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Piękny i bestia (Rzecz o śladach Niewidzialnej Ręki Rynku)

100%

Olszański G.

Świat i Słowo

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2012

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vol. 10

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issue 1(18)

151-166

EN

In his essay The Beau and the Beast (On the Traces of the Invisible Hand of the Market) Grzgorz Olszański attempts to describe the position of a contemporary writer in the free-market environment. However, the author analyses neither the readership statistics nor sales data or bestsellers lists, but the evolution of the writer’s image. Following Roland Barthes’s (the author of Mythologies) footsteps – Olszański carefully analyses a photographic portrait of Michał Witkowski, first published in the Polish weekly Viva!. On that basis the author reconstructs various models or writer’s representations, the photograph’s (Rafał Milach’s) fickle play with different artistic myths, and the pressure under which the writer is put, if he wants to be one of the heroes of pop-culture.

2

SMRT AUTORA JAKO NEKONCEPTUÁLNÍ METAFORA (K JEDNOSMĚRNOSTI LITERÁRNÍ KOMUNIKACE)

88%

Češka J.

Filozofia (Philosophy)

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2014

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vol. 69

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issue 1

89 – 100

EN

Barthes’s death-of-the-author metaphor strongly influenced the following period’s reflections on the poetics of a literary work. Revisiting the metaphor should show its problematic argumentation core. Consequently, the death of the author is conceived as a conceptual metaphor instead of conceiving it as an emphatic gesture of the essayists. Further, we explore the absence of the authorial subjectivity in the writings of two distinctive Czech writers (Milan Kundera and Bohumil Hrabal) in the context of one-way pattern of communication, and in conclusion with regard to the pragmatics of Barthes’s essay writing.

3

… prosta nieskończona… Wanda Czełkowska, Krystian Jarnuszkiewicz, Andrzej Wojciechowski

38%

Grubba D.

Sztuka i Dokumentacja

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2012

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issue 6

163-169

EN

In the paper, I recall three independent individuals, whose work oscillated around conceptual art. They shared a strong interest situated on the borderline of mathematics and art philosophy (including problems such as: an open space, the concept of central – axial point, infinite line etc.) and research on semantic and lexical possibilities of geometry. The work of these three extremely different artists, Wanda Czelkowska, Krystian Jaruszkiewicz, Andrzej Wojciechowski, seems to be tied together by a common element; building spatial utterances based on forms that existed on the border of contemporary and archetypical language. They evoke reflections (e.g. sociological and cultural) by the use of a strongly individualised and meta-artistic code. I analysed the following artworks: Wanda Czelkowska's Conceptual Information about a Table presented in 1972 in Edinburgh at The International Art Festival and another work entitled Absolute elimination of sculpture as a notion of shape (66 concrete slabs and 66 light points) from 1972; the project of a room independent of gravity (1959/1960), Capitel as the structure of space from 1952; Krystian Jaruszkiewicz's multi-material object entitled Sacrifice to Xawery Dunikowski (1975), that incorporated an old Polish definition of the ‘obiata’ (sacrifice) custom taken from Bogumił Linde’s dictionary in its original graphic version into an ascetic form; Andrzej Wojciechowski's works from the period when he co-operated with Stanislaw Drozdz, among them a series of photographs SALVE from 1970 (a stone with a Latin greeting found in an empty field), a model and an idea of the Self-sustaining Plinth from the Symposium “Wrocław’70”, an action entitled The Tower of Joy 23 VII 1970 built with the residents of Wrocław, and a philosophical and formal dialogue with S. Drozdz A Sphere and a stone – two perfections (1974).

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Piękny i bestia (Rzecz o śladach Niewidzialnej Ręki Rynku)

SMRT AUTORA JAKO NEKONCEPTUÁLNÍ METAFORA (K JEDNOSMĚRNOSTI LITERÁRNÍ KOMUNIKACE)

… prosta nieskończona… Wanda Czełkowska, Krystian Jarnuszkiewicz, Andrzej Wojciechowski