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Dyskurs(y) Olgi Tokarczuk – recenzja Jak działać za pomocą słów? Katarzyny Kantner

100%
Brenskott K.
Facta Ficta. Journal of Theory, Narrative & Media
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2020
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vol. 5
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issue 1
151-162
PL
Recenzja książki "Jak działać za pomocą słów? Proza Olgi Tokarczuk jako dyskurs krytyczny", Kraków: Towarzystwo Autorów i Wydawców Prac Naukowych „Universitas” 2019.
2
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Mit urody a Najbrzydsza kobieta świata Olgi Tokarczuk. Stereotypizacja kobiety autorki vs. kobiety bohaterki

100%
Slivková I.
Postscriptum Polonistyczne
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2017
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issue 2 (20) Oblicza kobiecości
133-140
EN
Gender theory concerns most areas of woman‘s existence in a society and an artistic text is one of many subject manifestations, which may and is likely to influence public opinions. After the period of literature dominated by heroines fighting for the rights, the woman­‑provocateurs came to set free not only their bodies, but also their souls. Apart from the male–female relations (gender theory), Olga Tokarczuk’s short story Najbrzydsza kobieta świata (tr. The Ugliest Woman of World) reveals various aspects of women’s writing, in particular – the aesthetics of ugliness. Within this milieu, the ugliness is locked in two stands: 1. the direct characteristics of the ugliest woman in the world and 2. the shocking element of the suffering aesthetics, namely, the exposure of woman by the others.
3
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Głos kogoś Innego. Czuły narrator w powieści Olgi Tokarczuk „Prowadź swój pług przez kości umarłych”

89%
Chorąży A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2023
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vol. 11
384-399
EN
The article deals with a reflection on the transfer of animal experience in literary texts. It focuses on “tenderness” as a methodological and literary category introduced by Olga Tokarczuk and analyzes its functioning in the novel Drive Your Plow over the Bones of the Dead. Such attemptsto search for the language of “the Other” direct the human subject towards interspecies coexistence and compassion. The narrative gesture of opening up to the animal’s experience becomes a method of transmitting what is animal and unconscious. An attempt will also be made to reflect on whether the narrator giving voice to the animal is usurping the right to transmit the animal’s experience.
PL
Artykuł dotyczy refleksji nad przekazywaniem zwierzęcego doświadczenia w tekstach literackich. Skupia się na „czułości” jako kategorii metodologiczno-literackiej wprowadzonej przez Olgę Tokarczuk i analizuje jej funkcjonowanie w powieści Prowadź swój pług przez kości umarłych. Takie próby poszukiwania języka Innego kierują ludzki podmiot w stronę międzygatunkowego współbycia i współodczuwania, a gest narracyjnego otwierania się na doświadczenie zwierzęcia staje się majeutyczną metodą przekazywania tego, co zwierzęce i nieświadomie. Podjęta zostanie również próba refleksji nad tym czy narrator oddający głos zwierzęciu nie uzurpuje sobie prawa do przekazywania zwierzęcego doświadczenia.
4
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Post-fenomenologiczna narracja w powieści Bieguni Olgi Tokarczuk

89%
Trygar B.
Tematy i Konteksty
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2015
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issue 5(10)
18-30
EN
In the paper we make an attempt to read out the post-phenomenology of Henri Maldiney in the novel Bieguni. Maldiney’s post-phenomenology is not treated as a doctrine, but an action and an activity made against the elements of psychoanalysis and postmodernism. The world depicted in Bieguni is one in which we can observe continuous movement and compulsion. The border between the entity and the world they are living in has been erased. It is the world in which a man has to choose his identity. “Being on one’s way” opens a person to new experiences and inspires him/her to some creative actions. Neither the nomadic thinking nor the format of writing are growing; not in some determined theoretical place, and not either in some well-defined writing style. The identity of the individual seems to be set, and formed only by his self-understanding. Tokarczuk’s Bieguni is becoming part of an important discourse on the literature of the 21st century. It is not necessary to consider narrations only in the aesthetic context, which is cleaning the world up, but as the act of mind turning life into art. Every man is a wanderer travelling not only in the physical but also cultural dimension, and such journeys have both literal and metaphorical meanings. A walk consisting of seeking oneself as an artist, spiritual and intellectual travel, and exploring the world of symbols, are the professional domain of authors, and at the same time an excerpt of their mythology.
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Holland as a space of knowledge and cognitive receptivity: The image of the Netherlands in Olga Tokarczuk’s Flights from the perspective of looking

88%
Górecka E.
Neerlandica Wratislaviensia
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2019
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vol. 29
71-85
EN
Olga Tokarczuk’s writings are preoccupied with the entropy-ridden world. Tokarczuk renders this world in polyphonic images, and her protagonists seek to establish their identities by redefining their relation to it. In Flights, a prominent place on this world’s map is ascribed to Holland, whose image, when studied through the lens of imagology, turns out to be a space of knowledge and cognitive receptivity. Organised within the framework of selective attention, the representation of Holland is focused on perception of the narrator and of the protagonists, which conveys the attitude to the world identified with the text. Examination of the literary vision of the Netherlands and Dutch culture reveals Tokarczuk’s strategy of foregrounding selected enclosed spaces (interiors) which serve as the loci of knowledge (Verheyen’s study, De Waag and Ruysch’s home). Such a portrayal of Holland is underpinned by self-images exemplified in ideas developed by philosophers linked to this country (Descartes and Spinoza) and in art, with which the writer engages in dialogue. Explored in imagological terms, the representation of the Netherlands is a non-stereotypical vision constructed through references to an array of cultural expressions produced by the Dutch, in which the past co-generates a palimpsestic picture of the present.
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