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Jak opisać „świat piramidalnego absurdu”? – czyli o grotesce w literaturze łagrowej

100%
Sucharski T.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2017
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vol. 42
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issue 4
91-118
EN
The main aim of the paper is to reflect on the various forms of the disclosure and the use of the grotesque in the Polish camp literature. Prisoners, authors of books devoted to life in the camps, experienced life in conditions that we did not normally recognize as impossible. In this sketch I try to show the ways of using (or not-using) of this experience in literature. Many Polish writers emphasized the importance of ridicule in the description of the world of the camp, because “it sees sharper, it clearly draws”, but that perspective often lacked in their books. However, there were writers (Grubiński and Wittlin) who put the world of Soviet slavery in satirical way, often in the form of “laughter through tears” (close to Bachtin’s conception). There were also writers (Lipski and Mayewski) who dispassionately exposed the horror of the atrocity of the camp, they took the game with the absurd (close to Kayser’s conception). Finally, there was a writer (Olszewski) who attempted to capture the entire Stalinist world as a grotesque.
2
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How to describe “the world of colossal absurd”? On the grotesque in Gulag literature

100%
Sucharski T.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2017
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vol. 46
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issue 8
87-111
EN
The main aim of the paper is to reflect on the various forms of the disclosure and the use of the grotesque in the Polish camp literature. Prisoners, authors of books devoted to life in the camps, experienced life in conditions that we did not normally recognize as impossible. In this sketch I try to show the ways of using (or not-using) of this experience in literature. Many Polish writers emphasized the importance of ridicule in the description of the world of the camp, because “it sees sharper, it clearly draws”, but that perspective often lacked in their books. However, there were writers (Grubinski and Wittlin) who put the world of Soviet slavery in satirical way, often in the form of “laughter through tears” (close to Bachtin’s conception). There were also writers (Lipski and Mayewski) who dispassionately exposed the horror of the atrocity of the camp, they took the game with the absurd (close to Kayser’s conception). Finally, there was a writer (Olszewski) who attempted to capture the entire Stalinist world as a grotesque.
3
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Enchantment Strategies in Polish Radio Commercials: An Ethnographic Approach

86%
Haładewicz-Grzelak M.
Polish Sociological Review
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2007
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vol. 159
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issue 3
341-360
EN
The article investigates the linguistic reflection of post-modernist sociological theory (e.g. Campbell 1989; Baudrillard 1979, 1998; Ritzer 2001) in the case study of Polish radio commercials. I assumed that radio commercials are a communicative event of the post-modern society. Furthermore, they a simulated event: a guided conversation, which is imbued, in Eliade’s terminology, with the function of coincidencia oppositorum. The source of 310 radio commercials serves to single out enchantment strategies in the commercial idiolect, reflecting the seduction, fetishism and the decline of the moral posture of autarchy in contemporary society.
4

Leisure Traveling for 21stCentury Americans: Mass Tourism as a Cultural Trap

72%
Aniculăese O.
American, British and Canadian Studies Journal
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2014
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vol. 21
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issue 1
30-39
EN
The majority of mass men in the American environment exhibit predictable and similar patterns of behavior as tourists. Pre-Industrial Revolution modes of traveling as liberation and exploration are now thwarted by the leveling effect of globalization and the illusion of information fueled by the all-pervasive mass media. Claims about the role of routine or the quest for authenticity are challenged as genuine motivations for mass tourism. Both the American culture and travel destinations in developing countries have authentic content that is largely ignored in favor of sensationalism and cliché. Excessive regimentation in the US creates the acute need for transcending to which popular culture finds accessible solutions through tourism: an experience of concentrated yet vague exoticism which feels liberating without yielding exploration. Travel destinations are shaped to American standards of material comfort and even adopt western popular culture icons in an effort to supply accessible familiar experiences of western entertainment. Various kinds of difficulty that once stimulated travelers are now relieved by travel agencies, rendering the experience of traveling less personal and more like TV entertainment. Old notions of space, time and reality itself are blurred in favor of a hyper-reality where fiction dominates.
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