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1
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Fotografik w kostnicy – o ukazaniu osoby zmarłej w sztuce współczesnej

100%
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
2
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Między kiczem a nieczystością. Literackie reprezentacje estetyki brzydoty w poematach prozą Tadeusza Micińskiego

100%
Sowińska I.
Acta Neophilologica
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2023
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vol. XXV/1
71-84
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”.
3
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Ciało cierpiące i ontologiczne strzępy człowiecze w „Śnie srebrnym Salomei” Juliusza Słowackiego

80%
Ciechańska M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2020
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vol. 20
192-208
RU
The article relates to the issue of the suffering body in Juliusz Słowacki’s drama 'Sen srebrny Salomei'. The first and the second part of the article are dedicated to the description of the main drama characters who are media of supernatural reality, and the analysis of the co‑existing worlds of human beings and spirits. The third part includes the interpretation of the ‘poetics of macabre’ and ‘theater of pain’, the phenomenon of vivisection and the ontology of ‘human remains’. The author reads Słowacki’s drama through the prism of Michel Henry’s philosophy of existence.  
EN
The article relates to the issue of the suffering body in Juliusz Słowacki’s drama 'Sen srebrny Salomei'. The first and the second part of the article are dedicated to the description of the main drama characters who are media of supernatural reality, and the analysis of the co‑existing worlds of human beings and spirits. The third part includes the interpretation of the ‘poetics of macabre’ and ‘theater of pain’, the phenomenon of vivisection and the ontology of ‘human remains’. The author reads Słowacki’s drama through the prism of Michel Henry’s philosophy of existence.
4

,,TU ZA SŁUG GROMADY ORSZAK DOŚĆ SZKARADY”. O ROLI ROBACTWA W DYSKURSIE WANITATYWNYM POEZJI POLSKIEJ SCHYŁKU RENESANSU I EPOKI BAROKU

71%
Kawska S.
Rocznik Przemyski
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2018
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vol. 54
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issue 2(22): Literatura i Język
17-32
EN
The article discusses the role of vermin in the vanitas discourse in the Polish poetry from the late 16th until the 18th centuries. The introduction, using the example of Żale nagrobne by Sebastian Fabian Klonowic, shows the change in the manner of discussing death, which came about soon after the death of Jan Kochanowski, making it possible to return to the medieval visions of decomposition, enriched by that poet by a broad range of hideous things, symbols of vanity. The second part of the paper discusses Baroque paintings of worms eating away the corpse based on selected works, and presents major poetic devices which are meant to convey the vanitas message. There are descriptions of metaphysical nature and ones showing the nothingness of existence in a purely earthly dimension. The paper closes with remarks on exhausting the vanitas discourse using the worms imagery, the example of which are poems using the coffin hideousness in an erotic context.
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