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Haupt’s America. Attempts at an entropic novel. Luizjana, W barze Harry’ego, Zamierzchłe echa, Oak Alley nad Missisipi, Cyklon

100%
Szczerbakiewicz R.
Forum Poetyki
|
2023
|
issue 32
EN
In works by Zygmunt Haupt, the motif of entropy was a unique moment associating the speculative character of modern scientism with modernist prose. The scientific explanation – physics – is used to interpret the world’s natural and social history. Haupt extends the connotations of the second law of thermodynamics, typically conceptualized in terms of humanities as a pessimistic perspective on the passing of energetic livelihood of life, the human world, civilization. At the beginning of his experience of America, it provided him with both hope and hopelessness. The paper analyzes similarities between Haupt’s and Faulkner’s prose, as well as formal similarities between their worldviews. Writing about the Delta, both authors are interested in the imbalance between nature and civilization, which leads to a crisis of both nature and human society. Entropy turns out to be a paradoxical trace of hope in the growing disorder which may be heralding a new system, and with it – a form of younger entropy. 
PL
Motyw entropii w twórczości Zygmunta Haupta był unikatowym momentem kojarzącym spekulatywność nowoczesnego scjentyzmu z modernistyczną prozą. Wyjaśnienie naukowe – fizyka – posłużyło interpretacji historii naturalnej i społecznej świata. Drugie prawo dynamiki, na ogół rozumiane w humanistycznym ujęciu jako pesymistyczna perspektywa przemijania energetycznej żywotności życia, świata ludzkiego, cywilizacji, u Haupta rozszerzyło swoje konotacje. Ameryka u progu jej doświadczenia przez pisarza niosła przesłanie zarazem nadziei i beznadziei. W artykule sygnalizuję podobieństwa prozy Haupta i Faulknera. I nakładanie się na formalne podobieństwo pokrewieństwa światopoglądowego. Piszących o Delcie Missisipi nowoczesnych prozaików interesuje brak równowagi między naturą i cywilizacją, który prowadzi do kryzysu tak natury, jak i ludzkiego społeczeństwa. Entropia okazuje się tutaj paradoksalnym śladem nadziei we wzrastającym nieporządku, który może zwiastować „pączkowanie” nowego systemu, a wraz z nim formę młodszej entropii.
2
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Denegation, Textuality and Intertextuality in ”The Idiots”: Epistemological Transformation of Conrad’s Tale

100%
Branny G. M. T.
Perspektywy Kultury
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2024
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vol. 45
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issue 2
259-272
PL
„Idioci”, opowieść, która ukazała się w pierwszym zbiorze opowiadań Josepha Conrada pt. Tales of Unrest (1898), jest chyba jego najbardziej minimalistycznym krótkim tekstem, który zyskał przez to u jednego z jego krytyków miano „bezsensownego”. Ze względu na swą lakoniczność opowiadanie było dotąd głównie poddawane analizie kontekstualnej, wskutek czego czysto literackie podejścia do tekstu prawie nie istnieją. Niniejszy artykuł stanowi próbę epistemologicznego przewartościowania tego niedocenianego i krytykowanego opowiadania Conrada poprzez poddanie go wnikliwej estetycznej analizie. Zastosowane w tym celu eklektyczne, bo tekstualne i intertekstualne, podejście do tekstu ujawnia obecność w nim modernistycznej metody narracyjnej zwanej denegacją (potwierdzeniem obecności poprzez nieobecność i odwrotnie), zwykle przypisywanej Williamowi Faulknerowi, co pozwala na rozwikłanie zagadki niejednoznacznego zakończenia opowiadania poprzez jego zdefiniowanie jako przypadkowe utonięcie bohaterki opowiadania, nie zaś jej samobójstwo, jak chcą krytycy. Ponadto, denegacja pełni w tekście także inną transformacyjną funkcję, nadając wreszcie opowiadaniu sens poprzez wskazanie na jego denegatywnie skonstruowaną tematykę tabu dotyczącą incestu. Intertekstualna (bachtinowska) interpretacja „Idiotów” w pojęciu Kristevej, a zatem poprzez odniesienie do pisarza późniejszego, tu Williama Faulknera, nie tylko potwierdza obecność tematyki kazirodztwa w opowiadaniu Conrada, ale także ujawnia literacki dług Faulknera wobec Conrada, i to nie tylko w kwestii denegacji, którą dotąd przypisywano temu pierwszemu, ale także w stosunku do tematyki oraz szeregu motywów najbardziej eksperymentalnej powieści Faulknera Wściekłość i wrzask (1929).
EN
“The Idiots,” published as part of Conrad’s first collection of short stories Tales of Unrest (1898), is, by far, the most minimalist of all his tales, therefore dubbed “pointless” by one of his critics. As such, it has mostly occasioned contextual readings to date, purely literary approaches to the story being few and far between. The present article offers a transformative reappraisal of this deprecated Conrad tale, in considering its artistic texture. A combined textual and intertextual approach proposed here reveals the presence, also in this Conrad story, of the modernist device of denegation (assertion of presence by absence, and vice versa) usually ascribed to William Faulkner, which helps resolve the issue of the tale’s ambiguous ending by defining it as the main heroine’s accidental drowning rather than suicide as it is usually seen in Conrad criticism. In its epistemologically transformative role, denegation likewise removes the odium of senselessness from “The Idiots” by identifying its covert, because denegatively construed, taboo theme of incest. The intertextual (Bakhtinian) reading of the story in Kristeva’s understanding of the term, and therefore through recourse to a later writer, i.e., Faulkner, does not only confirm the presence of the theme of incest in “The Idiots” but also reveals the American modernist’s unacknowledged indebtedness to this Conrad tale for some of the key motifs, if not its overall theme, of his most famous novel The Sound and the Fury (1929).
3

Pamięć w dobie psychologii dynamicznej: XIX-wieczne konteksty. (Z angielskiego przełożyła Olga Mastela)

85%
Nalbantian S., Mastela O.
Pamiętnik Literacki
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2013
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vol. 104
|
issue 4
17-34
EN
The author of the text sketches the major findings made in the field of memory research in the late nineteenth century, called by some “a golden age of memory,” and shows how these discoveries paved three different pathways for the exploration of memory by fiction writers in the twentieth century. She focuses, in particular, on the legacy of the three leading French and American psychologists: Henri Bergson, who placed memory processes and their duration in the metaphysical domain, Pierre Janet, who examined the functioning of automatic memory at the famous Salpêtrière clinic and actually founded the school of Dynamic Psychiatry, and William James, who in fact invented the notion of “the stream of consciousness,” adopted later by such eminent writers as James Joyce, William Faulkner and Virginia Woolf.
4
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Burial Grounds and Dead Lovers: Places of Interment in the Gothic Modernism of the American South

85%
Redding A.
Avant
|
2017
|
vol. 8
|
issue 2
EN
In Cities of the Dead, Joseph Roach speculates that “Modernity itself might be understood as a new way of handling (and thinking about) the dead” (1996: 48). Roach (following Foucault) argues that a whole array of rationalized spatial practices emerged during the Enlightenment designed to enforce policies of segregation and hygiene, demarcating the social and metaphysical lines that were necessary to distinguish black from white, civilization from nature, citizen from foreigner, past from present, reason from supernatural or folk forms of knowing, and-ultimately-living from dead. In this sense, “gothic” romanticism represented the development of a sort of unnatural chiaroscuro effect, whereby such boundaries and lines of distinction became blurred, where dead flesh becomes re-animated, where corpses risen from graves come to contaminate the spaces of the living. In contradistinction to formations that “view the dead as hermetically sealed off from contemporaneous life, quarantined into the past,” gothic cultural productions, as Eric Anderson et al. have argued recently in Undead Souths, reveal “how the dead contain cultural vibrancy in the present” (2015: 2). This essay, rethinking traditional understandings of “Southern Gothic” by emphasizing the world-making power of the dead, explores texts about burial grounds by modernist writers from the American South, William Faulkner’s As I Lay Dying (1930) and Frances Newman’s Dead Lovers are Faithful Lovers (1928). En route, I consider Freudian and other understandings of mourning from a spatial perspective, focusing on variously abortive or failed funereal dramas of interment and burial.
5
Publication available in full text mode
Content available

Burial Grounds and Dead Lovers: Places of Interment in the Gothic Modernism of the American South

85%
Redding A.
Avant
|
2017
|
vol. 8
|
issue 2
EN
In Cities of the Dead, Joseph Roach speculates that “Modernity itself might be understood as a new way of handling (and thinking about) the dead” (1996: 48). Roach (following Foucault) argues that a whole array of rationalized spatial practices emerged during the Enlightenment designed to enforce policies of segregation and hygiene, demarcating the social and metaphysical lines that were necessary to distinguish black from white, civilization from nature, citizen from foreigner, past from present, reason from supernatural or folk forms of knowing, and-ultimately-living from dead. In this sense, “gothic” romanticism represented the development of a sort of unnatural chiaroscuro effect, whereby such boundaries and lines of distinction became blurred, where dead flesh becomes re-animated, where corpses risen from graves come to contaminate the spaces of the living. In contradistinction to formations that “view the dead as hermetically sealed off from contemporaneous life, quarantined into the past,” gothic cultural productions, as Eric Anderson et al. have argued recently in Undead Souths, reveal “how the dead contain cultural vibrancy in the present” (2015: 2). This essay, rethinking traditional understandings of “Southern Gothic” by emphasizing the world-making power of the dead, explores texts about burial grounds by modernist writers from the American South, William Faulkner’s As I Lay Dying (1930) and Frances Newman’s Dead Lovers are Faithful Lovers (1928). En route, I consider Freudian and other understandings of mourning from a spatial perspective, focusing on variously abortive or failed funereal dramas of interment and burial.
6

Character as a Vanishing Point in American Experimental Fiction

71%
Karoui-Elounelli S.
American, British and Canadian Studies Journal
|
2012
|
vol. 19
56-76
EN
My paper discusses the construction of character in some American experimental narratives within the optical paradigm of the vanishing point. In a first part the investment of the pictorial notion of the vanishing point in Faulkner’s Light in August will be discussed as an instance of the occasional confrontation in Modernist fiction of the limits of literary representation, even if the pictorial category is adapted (and so limited) to the specific issue of biracial identity. In a second part, William Gass’s short story “Mrs. Mean” and Paul Auster’s The Locked Room will be examined as instances of a sustained critical recasting of the very concept of character. The trope of the vanishing point is consciously deployed in both texts to reinvent fictional character within the challenging scope of borderlines between presence and absence, the life-like (mimetic) and the purely verbal.
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