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1

Kontrfaktyczne symulacje przyszłości

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Marcela M.

Śląskie Studia Polonistyczne

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2011

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issue 1(1)

155-164

EN

Slavoj Žižek in one of his books (In Defense of Lost Causes) suggests thinking over the conception of „the time of project” by Jean‑Pierre Dupuy as a future project of the left wing. For the French, „the time of Project” is „the time of a closed measurement between the past and the future, the future is a resultative product of our actions from the past, the way we act is defined by our anticipation of the future and reaction to this anticipation”. Thus, it goes about introducing a new (non‑linear) notion of time, which, as the only one, can help us face a global (whether it be an ecological or cosmic) disaster. Such a perspective must raise doubts, especially in the context of remarks made by Carl Marx himself on the one hand, developed in All That Is Solid Melts Into Air by Marshall Berman, and on the other, in the light of the newest models delivered by contemporary science which assume that knowledge or the assumption itself in relation to the future changes of our way of thinking about it, and, even more, the future as such.

FR

Slavoj Žižek dans un de ses livres (In Defense of Lost Causes) propose de réfléchir sur la conception du « temps du projet » de Jean-Pierre Dupuy comme un projet promettant de la gauche. Pour le Français le « temps du projet » est « le temps représenté par une boucle où passé et futur interagissent mutuellement, l’avenir est une création anticipée de nos actions du passé, la manière dont nous agissons est déterminée par notre anticipation du futur et par la réaction à cette anticipation ». Il s’agit alors d’introduire une nouvelle notion (non linéaire) de temps, ce qui, comme moyen unique, peut nous permettre d’affronter une catastrophe globale (économique ou cosmique). Pourtant cette perspective doit éveiller des doutes, surtout dans le contexte des remarques faites d’un coté par Karl Marx en personne, et développées dans All That Is Solid Melts Into Air de Marshall Berman, et de l’autre coté confrontées à des modèles les plus modernes, fournis par les sciences qui présupposent que le savoir ou bien une hypothèse concernant l’avenir changent notre façon de penser à elle et, par conséquent, elle-même.

2

Manifesty cyborgów: awangardowa wizja fuzji kobiety z maszyną (Hannah Höch — Giannina Censi — Mina Harker)

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Marcela M.

Zagadnienia Rodzajów Literackich

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2018

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vol. 61

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issue 2(126)

63-73

EN

In Cyborg Manifesto Donna Haraway writes: “cyborgs (…) make very problematic the statuses of man or woman, human, artefact, member of a race, individual entity, or body”. This paper returns to the very beginning of thinking about this figure and examines the first protocyborg images created by Futurist and Dada female artists. I also look at Dracula’s Mina Harker as one of the first Western protocyborg figures. I ask to what extent such images anticipated the new forms of subjectivity and how they made the relation between human-nature and human-technology problematic as well as thinking in categories of gender.

3

Ze śmiercią im do twarzy: żywe trupy końca XX wieku

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Marcela M.

ER(R)GO: Teoria – Literatura – Kultura

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2014

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issue 2(29) lęki cywilizacji

111-122

EN

Death Becomes Them: Living Dead at the End of the 20th Century It seems that the return of the living dead in Robert Zemeckis’s Death Becomes Her (1992) is not the return of repressed death, like in George A. Romero’s films, but rather the return of the repressed of our modern fears: fear of being ugly and fat, and fear of being old. Today, when we are surrounded by beautiful celebrities from television and newspapers, we cannot afford to let our body get out of shape. It appears that to remain human we have to retain our beauty and shape. But even more horryfing seems the threat of growing old. Michel Vovelle points out that the process of growing old appears as one of the most horrible threats for Western civilization. Hidden and repressed it returns in the figure of zombie in Romero’s classic movie series. The “living dead” truly returns to the cinema in 1968 (Night of the Living Dead)—the year in which Jean Amèry issues his essay On Growing Old. From its perspective it becomes obvious that slow and unproductive zombies, “the living dead” which crave only for consumption, represent the senior citizens society that endangers contemporary culture of youth, beauty and health. Simon Clark regards the blood-stained mouth of a zombie as a variation of vagina dentata while Maria Bonaparte perceives it as a symbol of castration and impotence.

4

Obcowanie z obcymi. O ludzko-obcych hybrydach w Wojnie światów Herberta George’a Wellsa i Drakuli Brama Stokera

100%

Marcela M.

Zagadnienia Rodzajów Literackich

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2018

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vol. 61

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issue 4(128)

25-37

EN

Berhard Waldenfels claimed that at the turn of 18th and 19th century “the alien explicitly and definitely penetrated the heart of the reason and the heart of the one’s own” in Western culture. Since then we no longer live in a world, where we could be fully ourselves. But the alien still haunts us and raises fear. A hundred years later, at the turn of 19th and 20th century, British literature presented two powerful images of confrontation with the alien, images that penetrated the imagination of the mass audience in 20th and 21st century: Martians from H.G. Wells’ famous novel and the iconic bloodthirsty count created by B. Stoker. Though they seemingly radically differ from humans at a close look they make us rethink our definition of humanity and of the alien.

5

Michael Jackson i inni metysi Pop a ewolucja

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Marcela M.

Świat i Słowo

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2010

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vol. 2010, nr 1(14)

167-176

EN

Today the end, not the beginning defines a human being. George Levine writes that in the new vision of the world which emerges from Charles Darwin’s The Origin of Species nothing can be understood without understanding its history. Darwin asks about the beginning, not the end. In this perspective Michael Jackson seems to be the most important figure, since he, with his life and countless „operations”, embodies this impossible goal, becoming, as Łukasz Musiał called it, “a monstrous work in progress” and “a ghastly biological project”. Jackson means: diet supplements, surgical interventions and cosmetic procedures (botox, depilation), and fitness which help to hide natural body and create new, „holistic” (in its artificiality) project of a human being. It’s also a transcultural, transsexual and transpolitical project. Because of that maybe one of the most important myths of the present day is the myth of Pygmalion but à rebours: it is not the reality’s triumph over the art – the enlivening of Galatea by Pygmalion – but the time of Pygmalion’s transformation into a statue. It is the triumph of art over reality. The triumph of universal hybrids created in the process of hybridization (Jean Baudrillard), and Michael Jackson was one of the precursors of that process.

6

Weird fiction - Materiały do „Słownika Rodzajów Literackich”

63%

Marcela M.

Zagadnienia Rodzajów Literackich

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2018

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vol. 61

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issue 4(128)

141-147

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6 Marcela M.

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Kontrfaktyczne symulacje przyszłości

Manifesty cyborgów: awangardowa wizja fuzji kobiety z maszyną (Hannah Höch — Giannina Censi — Mina Harker)

Ze śmiercią im do twarzy: żywe trupy końca XX wieku

Obcowanie z obcymi. O ludzko-obcych hybrydach w Wojnie światów Herberta George’a Wellsa i Drakuli Brama Stokera

Michael Jackson i inni metysi Pop a ewolucja

Weird fiction - Materiały do „Słownika Rodzajów Literackich”