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1
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Totalność i dekonstrukcja. Kilka uwag o symbolu i alegorii

100%
Warchala M.
Stan Rzeczy
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2015
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issue 1(8)
288-305
PL
"Celem artykułu jest pokazanie kilku historycznych odsłon „sporu” między symbolem a alegorią, który po raz pierwszy pojawia się w okresie oświecenia. Wychodząc od krytyki oświeceniowego i romantycznego pojęcia symbolu dokonanej przez Waltera Benjamina w jego książce o barokowym dramacie żałobnym, pokazuję następnie, w jaki sposób zrehabilitowana przez niego przy tej okazji alegoria zaczyna odgrywać kluczową rolę w dekonstrukcji Paula de Mana. Dla tego ostatniego staje się ona interpretacyjnym narzędziem, które podważa uświęconą przez romantyków totalność znaczenia i odsłania przewrotne gry języka z samym sobą. Inny epizod tego sporu rozgrywa się w psychoanalizie Freuda, gdzie idiosynkratyczność „alegorycznego” sensu generowanego przez aparat psychiczny w formie marzeń sennych czy scenariuszy pragnienia wchodzi w konflikt z uniwersalnym sensem kulturowych symboli, przenikających do psychicznych wytworów."
EN
"The purpose of the paper is to examine some episodes from the historical „controversy” between symbol and allegory triggered in the period of Enlightenment. My starting point being Walter Benjamin’s critique of the Enlightenment and Romantic conception of symbol in his book on German Trauerspiel I attempt to show how the notion of allegory put into new use by Benjamin becomes the key concept of Paul de Man’s deconstruction. De Man makes it into an interpretative tool which undermines the totality of meaning while uncovering the subtle and games language plays with itself. The other episode of that controversy is Freud’s psychoanalysis featuring the opposition between „allegorical”, idiomatic meaning of dreams or other phantasmatic scenarios and the universal meaning of cultural symbols that find their place in psychic artefacts."
2

JOHN BANVILLE’S SHROUD: A DECONSTRUCTIONIST’S CONFESSION

100%
Kucała B.
Studia Anglica Posnaniensia
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2013
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vol. 48
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issue 2-3
93-102
EN
This article analyses John Banville’s novel Shroud as the protagonist’s autobiography which both follows and resists the confessional mode. Axel Vander, an ageing famous academic and champion of deconstruction, faces the necessity to confront his real self, although he spent his entire academic life contesting the concept of authentic selfhood. Alluding to the infamous case of Paul de Man, whose deconstructionist theories have been reinterpreted in the light of the revelation of his disgraceful wartime past, Banville’s novel presents a man who veers between the temptation to fall back on his theories in order to uphold a lifelong deception, and the impulse to reveal the truth and achieve belated absolution. The article examines Vander’s narrative as an attempt at a truthful account of his life, combined with the conflicting tendency to resist self-exposure. Despite the protagonist’s ambivalent and selfcontradictory motivations, his account of his life belongs to the category of confessional writing, with its accompanying religious connotations. It is argued that the protagonist’s public denial of authentic selfhood is linked to his private evasion of moral culpability.
3

Ironia romantyczna w pisarstwie Paula de Mana

100%
Hamerski W.
Pamiętnik Literacki
|
2016
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vol. 107
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issue 4
115-147
PL
Ironia romantyczna stanowi przedmiot refleksji przede wszystkim dwóch prac Paula de Mana: „Retoryki czasowości” oraz „Pojęcia ironii”. Celem artykułu jest wykazanie, że wiele struktur myślowych, wywiedzionych z kluczowej koncepcji estetycznej wczesnego romantyzmu niemieckiego, działa jednak także w innych pismach dekonstrukcjonisty. W ten sposób ironia romantyczna staje się bohaterem – często nienazwanym, ale ważnym – najistotniejszych wywodów de Mana zarysowujących aporiocentryczną koncepcję języka i literatury. W artykule podjęty zostaje również wątek recepcji pism de Mana – wydaje się, że niezrozumienie czy wręcz nieskrywana niechęć, z jakimi często się one spotykają, bierze się niekiedy ze zbyt literalnego ich odczytywania. Tymczasem badacz wielokrotnie – choć nierzadko w zawoalowany sposób – domaga się od czytelnika lektury niedosłownej (zgodnej z założoną nieoczywistością granicy między literaturą a krytyką), ironia zaś nie stanowi dla de Mana jedynie przedmiotu dociekań, ale również samą zasadę pisania, silnie inspirowaną twórczością romantyków.
EN
Romantic irony is subject of reflection mainly in Paul de Man’s two pieces, namely “The Rhetoric of Temporality” and “The Concept of Irony”. The aim of the article is to indicate that many structures of thinking derived from the key aesthetic structure of Early German Romanticism also act in the deconstructionist’s other writings. In this mode the romantic irony becomes a hero – often unnamed, but important – of de Man’s most crucial arguments presenting his aporia-centered concept of language and literature. The article also takes up the issue of de Man writings’ reception; it seems that incomprehension or open reluctance they often evoke stem from their too-literal reading. De Man, by contrast, though often in a veiled way, demands from his audience a non-literal reading (in line with the assumed non-obviousness of the borderline between literature and criticism), while irony for de Man is not only a subject of research, but a writing method itself strongly inspired by the creativity of the Romantics.
4
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„Bitte betrachten sie mich als einen Traum.“ Sprache und Identität in Hamid Sadrs „Gesprächszettel an Dora“

86%
Peter Clar P. C.
Studia Germanica Posnaniensia
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2019
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issue 40
129-138
EN
According to Derridas Monolingualism of the Other, Or, The Prosthesis of Origin every person is always multilingual. If we understand this state of non-monolingualism as a general human phenomenon, which the so called ‘exophone literature’ particulary helps us to do, then we understand that to question a stranger’s alienation always means to question our own alienation at the same time. Thus the question of the stranger becomes the question of one‘s own identity. In my article, I analyze this phenomenon by combining Hamid Sadr’s ‘novel’ Gesprächzettel an Dora (1994) and Jacques Derrida’s concept of mono- and multilingualism. In Hamid Sadr’s text the narrator uses egodocuments to invent a truth about Franz Kafka’s death which opposes many literary scholars and biographers who have interpreted Kafka’s death as a consequence of his existence as a poet, his diremption etc. What alienates the literary figure named Kafka from us is the language itself, and first of all the combination of allegedly ‘authentic’ documents with the unreliable narrative voices, thus revealing the constructiveness of ‘Kafka’. The main character Kafka – who within the text is named K., Kafka, kavka and who is introduced into the text by using his ‘own’ words, that supposedly precede him and yet, at the same time, succeed him – is deconstructed. Borders between cause and effect, before and after, reality and fiction, life and death become obsolete thus turning the Kafka/K. figure into a wanderer, a figure of ‘both-and’. Kafka’s situation as a stranger, as a kind of exile in the remoteness of the sanatorium, is not alone a parable on the situation of an exile, as Sadr’s personal life may indicate. Moreover, as I will show, it is a metaphor for human identity in general.
DE
Wie Jacques Derrida u. a. in Die Einsprachigkeit des Anderen oder Die ursprüngliche Prothese zeigt, ist jeder Mensch immer schon mehrsprachig. Wenn wir diesen Zustand der Nicht-Einsprachigkeit als ein allgemein-menschliches Phänomen begreifen, und dazu eignet sich die sogenannte exophone Literatur besonders, dann hilft uns das zu verstehen, dass das Fremd-Sein eines/einer Fremden zu befragen immer zugleich bedeutet, auch unser eigenes Fremd-Sein zu befragen, dann wird die Frage nach dem Fremden zur Frage der eigenen Identität. Um dies zu zeigen, lese ich Hamid Sadrs Gesprächszettel an Dora (1994) parallel zu und mit Derridas Konzept von Ein- und Mehrsprachigkeit. In dem ‚Roman‘ erfindet der Erzähler entlang von Egodokumenten seine Wahrheit über Franz Kafkas Sterben und widerspricht damit vielen Wissenschaftler- und Biograph_innen, die den Tod Kafkas als Konsequenz seines Dichterseins, seiner Zerrissenheit etc. interpretiert haben. Was uns die Dichterfigur entfremdet, ist dabei die Sprache selbst und zwar gerade die anscheinend authentischen Berichte, die, in Kombination mit den unzuverlässigen Erzählerstimmen die Konstruktion der Figur Kafka offenlegen. Der Kafka des Textes – der als K., als Kafka, als kavka auftritt, der im Erzählen als Kafka gesetzt, erschrieben wird, und zwar in jenen Worten, die die seinen sind, die ihm also vermeintlich vorangehen und doch, zugleich, folgen, sich (auch) als Nach-Schreiben entpuppen – wird wieder aufgelöst, wird fremd. Die Verwirrung der Grenzen von Ursache und Wirkung, Vorher und Nachher, Realität und Fiktion, das Sein zwischen Leben und Tod lässt die Kafka/K.-Figur zum Wanderer, zur Figur des Sowohl-alsauch werden. Das Fremd-Sein Kafkas, die Exilsituation in der Abgeschiedenheit des Sanatoriums sind dabei nicht allein Parabeln auf die Situation exiliert Lebender, wie Sadrs persönliche Lebenssituation nahelegte, sie sind darüber hinaus eine Metapher für menschliche Identitätsfindung generell.
5

Life Fictions: Radicalization of Life-Writing in Leslie Scalapino’s Zither & Autobiography and Dahlia’s Iris: Secret Autobiography & Fiction

86%
Myk M.
Studia Anglica Posnaniensia
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2015
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vol. 50
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issue 2-3
127-140
EN
The paper discusses radicalized aesthetics and politics of structure and form in the experimental autobiographical writing of American avant-garde author Leslie Scalapino. Associated with the innovative protocols of the “Language School” poetry movement, Scalapino’s oeuvre emerges as simultaneously a poststructuralist and phenomenologically oriented poetics in which writing performs a thoroughgoing scrutiny of how one’s implication in linguistic and cultural matrices determines one’s being in the world. Scalapino’s Autobiography, framed by Paul de Man’s remarks on autobiographical writing as always controlled by the external expectations of self-fashioning, sets out to examine and deconstruct the autobiographical project as in itself constructive of one’s life. In Zither the poet complicates her take on life-writing by interrogating and reconceptualizing hidden mechanisms of the genre and confronting it with its own fictional status, while in Dahlia’s iris Scalapino juxtaposes detective fiction with a Tibetan form of written “secret autobiography”, based on a radical departure from the chronology of one’s biography toward a phenomenological horizon of what she refers to as “one’s life seeing”, a practice of attempting to see one’s mind’s constructions as they are formed by the outside as well as by one’s internalization of the outside.
6
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Alegoria w „skrzydłach ołtarza”: Herling-Grudziński, Benjamin, de Man

58%
Potkański J.
Prace Filologiczne. Literaturoznawstwo
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2017
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issue 7(10)
335-344
EN
The article juxtaposes the diptych of short stories by Gustaw Herling-Grudziński, The Tower and Pieta dell’Isola, with the theories of allegory developed by Paul de Man in The Rhetoric of Temporality as well as by Walter Benjamin in The Origin of German Tragic Drama. The analyses reveal several points of convergence in the structure and motives present in the works by Grudziński and in the texts by these critics. In the case of Benjamin, this would suggest his influence on Herling, whereas in the case of de Man, it reveals a parallelism of thoughts of the two contemporaries working with different genres and different interpretative communities, yet developing very similar conceptions of the text as well as of the man.
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