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EN
This article presents a detailed analysis of the aesthetics contained in the poetry of Bolesław Leśmian. The point of departure for the discussion of poetry is a theoretical and literary essay entitled Thinking about Bergson. The poetic works are discussed in detail in terms of the quantitative and qualitative presence of the aesthetics of ugliness, with particular emphasis on images of impurities, and the aesthetics of kitsch and Camp.
EN
The article presented here contains a detailed analysis of two variants of ugliness aes-thetics in the work of Bruno Schulz. In the first part, aesthetics is discussed here as the “ugliness of kitsch”, i.e. the concept of valuing rubbish and bad taste. The author points out their similarities with the aesthetics of Camp. The second part of the article is devot-ed to the naturalist ugliness of the world presented in Schulz’s works. The fascination with disease, impurity and self-imposition is called “the ugliness of filth”. According to the author, all these phenomena fall within the definition of “anti-callistic” – the concept of art proposed by a Polish art historian.
PL
Artykuł prezentuje zabiegi stylistyczne, składające się na całokształt świata przedstawionego zawartego w poematach prozą Tadeusza Micińskiego, które akcentują szeroko rozumianą estetykę brzydoty. Szczególną uwagę zwraca na bipolarność tej koncepcji, na której jednym biegunie estetyki znajdują się różnorodne obrazy nieczystości: brud, tortury, zgnilizna. Na drugim biegunie pojawia się estetyka kiczu – unaocznienie „sztucznych rajów”. Z syntezy tych dwóch estetyk tworzy się kategoria pośrednia: „kicz onirycznej makabry”.
EN
The article presents the stylistic interventions that form the overall picture of the world portrayed in the prose poems of Tadeusz Miciński, emphasizing the aesthetics of ugliness in the broadest sense. It pays particular attention to the bipolarity of this concept. Upon one pole of aesthetics there are various images of impurity: filth, torture, rottenness., whilst at the other pole, there appears the aesthetics of kitsch – the illustration of artificial paradises. At the border between these two aesthetic poles, an intermediate category emerges: “Kitsch of the Onirian Macabras”.
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