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Masculinity and Conversion in Old English Guthlac A

100%
Olesiejko J.
Anglica. An International Journal of English Studies
|
2017
|
issue 26/1
5-21
XX
The article turns to Judith Butler’s writings on abjection to elucidate the Christian subjectivity that emerges from the Old English poetic life of Guthlac of Crowland, known as Guthlac A. The abject is defi ned as the other within the subject who is in the process of conversion from secular values and the Germanic past. Guthlac’s conversion from his secular and ancestral values informs a notion of masculinity nascent in his subjectivity, masculinity that results from the abjection of ancestral secular identity by transposing it onto the demonic other, the destruction of which transforms and sanitizes ancestral landscape.
2
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Dialektyka wstrętu i wzniosłości w myśli Fryderyka Nietzschego

88%
Jaksender A. Z.
Estetyka i Krytyka
|
2012
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issue 2(25)
68-82
XX
The article is an attempt to develop a critical interpretation of the category of sublime, which is present in writings of Friedrich Nietzsche: starting from the earliest letters sublime appears in the rhetorical style and archetypal metaphors of this philosopher. The sublimity of Nietzschean style is interpreted in psychoanalytical perspective. This interpretative method enables revealing of the dialectic of desire, which determines Nietzsche’s notion of the will to power. Traces of disgust and moments of sublime emerging out of the writings of Nietzsche are considered in this article as symptoms of relation to phantasmal object of desire (objet petit a in Lacan’s dictionary). In Nietzsche’s writings symptomatic metaphors of elevated Magnitude are accompanied with descriptions of abjection towards everything that should be defeated in man, everything that is feeble and weak. Hereinafter article portrays how Nietzsche became overwhelmed by his phantasm of man conceived as a “bridge” leading to “superman,” that is to say, by his phantasm of superman conceived as incessant movement of transgressing the (self) abjection.
3

“Neatly Severing The Body From The Head:” Female Abjection In Margaret Atwood’S The Edible Woman

88%
Kriebernegg U.
Linguaculture
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2012
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vol. 2012
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issue 1
53-64
EN
In Margaret Atwood’s fiction and poetry, wounded female bodies are a frequently used metaphor for the central characters’ severe identity crises. Atwood’s female protagonists or lyric personae fight marginalization and victimization and often struggle to position themselves in patriarchal society. In order to maintain the illusion of a stable identity, the characters often disavow parts of themselves and surrender to a subversive memory that plays all sorts of tricks on them. However, these “abject” aspects (J. Kristeva, Powers of Horror) cannot be repressed and keep returning, threatening the women’s only seemingly unified selves: In Surfacing, for example, the protagonist suffers from emotional numbness after an abortion. In The Edible Woman, the protagonist’s crisis results in severe eating disorders and in Cat’s Eye and The Robber Bride the central characters’ conflicts are externalized and projected onto haunting ghost-like trickster figures. In this paper, I will look at various representations of “wounded bodies and wounded minds” in samples of Margaret Atwood’s The Edible Woman, focusing on the intersection of memory and identity and analyzing the strategies for healing that Margaret Atwood offers.
4
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Gotycyzm/gotycyzmy – rekwizyty i metamorfozy

76%
Izdebska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2017
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issue 30
325-338
EN
The article deals with phenomena of the Gothic the most often described as a set of often-linked elements rather than a fixed genre. The text presents a variety of cultural incarnations of the convention: from the eighteenth century novel by horror movies to subcultural style of Goths. This essay also examines the basic Gothic concepts, like the uncanny and the abject, which determine the worlds depicted in Gothic narratives, especially characters who remain in close connection with the space formed as a labyrinth. Finally, the article is an attempt to answer the question about the source of the expansion of the aesthetics of the Gothic in the contemporary culture.
5
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The Spectacle of Historical Trauma of Black Bodies in America: Subjectivity, Abjection, and Commodification of The White/Black Gaze

75%
Briseno R.
Forum for Contemporary Issues in Language and Literature
|
2023
|
issue 4
80-88
EN
In 1994, Elizabeth Alexander's”'Can you be Black and Look at This?’: Reading the Rodney King Video(s)” was published in The New Yorker magazine. Alexander focuses on the ways in which Black bodies have been the focal point of public pain, torture, and humiliation for centuries. These public lynchings, whippings, and other forms of physical abuse leading to maiming and death have been elements central to the entertainment for the racial status quo. Alexander's essay also focuses on the ways in which there has always been a “Black gaze” bearing witness to the decimation of other Black bodies--- the legacy of which leads to a continued cycle of both psychological and historic trauma that is (re)visited over and over again. Of course, with the prevalence of technology now a norm, such incidents of recorded violence are part of life in America.   As the United States' greatest cancer, racism, continues to be a root cause of this violence, neither the killing of Blacks nor survivors' consciousness will be healed; and worse, the spectacle of racial violence will continue to perpetuate victims on various levels: 1) as victims directly tied to such violence and 2) as witnesses to said violence. My proposed essay focuses on the tragedy of Black bodies as spectacles of public pain---whether they are viewed as victims, as specimens of morbid curiosity, or as receptacles of displaced hate and disgust; and even as supposed rightly displays of justices incurred, simply because the body in question is Black (“They got what they deserved. They should have just pulled over.”). I will focus on various, very public historical and modern-day lynchings, from Emmett Till to George Floyd, and explore the cause and effects against Blacks in America. Ultimately, the essay poses the following questions: who is the monster, who are the victims? And at what cost will this continuum perpetuate the legacy of trauma of the American Black population?
6
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Fotografik w kostnicy – o ukazaniu osoby zmarłej w sztuce współczesnej

63%
Milczanowska A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2011
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issue 2
96-102
EN
What is death in contemporary world? “Faked”, multiplied by movies and games, it becomes standard, it doesn’t frighten. In contemporary world the second type of death is taboo. It is pushed out of consciousness. Man striving for immortality, striving for eternal youth doesn’t want to remember it. Death was always connected to art. Artists tried to depict the deceased. The idealistic paintings of the dead or preserving their bodies in best possible condition was a gateway to the afterlife. Masks and coffin portraits were heirlooms, they replaced the body of the deceased family member. The mediaeval tombstones called transi played a different role – they depicted rotting corpse eaten by vermin. They reminded of inherent death and of death’s mundane meaning. Contemporary photographers’ work (e.g. Jeffrey Silverthorne’s or Andreas Serrano’s) appeal to these mediaval examples. They show massacred human bodies photographed in a specific, almost excluded from our consciousness setting – the morgue. One should contemplate whether the art depicts a man or a corpse identified with litter. What is the purpose of depicting dead bodies that were secretly photographed in a morgue or were prepared, immersed in formalin and exhibited at an art gallery? The fascination of body and its secrets influenced the way of showing the dead. Bodies of anonymous people seen in the photos are treated by contemporary people as waste. By the means of camera the photographed deceased are depersonalized twice. Once by the camera that is killing them, the second time by abjecting them
7
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(Nie)poetyckie materie – o „lęku produkcji” w polskiej poezji nowoczesnej (Leśmian – Peiper i Przyboś – Różewicz)

63%
Józefowicz Ł.
Rana. Literatura - Doświadczenie - Tożsamość
|
2021
|
issue 1 (3)
1-22
EN
The aim of the study is to examine the work of classical poets of Polish modernism in the light of male studies developed by Calvin Thomas in his work Male Matters. The article brings forward the profile and work of Thomas showing that his ‘anxiety of production’ concept differs from other male studies in its distinctive usefulness in the field of literary studies. In his theory Thomas deals with the ambivalent relation between a male identity and the very act of writing which inevitably brings shameful externalisation (and even feminisation) in signs and makes the creator conditioned by his own product including its repulsive materiality. In my study I follow different ways in which modern Polish poets manage the immanent corporeality of creation, imagined as uncontrollable ejaculation, humiliating exertion or the painful process of giving birth to a poem.
PL
Celem szkicu jest rozpatrzenie twórczości klasyków polskiej poezji nowoczesnej pod kątem studiów nad męskością, które Calvin Thomas rozwija w pracy Male Matters. Artykuł przybliża sylwetkę i twórczość krytyczną Thomasa, wskazując, iż zaproponowany przezeń koncept „lęku produkcji” wyróżnia się na tle innych studiów nad męskością ze względu na swoją szczególną użyteczność dla badań literackich. Przedmiotem zainteresowania Thomasa jest ambiwalentny związek między męską tożsamością i aktem pisania, który nieuchronnie wiąże się zawstydzającym uzewnętrznieniem się (a nawet feminizacją) w znakach i uzależnia twórcę od odpychającej materii jego własnego wytworu. W artykule autor przygląda się różnym postawom, jakie polscy poeci nowocześni przyjmują wobec niezbywalnie cielesnego wymiaru procesu twórczego, który w ich wyobraźni przybiera postać niedającego się opanować wytrysku, poniżającego aktu wydalania i bolesnego rodzenia wiersza.
8
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Ciało jako nowe medium społeczne w performatyce litewskiej: jak dyskurs wchodzi w materię?

38%
Nikiforowa B., Sapoka K.
Kultura i Wartości
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2017
|
issue 22
DE
Der Artikel beschäftigt sich mit dem Begriff des neuen Materialismus und erforscht die Frage, wie der neue Materialismus visuelle Künste auf eine innovative Art wahrnimmt: durch die Verbindung von künstlerischer Praxis, der Kunst als Forschung und der philosophischen Analyse. Ausgewählte künstlerische Arbeiten von S & P Stanikas und Evaldas Jansas werden unter Anwendung der Methoden des neuen Materialismus als Rekonzeptualisierung des Körpers in der litauischen Kunst interpretiert. Untersucht wird der geopolitische und antiideologische Hintergrund, vor dem die visuellen Künstler in Litauen und Polen von 1960er bis zu 1990er Jahren gegen kulturelle Dichotomien kämpften: männliche und weibliche Körper, traditionelle oder gegenwärtige Kunst, Künstler als freies Individuum oder an Ideologie gebunden. Unter Verwendung des Terminus "affirmativ" von Rosi Braidotti wird im Artikel die Frage gestellt, ob man anhand der analysierten Fälle argumentieren kann, dass "affirmative Politik auf der Suche nach alternativen Visionen und Projekten Kritik mit Kreativität verbindet". 
EN
This article deals with the concept of new materialism and examines the issue of how new materialism tackles visual art in innovative ways – though the intersections of artistic practice, art-as-research, and philosophical analysis. Selected artworks by S & P Stanikas and Evaldas Jansas are analyzed in this paper as body reconceptualization in Lithuanian art, employing the approach of new materialism. We will explore the geopolitical and ideological background, in which Lithuanian and Polish visual artists grapple with cultural binaries from the 1960s to the 1990s: male-female gendered bodies, traditional or contemporary art, and the artist as free individual or the one tied to ideology. Employing Rossi Braidotti’s term “affirmative”, this article poses a question whether it is possible to argue on the analyzed cases that “affirmative politics combines critique with creativity in the pursuit of alternative visions and projects”.
PL
Artykuł zajmuje się pojęciem nowego materializmu i bada kwestie, jak nowy materializm dostrzega sztuki wizualne w sposób nowatorski – poprzez skrzyżowanie praktyki artystycznej, sztuki-jako-badań i analizy filozoficznej. Wybrane prace artystyczne autorstwa S & P Stanikas i Evaldasa Jansasa zostają zinterpretowane w referacie jako rekonceptualizacja ciała w sztuce litewskiej, posługując się metodami nowego materializmu. Eksplorujemy tło geopolityczne, antyideologiczne, w którym artyści wizualni litewscy i polscy zmagają się z binaryzmami kulturowymi od lat 1960. do 1990: męskie-kobiece ciała, sztuka tradycyjna czy współczesna, artysta jako wolna jednostka czy przywiązana do ideologii. Posługując się terminem Rosi Braidotti „afirmatywny”, w artykule stawia się pytanie, czy można argumentować na  podstawie analizowanych przypadków, że „afirmatywna polityka łączy krytykę z kreatywnością w poszukiwaniu alternatywnych wizji i projektów”.
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