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1

A Melancholy Journey through Landscapes of Transience

100%

Pieldner J.

Acta Universitatis Sapientiae, Philologica

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2015

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vol. 7

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issue 1

65-72

EN

Saturn is the planet of melancholy, about which Walter Benjamin writes: “I came into the world under the sign of Saturn - the star of the slowest revolution, the planet of detours and delays.” W. G. Sebald’s prose poetics seems to be driven by this motion, which is more than a simple state of being: it is a way of perceiving the world as well as a way of writing, perpetual transition, walk, halt, deviation from the road, getting lost and finding the way back. The paper reflects on W. G. Sebald’s The Rings of Saturn (Die Ringe des Saturn: Eine englische Wallfahrt, 1995], a unique literary achievement deeply embedded into the history of literature, culture and the arts, which can be best construed from the direction of “the order of melancholy.” On the pages of the book the reader can traverse, together with the Sebald-narrator, a route in East Anglia, with digressions in various directions of (culture) history. The journey in the concrete physical space turns into an inner journey, into a spiritual pilgrimage; the traversed locations become documents of destruction and transience. From the perspective of the order of melancholy places are determined by their relations, temporality and role in history rather than by their concrete geographic coordinates. The infinitely rich construction of the narrative creates a continuous passage between the local and the universal, the concrete locations of the journey and the scenes of world history, between the time of the journey and the (colonial] past, between East and West. The traversed historical, cultural and medial spaces displace the perception of human existence and result in the incommensurable aesthetic experience of the Sebaldian prose.

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Les non-sens et les sens de l’écriture digressive d’Éric Chevillard. Le cas de Palafox

88%

Maziarczyk A.

Orbis Linguarum

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2018

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issue 50

317–326

EN

Nonsense and sense in the digressive writing of Éric Chevillard. The case of Palafox The novels of Éric Chevillard oscillate between logic and absurdity, due to not only the subject matter but also the rejection of novelistic conventions, which are replaced with a variety of unusual narrative strategies, digressive narration being the most important of them. Frequently used as a narrative mechanism distorting the eventfulness of the text, in his early writing it functions rather as a technique whose aim is to structure the plot in an unusual manner and to highlight its thematic concerns as well as transforming the reader’s traditional reception of a literary text. The present paper discusses these textual functions of digression on the example of Palafax, the novel in which atypical narration tallies with the story being told.

3

„Dodatki” a kategoria jedności w poetyce klasycyzmu postanisławowskiego

71%

Markowska H.

Forum Poetyki

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2016

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issue 6

90-103

EN

The article deals with the theory of “epssodes” in Polish poetics in the first two decades of the nineteenth century. It offers an analysis of texts from the school of Post-Stanisław Classicism, containing guidelines concerning the introduction into a literary work of passages not connected to its main current, called digressions. For the purpose of creating a theory conditioning the functioning of these peculiar “additions,” an analysis of one of the basic aesthetic categories of that era, the category of unity, proves necessary. That analysis is connected with a theory of the perception of the work of art, popular at that time, with roots in Cartesian philosophy. Thus reflections on episodes and unity become a point of departure for testing current beliefs about the arbitrariness of classicist “rules.”

PL

Artykuł poświęcono teorii „epizodów” w poetyce polskiej dwóch pierwszych dziesięcioleci XIX wieku. Przeanalizowano w nim teksty związane z nurtem klasycyzmu postanisławowskiego, zawierające wskazania dotyczące wprowadzania do utworu literackiego fragmentów niezwiązanych z jego głównym wątkiem, zwanych ustępami. W celu odtworzenia teorii warunkującej funkcjonowanie tych swoistych „dodatków” konieczna okazała się analiza jednej z podstawowych kategorii estetycznych epoki – kategorii jedności. Zostaje ona powiązana z ówczesną teorią percepcji dzieła sztuki mającą swoje korzenie w filozofii kartezjańskiej. W ten sposób rozważania o epizodach i jedności stają się punktem wyjścia do weryfikacji obiegowych przekonań o arbitralności klasycystycznych „reguł”.

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1 Acta Universitatis Sapientiae, Philologica

1 Forum Poetyki

1 Orbis Linguarum

1 Markowska H.

1 Maziarczyk A.

1 Pieldner J.

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1 2016

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A Melancholy Journey through Landscapes of Transience

Les non-sens et les sens de l’écriture digressive d’Éric Chevillard. Le cas de Palafox

„Dodatki” a kategoria jedności w poetyce klasycyzmu postanisławowskiego