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1

ETICS OF EXCLUSION. BRZOZOWSKI AND CONRAD (Etyka wykluczenie. Brzozowski i Conrad)

100%
Kowalczuk U.
Przegląd Filozoficzno-Literacki
|
2009
|
vol. 6
|
issue 2(23)
159-191
EN
The article refers to ethical aspects of forming writers' roles amidst their ruffled relationship with the Polish community (accusations of treason and departure from the country in the case of Stanislaw Brzozowski and emigration and giving up creation in his native language in the case of Joseph Conrad), a process that results in a conviction that both being and not being a Polish writer is very difficult. The autobiographical texts of both authors confirm that their ideas of literary tasks focus on a few notions: offence, blemish, shame, and oppression. Brzozowski and Conrad's choices depend on the negative influence of ethical rules that mark out a XIX century writer's range of duties. Therefore, the writers' views of their intellectual activity result from the 'ethics of exclusion'.
2
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Gunter Grass – pisarz prowokujący

100%
Tomczak M.
Studia Europaea Gnesnensia
|
2012
|
issue 6
299-314
PL
The article presents the political profile of the German writer and Nobel prize winner, Günter Grass, and the singular nature of his involvement in German political life. Grass’s views, albeit internally inconsistent, had been comprehensible until the Unification of Germany, while his political activity strove do defend such values as liberty, democracy and moderation. After the unification, of which he had been an adversary, Grass began to speak in ever more controversial tones, and his views seem to clash more and more profoundly with what he had formerly advocated.    
3

SPISOVATEĽ A NESPISOVATEĽ PETER PIŠŤANEK

88%
Darovec P.
Slovenská literatúra (Slovak Literature)
|
2022
|
vol. 69
|
issue 1
44 – 54
EN
The article deals with controversies concerning the authorial self-presentation of the Slovak writer Peter Pišťanek (1960 – 2015) and changes his attitude towards the role of the writer underwent. In the 1990s, when Pišťanek was a publishing author and his work was widely discussed, he ostentatiously rejected the status of the writer. However, later, after he stopped being active as an author, he partially assumed it. Until then, he would repeatedly present himself as a non-elite word craftsman (worker). This radical public gesture brought him a unique position in the Slovak literary field in the early 1990s. He would degrade the status of the writer both in his public self-presentations and in the key works of his first creative period. In these, the characters of writers are portrayed with a radical irony. Paradoxically, at the break of the 21st century, after he publically declared that he no longer writes fiction, Pišťanek embraces the role of the celebrity author. This shift can be observed in his editorial activities, in interviews and journalism he authored at that time. Empathetic understanding of the character of the writer replaced the former ironic detachment.
4

Lektura jako źródło cierpień. Autotematyzm i bohaterowie żywcem zaczytani we Frankensteinie Mary Shelley

75%
Skibińska M.
Prace Literackie
|
2011
|
vol. 51
643-83
EN
The article is an attempt to develop and introduce into Polish literary studies a reflection on Frankenstein, sometimes interpreted — by foreign scholars — as a novel about writing and reading. Referring to, among others, the symbolism of the hybrid creature from Giuseppe Arcimboldi’s painting, the notion of intertextuality, feminist criticism (Kazimiera Szczuka, Urszula Śmietana) and remarks from Michele Turner’s If it be a monster birth: Reading and literary property in Mary Shelley’s “Frankenstein”, the author examines the topic on three basic levels. The first concerns the primary relation between the writer and the text, with regard to which Frankenstein emerges as a partial reflection of Mary Shelley’s reading biography, also as a kind of “somatext,” i.e. a literary testimony to reading one’s own corporeality — a work in the “cracks” of which, as Kazimiera Szczuka puts it, “hides [...] a tale of an inextricable link of persecution between the woman and her work born of flesh and writing, in madness and anguish.” In this part of her analysis, the author refers to a modern travesty of the story of writing Frankenstein — Federico Andahazi’s novel The Merciful Women. This is a point of departure for examining the subject of “writing and reading” on another level of interpreting Shelley’s work. The story of the “birth” of the Monster and its subsequent fate, not controlled by the Creator anymore, can be read, according to the author, as a reflection of the universal relation between the author, the text and the (collective) addressee, as a unique allegory of the act of creating a text and its reception in society as a result of which — due to reasons beyond the writer’s control — the text is sometimes turned into a “monstrosity,” with dangerous qualities being ascribed to it. The author also sees in the creation of the Monster-text of the novel a clear allusion to a toxic aspect of the Romantic reading culture. Thus the 19th-century figure of the reading Monster become a model example of the anti-reader, combining attributes of both Romantic readers of The Sorrows of Young Werther and of the child, i.e. the figure which — in comparison with books — was best able to evoke a vision of danger resulting from a premature, unskilled contact of an inexperienced user with the world of literary fiction. In the case of all three narrators of the novel, the role of reading, strongly emphasised by Shelley, is a point of departure for reflections on the last level of interpreting Frankenstein, focusing on a broadly defined problem of education and upbringing. For it seems that by presenting the very similar first reading experiences of Robert Walton, Victor Frankenstein or the Monster, Shelly points to the main reasons why reading might become a source of anguish for the reader.
5
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Stížená možnost komunikace aneb Spisovatel hledá čtenáře

75%
Czaplińska J.
Česká literatura (Czech Literature)
|
2010
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vol. 58
|
issue 4
509-518
EN
This is an analysis of the special situation in communication, which faced writers who published their works in exile publishing houses and samizdat. In keeping with contemporary literary anthropology, the author starts from the assumption that a literary text becomes literature in the process of communication. In other words, the author and the reader of his or her texts are to some extent prerequisites for the emergence of literature. In the absence of the reader, the writer was forced to come up with a strategy for survival and for the preservation of his or her individuality. On the basis of the works of Ivan Binar (b. 1942), Václav Černý (1905–1987), Sylvie Richterová (b. 1945), Ludvík Vaculík (b. 1926), and Bohumil Hrabal (1914–1997), the author demonstrates various forms of the thematization of the implied author, which became not only a means of expression that was meant to enliven the narrative or inveigle the reader in behind the scenes of the writing process, but also had the role of emphasizing the existence of the author as a human being who writes. In the difficult circumstances of their lives, writers in this period thus not only preserved their own individuality but also continuously constructed it.
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