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1

Świadectwo artystyczne – przypadek Ottona Dov Kulki

100%

Bojarska K.

Konteksty - Polska Sztuka Ludowa

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2018

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vol. 72

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issue 4(323)

50-59

PL

Autorka przedstawia cechy świadectwa artystycznego i literackości rozumianej jako wehikuł świadectwa historycznego ze szczególnym uwzględnieniem aspektów poznawczych i afektywnych. W kolejnej części tekstu proponuje szczegółowe studium przypadku, jakim jest książka „literacka” historyka Zagłady i antysemityzmu Otto Dov Kulki, a następnie wskazując na pewne cechy analizowanego przypadku proponuje alternatywną formułę świadectwa artystycznego i świadka jako twórcy.

EN

A presentation of the features of artistic testimony and literal quality conceived as a vehicle of historical testimony, with particular attention paid to its cognitive and affective aspects. The successive part of the text proposes a detailed study of a single case - the “literary” book by Otto Dove Kulka, an historian of the Holocaust and anti-Semitism. K. Bojarska went on to indicate certain features of the analysed case and proposed an alternative formula of artistic testimony and of the witness as creator.

2

Georges Didi-Huberman, Kora, Otto Dov Kulka, Pejzaże metropolii śmierci – jako eseje lagrowe? Wyobraźnia i pamięć formuł tytułowych wobec formuły anus mundi

75%

Kuczyńska-Koschany K.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2018

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vol. 47

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issue 1

121-133

EN

The article is an attempt at interpretation of two essays, which may be called „lager” essays. These are Bark written by G. Didi-Huberman and Landscapes of the Metropolis of Death written by O.D. Kulka, their books are deeply related as the negation or at least as the questioning of the title of autobiographical book Anus mundi written by W. Kielar. Both authors do not describe Nazi concentration camp as „the anus of the world”. Their imagination is a post-imagination, their memory is a post-memory. In her paper Kuczyńska-Koschany considers the condition of the essay as quasi-genre after the Holocaust, after the genocide and in reference to the experience of a lager.

3

Georges Didi-Huberman, Écorces, and Otto Dov Kulka, Landscapes of the Metropolis of Death – as Lager essays? Imagination and remembrance of the title formulations in relation to the formulation “anus mundi”

75%

Kuczyńska-Koschany K.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2017

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vol. 46

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issue 8

231-241

EN

The article is an attempt at interpretation of two essays, which may be called „Lager” essays. These are Écorces written by G. Didi-Huberman and Landscapes of the Metropolis of Death written by O.D. Kulka, their books are deeply related as the negation or at least as the questioning of the title of autobiographical book Anus mundi written by W. Kielar. Both authors do not describe Nazi concentration camp as „the anus of the world”. Their imagination is a post-imagination, their memory is a post-memory. In her paper Kuczyńska-Koschany considers the condition of the essay as quasi-genre after the Holocaust, after the genocide and in reference to the experience of a Lager.

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2 Acta Universitatis Lodziensis. Folia Litteraria Polonica

1 Konteksty - Polska Sztuka Ludowa

2 Kuczyńska-Koschany K.

1 Bojarska K.

2 2018

1 2017

Świadectwo artystyczne – przypadek Ottona Dov Kulki

Georges Didi-Huberman, Kora, Otto Dov Kulka, Pejzaże metropolii śmierci – jako eseje lagrowe? Wyobraźnia i pamięć formuł tytułowych wobec formuły anus mundi

Georges Didi-Huberman, Écorces, and Otto Dov Kulka, Landscapes of the Metropolis of Death – as Lager essays? Imagination and remembrance of the title formulations in relation to the formulation “anus mundi”