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1
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Wobec genologii. Gatunek indywidualny Julii Hartwig

100%
Baran M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2017
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vol. 5
203-219
PL
In the context of genology. Julia Hartwig’s individual genre The article relates to three collections of poetry written by Julia Hartwig entitled Błyski, Zwierzenia i błyski, Trzecie błyski. Those miniature notes form a collection of omnidirectional traces and signs, characterized by its structural and thematic heterogeneity. Poetics notes contained in discusses volumes execute atypical literary form which is lapidaries. Hartwig while creating further poems, she heads a for authorial poetics, she generates entirely individual genre. Błyski also come in various analogic relations with Hartwig’s another poems placed in different poetry volumes. It proclaims the repeatability of topics, motives and structures in Hartwig’s writings, even the rewriting of her own lines and verses.
2
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Metaphysical cognition in hermeneutic interpretation: remarks on Grzegorz Sztabiński’s The Writing of Nature – Transcendence III

88%
Solewski R.
Estetyka i Krytyka
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2016
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issue 4(43)
123-142
EN
The article contains a hermeneutic interpretation of the art of Grzegorz Sztabiński, a contemporary Polish artist creating drawings, paintings and installations. It starts with definitions of transcendence, hermeneutic interpretation, metaphysical cognition, and artistic installation. The main section is comprised of descriptions and interpretations of the artist’s works, created throughout his career, including his own comments and those of his critics, especially in relation to the cycle Pismo natury – Transcendencja [The Writing of Nature: Transcendence]. The text explains how the artist finds the signs of writing to be traces of transcendence concealed in nature and how the relationship between the artwork and the place is used to build the new contexts of each exposure (serving always to discover the transcendence). Finally, the game of models of distinguishing the object of metaphysical cognition is described and in conclusion the metaphysical cognition discovered in the hermeneutic interpretation of an artwork is found as a way of being in the world proposed by art.
3
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Nino De Vita: poezja sycylijska między dialektalnością a zwierzęcością

88%
Malicka P.
Zoophilologica. Polish Journal of Animal Studies
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2016
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issue 2
177-186
EN
The purpose of this article is to draw attention to the issue of human-animal relationships in con- temporary works of poetry and prose by Nino De Vita (b. 1950) – a Sicilian born in Marsala, for whom the local dialect of Cutusìu contrade becomes the language of expression. The author leaves out of his writings anthropocentric models and introduces into them narratives concerning various forms of life marked by common and indivisible history. Both animal and human characters share similar fates, experience the same emotions, reciprocate feelings, suffer and feel fear. Still, what unites the human and animal world most is the language, or rather the dialect, of Marsala – a com- mon channel of interspecies communication. The expression of the animal nature in people who wish to most spontaneously and sincerely express their own emotions and moods, resorts to dialectal sound, the mother tongue, characterized by great intimacy but also violence. Finally, the dialectality and animality of Nino De Vita’s work involve going beyond the boundaries, tracking and leaving traces as well as marking the territory for fear of loss and being left. This poetry is written in the name of ‘another him’ and for him.
4
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L’animalità nella poesia di Jolanda Insana

87%
Malicka P.
Studia Romanica Posnaniensia
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2018
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vol. 45
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issue 3
35-47
EN
The scope of the article is to reflect upon the argument of animality in the work of the Sicilian poet Jolanda Insana (1937-2016) which represents one of the possible interpretive keys of her works. The analytical part of the paper contains an analysis from the anti-anthropocentric perspective of some fragments of the section Bestia clandestina included in the volume Turbativa d’incanto (2012).
5
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Levinasovský „Ion“ (umenie a nereprezentovateľné)

75%
Karul R.
Filosofický časopis (Philosophical Journal)
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2014
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vol. 62
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issue 2, Special No: Za hranicemi tváře. Levinas a socialita
119-136
EN
The main aim of the paper is to find a non-mimetic understanding of art in proper Plato’s thought which is known exactly for his formulation of the concept of “mime-sis” in the dialogue Republic. The author of the contribution presumes to find the non-mimetic understanding also in the dialogue Ion, in which the creation of art is presented as madness from inspiration. Plato’s Ion can be understood with the aid of Levinas’s notion of alterity, as well as of how it disturbs knowledge. This broad scheme does not exhaust the possibilities of similarities between both of the philosophers, and it opens the way to clarify singularities: Plato’s notion of magnetism, the rest of Divini-ty in art-work, the Levinasian concept of trace, or the concept of ambiguity.
6
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Filozofia śladu i obecności. W poszukiwaniu filozoficznych perspektyw poznawania Boga przez słowo i pismo

75%
Wieczorek K.
Forum Teologiczne
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2011
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vol. 12
55-71
EN
The question about a desirable relationship between theology and philosophy needs to be placed in a specific cultural context. Today, there are philosophies whose cooperation with theology brings tangible and unquestioned mutual fruits. On the other end of the spectrum there are proponents of philosophical systems that are quite remote from recognizing the articles of faith proclaimed by the Catholic Church, and from theological schools of thought that examine and explain them. Between these opposites there exists a vast area for a development, where one can find such types of a philosophical discourse, which, while trying to reach best possible correspondence with the present views of the world, resulting from a cultural absorption of scientific enquires, nevertheless remain opened to a religious thought. There are currents that propose potential solutions in defining practical tasks of theology concerned with the needs of a pastoral dialogue with the man being shaped by the contemporary civilisation. Therefore, it is worthwhile to cast a closer look at the anthropological descriptions of man as seen through the eyes of the contemporary philosophy, as well as examine the ways of the interpretation of the constitutive cultural texts, including the Bible, the latter being one of the most important sources of our knowledge about God and the most essential articles of the Christian faith. The place of the Bible in the culture, however, is submitted to changes. Taking up a dialogue with such philosophical systems that propose, for example, F. Ebner, J. Derrida, E. Levinas, E. Havelock or A. Gawroński – among other thinkers – we may see many problems concerning the function of the word and scripture as the intermediaries between God and man in quite a new light.
7
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A jednak dotyka

62%
Szaj P.
Forum Poetyki
|
2018
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issue 11-12
164-169
EN
This text is a response to Grzegorz Pertek’s polemical essay Prepositions: The Metaphysics of “Closeness.” In this text, I offer a rebuttal to allegations against the metaphysical gravity of the postulate “closeness” by pointing out the category of “acuteness,” which “softens” this postulate and makes it “dynamic.” I also clarify that I am not concerned with inverting the relationship between hermeneutics and deconstruction, but in displacing them by asserting the fundamental kinship between the two discourses.
PL
Tekst jest odpowiedzią na polemiczny szkic Grzegorza Pertka Prepozycje. Metafizyka „bliskości”. Stara się on odeprzeć zarzut metafizycznego obciążenia postulatu „bliskości”, wskazując na osłabiającą i „dynamizującą” ów postulat kategorię „dotkliwości”. Autor artykułu wyjaśnia również, że nie zależało mu na odwróceniu relacji między hermeneutyką a dekonstrukcją, ale na jej przemieszczeniu, wynikającym z dostrzeżenia zasadniczego pokrewieństwa obu dyskursów.
8
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Kilka uwag o opisie autotematycznym (i nie tylko). Wiersz (Trackless) Andrzeja Sosnowskiego w perspektywie filozofii języka

54%
Waligóra A.
Forum Poetyki
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2020
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issue 20
62-73
EN
The paper attempts at interpreting the famous poem Wiersz (Trackless) by Andrzej Sosnowski based on some theses of language philosophers (Fregge, Searle, Russel). The notions of a trace and trope extracted from the poem serve as the basis for interpteting the phenomenon of mise en abyme (which, as is suggested, has a trope-like structure). Issues such as a trope, trace, mise en abyme, language philosophy, are problematized according to the category of description, which is understood as: 1. The basic way of framing “lack” and “loss”, key terms in Sosnowski’s poetry; 2. A key element of an autothematic poem which – according to Jonathan Culler – consists of the described and describing layers; 3. Fundamental way of cognition, especially in the face of ambiguities related to the category of a name supposed by language philosophy.
PL
Artykuł jest próbą zinterpretowania słynnego Wiersza (Trackless) autorstwa Andrzeja Sosnowskiego na podstawie tez filozofów języka (Frege, Searle, Russell). Wywiedzione z wiersza pojęcia śladu i tropu służą interpretacji zjawiska autotematyzmu (który – jak próbuje wskazać autorka – ma strukturę tropiczną). Wskazane problemy (trop, ślad, autotematyzm, filozofia języka) zostają omówione w świetle kategorii opisu, który ujmowany jest jako: 1) podstawowy sposób ujmowania „braku” i „straty”, pojęć istotnych dla projektu poetyckiego omawianego autora; 2) istotna składowa utworu autotematycznego, który – zgodnie z tezami Jonathana Cullera – dzieli się na warstwę opisywaną i opisującą; 3) fundamentalny sposób poznania, zwłaszcza w obliczu suponowanych przez filozofię języka niejasności wiązanych z kategorią nazwy.
9
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Przyjemność przed-tekstu. Proces tekstotwórczy jako temat dla polskiego „literaturoznawstwa (w) przyszłości”

51%
Antoniuk M.
ER(R)GO: Teoria – Literatura – Kultura
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2017
|
issue 34
EN
Mateusz AntoniukJagiellonian University, CracowFaculty of PolishDepartment of 20th Century Polish LiteratureThis article concerns the theory and practice of a variety of approaches to the literary creative process. The main thesis is that scholarship of this kind – quite popular outside of Poland – may be seen as interesting proposition and simultaneously as a challenge for contemporary (and future) Polish literary criticism. The author argues that Polish genetic criticism stays in touch with both the “cultural turn” and the idea of  the “return to the philology.” In conclusion, the category of the “trace” and its applicability for the purposes of genetic criticism is discussed. key words: genetic criticism, creative process, literary draft, cultural turn, philology, trace słowa klucze: krytyka genetyczna, proces twórczy, brulion utworu literackiego, zwrot kulturowy, filologia, ślad
PL
Mateusz AntoniukJagiellonian University, CracowFaculty of PolishDepartment of 20th Century Polish Literature This article concerns the theory and practice of a variety of approaches to the literary creative process. The main thesis is that scholarship of this kind – quite popular outside of Poland – may be seen as interesting proposition and simultaneously as a challenge for contemporary (and future) Polish literary criticism. The author argues that Polish genetic criticism stays in touch with both the “cultural turn” and the idea of  the “return to the philology.” In conclusion, the category of the “trace” and its applicability for the purposes of genetic criticism is discussed. key words: genetic criticism, creative process, literary draft, cultural turn, philology, trace słowa klucze: krytyka genetyczna, proces twórczy, brulion utworu literackiego, zwrot kulturowy, filologia, ślad
10
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Miłosz. Północ - Południe (intuicje i fragmenty)

51%
Olejniczak J.
Fabrica Litterarum Polono-Italica
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2022
|
issue 4
1-18
IT
L’autore “legge” la poesia di Czesław Miłosz, seguendo le impronte italiane lasciate in essa. Sono sia echi di viaggi in Italia e in giro per l’Italia documentati nella biografia del poeta, che tracce derivate dalla lettura di scrittori italiani, dal fascino per la pittura, l’architettura e il paesaggio modellato dall’uomo. Tutti questi indizi – come risulta  – ci introducono ai motivi più significativi della poesia dell’autore di Gucio zaczarowany, così come agli elementi della tradizione letteraria che sono fondamentali per quella poesia. Sono anche un’immagine dell’evoluzione della poetica di Miłosz. Il saggio è scritto nella poetica di un frammento, con l’autore che condivide le sue intuizioni interpretative piuttosto che fornire conclusioni inequivocabili. Egli pone domande sui misteri contenuti nelle poesie di Miłosz, piuttosto che fornire risposte inequivocabili e definitive. In un certo senso, “invita” a  studiare le poesie dell’autore di Trzy zimy. Queste “tracce” italiane, tuttavia, portano a  una conclusione sulla coerenza dell’opera poetica di Miłosz.
EN
The author interprets Czesław Miłosz’s poetry, following the Italian traces left in it. These are both echoes of travels to Italy and traces derived from reading Italian writers, fascination with painting, architecture and the landscape shaped by man. All these traces introduce the most important motifs of the poetry of the author of “Gucio Enchanted,” as well as the essential elements of the literary tradition for this poetry. They are also an image of the evolution of Miłosz’s poetics. The essay is written in the poetics of the fragment. Rather than drawing unambiguous conclusions, its author shares his interpretative intuitions. He carries out a careful inquiry into the secrets contained in Miłosz’s poems rather than presenting definitive answers. In a  way, it “invites” you to study the poems of the author of “Three Winters.” These Italian “traces” lead, however, to the conclusion about the coherence of Miłosz’s poetic work.
PL
Autor „czyta” poezję Czesława Miłosza, podążając za pozostawionymi w niej włoskimi śladami. Są nimi zarówno echa udokumentowanych w biografii poety podróży do Włoch i po Włoszech, jak i tropy wywodzone z lektury włoskich pisarzy, fascynacji malarstwem, architekturą oraz ukształtowanym przez człowieka pejzażem. Wszystkie te tropy – jak się okazuje – wprowadzają w najistotniejsze motywy poezji autora Gucia zaczarowanego, a także w zasadnicze dla tej poezji elementy tradycji literackiej. Są też obrazem ewolucji poetyki Miłosza. Esej napisany jest w poetyce fragmentu, jego autor raczej dzieli się interpretacyjnymi intuicjami, niż stawia jednoznaczne konkluzje. Raczej stawia pytania o tajemnice zawarte w wierszach Miłosza, niż udziela jednoznacznych i zamykających odpowiedzi. Niejako „zaprasza” do studiowania wierszy autora Trzech zim. Te włoskie „ślady” prowadzą jednak do konkluzji o spójności dzieła poetyckiego Miłosza.
11
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Prepozycje. Metafizyka „bliskości”

45%
Pertek G.
Forum Poetyki
|
2018
|
issue 11-12
150-163
EN
This article offers a polemical response to Patryk Szaj’s text, titled Tracking the (Traces of) Sense: Text and Reading in Modern Hermeneutics. In his article, Szaj demonstrates how the category of “closeness” he uses to define the ontology of reading practiced in modern hermeneutics is metaphysically charged. The specific conception of deconstruction we encounter in Szaj’s analysis frames it as an inversion of modern hermeneutics, which not only implies that “closeness” privileges the interior (at the expense of the exterior) and the signifiant (at the expense of the signifié). It also implies that the “trace” is an inversion of “meaning.” We might say that their result is merely the text.
PL
Artykuł jest głosem polemicznym wobec tekstu Patryka Szaja zatytułowanego Śledzenie (śladów) sensu. Tekst i lektura w hermeneutyce ponowoczesnej, w którym autor pokazuje, że zaproponowana przez Szaja kategoria „bliskości”, określająca ontologię lektury uprawianej przez hermeneutykę ponowoczesną, jest metafizycznie obciążona. Obecne w interpretacji Szaja specyficzne rozumienie dekonstrukcji jako odwrotności hermeneutyki nowoczesnej powoduje, że „bliskość” nie tylko uprzywilejowuje wnętrze (kosztem zewnętrza), signifiant (kosztem signifié), ale też ze „śladu” czyni odwrotność „sensu”. Ich wypadkową, można rzec, jest dopiero tekst.
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