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1

Stefan Themerson’s Opera (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

100%

Hejmej A., Jagiellonian University F. o. P. S., hejmej@uj.edu.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 38

|

issue 8

EN

The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam–London 1972) and the question of intermediality in general. An interpretation of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Divertissements [1962] and factor T [1956]), places Themerson’s idea in the context of the aesthetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work, etc.) and argues that the aesthetics of intermediality appear to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other, the phenomenon of intermediality as the aesthetics of existence.

2

Stefan Themerson’s Opera (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

100%

Hejmej A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2016

|

vol. 38

|

issue 8

35-52

EN

The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam–London 1972) and the question of intermediality in general. An interpretation of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Divertissements [1962] and factor T [1956]), places Themerson’s idea in the context of the aesthetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work, etc.) and argues that the aesthetics of intermediality appear to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other, the phenomenon of intermediality as the aesthetics of existence.

3

Pragnienie wpływu. Listy Stefana Themersona i Bertranda Russella

100%

Sroka H.

Konteksty - Polska Sztuka Ludowa

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2020

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vol. 74

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issue 1-2 (328-329)

343-349

EN

The article examines letters written by Stefan Themerson and exchanged with his years-long friend Bertrand Russell. By bringing the reader closer to political and social questions discussed by the correspondents the author of the article takes note of the character of “the desire for influence”, which may be mentioned in the case of this particular relation. The category applied by H. Sroka as a reversal of the Harold Bloom conception simultaneously introduces a new comprehension of intellectual and aesthetic independence thematized by the writer. An analysis of source material is preceded also by information about the range of the archive within which particular letters and other artefacts about Russell – collected by the avant-garde artist / author (i.a. press cuttings, invitations to parties/receptions, photographs, etc.) – function.

4

Opera Stefana Themersona (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

88%

Hejmej A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2012

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vol. 16

|

issue 2

77-91

EN

The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam – London 1972) and the question of intermediality in general. An interpreta-tion of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Diver-tissements /1962/ and factor T /1956/), places Themerson’s idea in the context of aes-thetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work etc.) and argues that an aesthetics of intermediality appears to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other hand, the phenomenon of intermediality as aesthetics of existence.

5

„La La La” – Postscriptum do Bayamusa Stefana Themersona

75%

Skrendo A.

Przegląd Humanistyczny

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2016

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vol. 60(3 (454))

169-175

PL

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6

Interpoetyka autobiograficzna. Wojenna twórczość Franciszki i Stefana Themersonów

65%

Sroka H.

Forum Poetyki

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2019

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issue 18

64-75

EN

The paper discusses the wartime autobiographical practices by Franciszka and Stefan Themerson characterized by interpoetics, i.e. simultaneous preference for numerous formal and discourse organizations within one textual-visual entity. The paper analyzes personal documents and literary works of those avant-garde writers. It is proposed to read the written and visual autobiographics according to three forms of representation: document, secondary aesthetization, and stylization. Based on this paradigm, the paper stresses the peculiarity of the Themersons’ activity from the years 1940-1942, stressing the discreteness of this moment as opposed to the former and later literary work by the couple.

PL

Artykuł dotyczy wojennych praktyk autobiograficznych Franciszki i Stefana Themersonów charakteryzujących się interpoetycznością, czyli jednoczesnym uprzywilejowaniem wielu porządków formalnych i dyskursywnych w obrębie całości tekstualno-wizualnej. Autorka analizuje zarówno dokumenty osobiste, jak i działalność artystyczną twórców awangardowych. Sroka proponuje odczytywać piśmienną i wizualną autobiografistykę trzech form reprezentacji: dokumentu, wtórnej estetyzacji, stylizacji. W oparciu o ten paradygmat autorka zwraca uwagę na specyfikę aktywności Themersonów w latach 1940–1942, podkreślając odrębność tego momentu od wcześniejszej i późniejszej twórczości małżeństwa.

7

Bayamus, czyli lektury obowiązkowe zupełnie wolnych ludzi (zapis dyskusji)

63%

Przegląd Humanistyczny

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2016

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vol. 60(3 (454))

155-167

PL

-

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3 Acta Universitatis Lodziensis. Folia Litteraria Polonica

2 Przegląd Humanistyczny

1 Forum Poetyki

1 Konteksty - Polska Sztuka Ludowa

3 Hejmej A.

2 Sroka H.

1 Jagiellonian University F. o. P. S.

1 Skrendo A.

1 hejmej@uj.edu.pl

1 2020

1 2019

4 2016

1 2012

Stefan Themerson’s Opera (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

Stefan Themerson’s Opera (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

Pragnienie wpływu. Listy Stefana Themersona i Bertranda Russella

Opera Stefana Themersona (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

„La La La” – Postscriptum do Bayamusa Stefana Themersona

Interpoetyka autobiograficzna. Wojenna twórczość Franciszki i Stefana Themersonów

Bayamus, czyli lektury obowiązkowe zupełnie wolnych ludzi (zapis dyskusji)