The aim of the following study is to investigate two creations of Jacob’s corporality evoking disgust in the short stories A Visitation, Birds and The Night of the Great Season from The Cinnamon Shops. My main field of interest is the connections between colours and form which surround Jacob’s body and evoke disgust. The context for the following study was the theoretical concepts of Mary Douglas, Julia Kristeva, Agata Bielik-Robson and Michał Paweł Markowski.
The aim of the paper was to interpret Bruno Schulz’s short story, Cockroaches, in the context of the phenomenon of repulsion. Disgust has been interpreted as an ontological, aesthetic, and epistemological determinant of modernist literature, as well as Schulz’s fiction. The experience of disgust has been interpreted in the terms proposed by Julia Kristeva, Mary Douglas, Walter Benjamin, and the non-anthropocentric humanities. It has been suggested that repulsion may be analyzed as the main element of the „topography” of Schulz’s universe: one of its main principles, both forming and destroying its matter.
The article describes the transcultural aspects and affective ways of perceiving the work of Witold Gombrowicz in contemporary Argentina. Source documents (such as the residence card documenting the writer’s arrival to Argentina) as well as pop- -cultural images of the writer in Argentinian culture, visual field, and urban space are investigated. According to Wolfgang Welsch, Gombrowicz’s transculturality is founded on placing himself between Polish and Argentinian cultures, based on “artifacts of memory.”
PL
Artykuł stanowi próbę analizy transkulturowych aspektów oraz afektywnych sposobów postrzegania twórczości Witolda Gombrowicza w dzisiejszej Argentynie. Badam w tym kontekście między innymi dokumenty źródłowe (takie jak karta pobytowa dokumentująca przyjazd pisarza do Buenos Aires), a także popkulturowe wizerunki Gombrowicza w argentyńskiej kulturze, polu wizualnym i przestrzeni miejskiej. Transkulturowość autora Dziennika oparta jest na sytuowaniu się przez niego między kulturami polską i argentyńską, a wykorzystuje koncepcję „artefaktów pamięci” w rozumieniu Wolfganga Welscha.
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