,’ as the latter presents philosophy the way Nietzsche sought: as exceeding, ambiguous, unstable, eclectic, and heterogeneous. Everything that is profound loves the mask. (Friedrich Wilhelm Nietzsche1)
5

GROTESKNÁ KONCEPCIA TELA V ĽUDOVEJ PIESNI

70%
Hamar J.
Etnologické rozpravy (Ethnological Disputes)
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2022
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vol. 29
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issue 1
55 – 67
EN
The concept of a grotesque body was brought into the history of art and aesthetics by Mikhail Mikhailovich Bakhtin in his work François Rabelais and the folk culture of the Middle Ages and the Renaissance. The so-called carnival body represents in a broader context a literary tropic in which the idea of an ideal human anatomy stands in contrast to the carnival imagery of the body. The grotesque conception of the body in a folk song is applied against the background of the carnival and the principles represented by the undercurrent of the folk imagination. The world in which fish fly and birds swim in the water represents the world “on the contrary”. The human body is depicted in a similar way. The individual bodily organs act independently in the representation of the whole body, just as in ordinary social practice the “ideal” body acts in its unity of the whole. There is also an ambiguity of the human body present in the folk song, when a child and an old man meet in one body, the body receives and excretes, the body arises and at the same time the same body disappears. In terms of the poetics of the carnival human body in the folk song, we find a number of comic images, rich metaphor, but also expressiveness and the use of forbidden words.
6

GROTESKA A GROTESKNOSŤ (V POVIEDKE LETNÉ HRY DUŠANA MITANU)

70%
Melník J.
Slovenská literatúra (Slovak Literature)
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2014
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vol. 61
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issue 3
199 – 208
EN
The study presents in its two parts an attempt of defining and specifying problematic concepts of the grotesque and the grotesque style. Having considered the works by Wolfgang Kayser and the line of other authors updating his theory of the grotesque (PhilipThompson, Frances K. Barasch, GoeffreyHarpham), the writer of the study forms a pattern of the grotesque style which is verified and developed through an interpretation of Dušan Mitana´s short story Letné hry/Summer Plays, where focusing on the grotesque aspect emphasizes some of the overlooked text segments and enables new reading of the short story in question. Alongside the theory and interpretation parts, the author thinks about a possible distinction between the concepts of the grotesque style and the grotesque moment, and their mutual influence and repetition creates space for defining the grotesque as a literary genre.
7
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GROTESKA AKO LITERÁRNY SMER V LITERATÚRACH STREDNEJ A VÝCHODNEJ EURÓPY ŠESŤDESIATYCH ROKOV

61%
Berkes T.
World Literature Studies
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2014
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vol. 6 (23)
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issue 4
32 – 45
EN
The essay aims to examine the works of art of Central and Eastern European literatures that can be connected by the notion of grotesque. On the basis of their common semantic and morphologic characteristics these pieces of art are interpreted as a distinct literary trend. According to the author, the special role of literary grotesque results from the staggering psychological conditions that have been expressed by the structural unity of the tragic and comic elements with standing value. On the basis of the different semantic formations (points of junction), the author distinguishes seven types of grotesque that partly or completely cover the writings of the Polish Tadeusz Różewicz, Sławomir Mrożek, the Czech Václav Havel, Milan Kundera, Josef Škvorecký, Bohumil Hrabal, Vladimir Páral and the Hungarian István Örkény.
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