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1
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Terapeutyczny recykling/niesamowite powtórzenie

100%
Masłoń S.
ER(R)GO: Teoria – Literatura – Kultura
|
2007
|
issue 14
EN
Sławomir Masłoń Therapeutic Recycling/Uncanny Repetition Using a few hints from Lacanian psychoanalysis, the paper attempts to distin­guish between two possible attitudes towards repetition in culture. One is the happy recycling of culture propagated by most of postmodernist discourses as the very practice of freedom and whose ultimate incarnation is Joyce's Finnegans Wake, which is, however, the therapeutic freedom of the possible. The other would be an attempt at cultural repetition in Kierkegaardian sense, that is, changing the coordinates of the possible by means of bringing out the uncanny surplus in the familiar and thus introducing a breach in the discur­sive space which would make room for the impossible to appear within it, as exemplified by the work of Kafka.
PL
Sławomir Masłoń Therapeutic Recycling/Uncanny Repetition Using a few hints from Lacanian psychoanalysis, the paper attempts to distin­guish between two possible attitudes towards repetition in culture. One is the happy recycling of culture propagated by most of postmodernist discourses as the very practice of freedom and whose ultimate incarnation is Joyce's Finnegans Wake, which is, however, the therapeutic freedom of the possible. The other would be an attempt at cultural repetition in Kierkegaardian sense, that is, changing the coordinates of the possible by means of bringing out the uncanny surplus in the familiar and thus introducing a breach in the discur­sive space which would make room for the impossible to appear within it, as exemplified by the work of Kafka.
2
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Prostitution and Art. Picasso’s Les Demoiselles d’Avignon and the Vicissitudes of Authenticity

100%
Masłoń S.
ER(R)GO: Teoria – Literatura – Kultura
|
2020
|
issue 40
171-184
PL
Artykuł ma na celu zakwestionowanie sensowności tych interpretacji Panien z Awinionu, które poszukają jego znaczenia odwołując się do stanu umysłu Picassa w okresie, w którym obraz powstawał i traktują to dzieło jako wyraz zmagania się artysty z osobistymi demonami. Oferowana tu interpretacja obu wersji obrazu wskazuje, że był on odpowiedzią na Le Bonheur de vivre Matisse’a i zarazem jego krytyką. Co więcej, odwołanie się do teorii Lacana pozwala autorowi nie tylko objaśnić pozorne niekonsekwencje Panien z Awinionu, lecz także pokazać, że ostateczna wersja tego dzieła jest metaobrazem, który ukazuje proces powstawania reprezentacji.
EN
The paper argues against interpretations of Les Demoiselles that look for its meaning in Picasso’s state of mind and treat it as the expression of a struggle with his personal demons. Rather, it interprets both versions of the painting as a response and contrast to Matisse’s Le Bonheur de vivre, which is proposed as the main intertext of Les Demoiselles. Moreover, an excursus into Lacanian theory allows the author not only to explain the supposed inconsistencies of Les Demoiselles, but also to propose that in its final version it is a meta-painting which analyses the way representation comes into being.
3
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Żywa śmierć, martwe życie: Lacan, Badiou i utracony skarb liberalizmu

100%
Masłoń S.
ER(R)GO: Teoria – Literatura – Kultura
|
2008
|
issue 16
EN
Sławomir Masłoń   Living Death, Dead Life. Lacan, Badiou and the Lost Treasure of Liberalism   Using as a springboard an essay by Agata Bielik-Robson in which she criticizes the recent revival of the connection between Marxism and Lacanian psychoanalysis as the reincarnation of deadly rhetoric (fanatic and fantasmatic) and opposes it to the origins of liberalist discourse as the modern language of pure vitalist energy, the text tries to show that such an ecstatic interpretation of liberalism is precisely the fantasmatic counterpart of the drab and life-denying “the end of grand narratives” ruling ideology. It also attempts to show that the opposition between the supposed ideological adulation of death (Lacan) and life (liberalism) is not only based on erroneous understanding of crucial Lacanian concepts, but also on a questionable conceptualization of the notion of life itself.
PL
Sławomir Masłoń   Living Death, Dead Life. Lacan, Badiou and the Lost Treasure of Liberalism   Using as a springboard an essay by Agata Bielik-Robson in which she criticizes the recent revival of the connection between Marxism and Lacanian psychoanalysis as the reincarnation of deadly rhetoric (fanatic and fantasmatic) and opposes it to the origins of liberalist discourse as the modern language of pure vitalist energy, the text tries to show that such an ecstatic interpretation of liberalism is precisely the fantasmatic counterpart of the drab and life-denying “the end of grand narratives” ruling ideology. It also attempts to show that the opposition between the supposed ideological adulation of death (Lacan) and life (liberalism) is not only based on erroneous understanding of crucial Lacanian concepts, but also on a questionable conceptualization of the notion of life itself.
4
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Na lewo od teorii

100%
Masłoń S.
ER(R)GO: Teoria – Literatura – Kultura
|
2002
|
issue 4
EN
This extended review essay focuses mostly on the ideological ramifications of the book edited by Judith Butler, John Guillory and Thomas Kendall: What's Left of Theory? New Work on the Politics of Literary Theory.
5
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Nadmiar i zubożenie: ciało sztuki Bruce'a Naumana

100%
Masłoń S.
ER(R)GO: Teoria – Literatura – Kultura
|
2005
|
issue 10
EN
Slawomir Masłoń Deprivation and Overload: Bruce Nauman's Body of Art The essay attempts to follow Bruce Nauman' s work as developing techniques that would enable the artist to remain personal while abandoning representation whose implications are always narcissistic. Nauman accompli­shes it gradually by means of activities performed by the artist's body, the hired performers' bodies and finally by constructing restricting environments for the body of the spectator. The aim of these practices is, by means of deprivation or overload (or both) of the human sensory apparatus, to make one aware of oneself as more than one's image allows one to experience. The final part of the essay is concerned with Nauman's aggressive works in the media of mass culture, which sarcastically comment on the failure of emancipation of the consumer's body from the torture of the image.
PL
Slawomir Masłoń Deprivation and Overload: Bruce Nauman's Body of Art The essay attempts to follow Bruce Nauman' s work as developing techniques that would enable the artist to remain personal while abandoning representation whose implications are always narcissistic. Nauman accompli­shes it gradually by means of activities performed by the artist's body, the hired performers' bodies and finally by constructing restricting environments for the body of the spectator. The aim of these practices is, by means of deprivation or overload (or both) of the human sensory apparatus, to make one aware of oneself as more than one's image allows one to experience. The final part of the essay is concerned with Nauman's aggressive works in the media of mass culture, which sarcastically comment on the failure of emancipation of the consumer's body from the torture of the image.
6
Publication available in full text mode
Content available

Terapeutyczny recykling/niesamowite powtórzenie

100%
Masłoń S.
ER(R)GO: Teoria – Literatura – Kultura
|
2009
|
issue 18/19
PL
Sławomir Masłoń Therapeutic Recycling/Uncanny Repetition Using a few hints from Lacanian psychoanalysis, the paper attempts to distin­guish between two possible attitudes towards repetition in culture. One is the happy recycling of culture propagated by most of postmodernist discourses as the very practice of freedom and whose ultimate incarnation is Joyce's Finnegans Wake, which is, however, the therapeutic freedom of the possible. The other would be an attempt at cultural repetition in Kierkegaardian sense, that is, changing the coordinates of the possible by means of bringing out the uncanny surplus in the familiar and thus introducing a breach in the discur­sive space which would make room for the impossible to appear within it, as exemplified by the work of Kafka.
7
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Kiedy już zjemy nasze uszy

100%
Masłoń S.
ER(R)GO: Teoria – Literatura – Kultura
|
2003
|
issue 7
EN
Sławomir Masłoń Having Eaten One's Ears, .. By means of developing some hints encountered in the works of Roland Barthes and Jean-Luc Nancy, the text tries to displace the traditional notions concerning validation of the site of meaning production when it comes to discussing the issue of concert hall vs. popular music. What is left out in both supportive or denigrating arguments is always the body as the site of pre-mimetic musical production and also as the place of fruitful material resistance (body vs. instrument). It is claimed that only music understood as 'bodily' practice, and not as meaning, can realise historically the act of communication implied in Adorno's understanding of promesse du bonheur as productive contradiction of human freedom.
PL
Sławomir Masłoń Having Eaten One's Ears, .. By means of developing some hints encountered in the works of Roland Barthes and Jean-Luc Nancy, the text tries to displace the traditional notions concerning validation of the site of meaning production when it comes to discussing the issue of concert hall vs. popular music. What is left out in both supportive or denigrating arguments is always the body as the site of pre-mimetic musical production and also as the place of fruitful material resistance (body vs. instrument). It is claimed that only music understood as 'bodily' practice, and not as meaning, can realise historically the act of communication implied in Adorno's understanding of promesse du bonheur as productive contradiction of human freedom.
8
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Content available

Co dzwoni nam w uszach? Od ciszy Cage’a do krzyku Schönberga i z powrotem

100%
Masłoń S.
ER(R)GO: Teoria – Literatura – Kultura
|
2016
|
issue 33
EN
In the absolute silence of the anechoic chamber John Cage supposedly heard the sounds of his body, and although this interpretation of what happened is questioned, one can draw from this experiment a not necessarily empirical lesson that for the subject the field of the hearable is constituted by a surplus which materialises in a hallucinatory sound. In Arnold Schoenberg’s Erwartung we encounter the opposite kind of surplus: a second of the scream so full that to exhaust it half an hour (the duration of the compositon) and all the intuitive resources of the composer are necessary. This scream is a formless permanent presence tearing the narration apart and materializing as its tears, which places it on the side of (non-empirical) silence. Therefore, because the field of the hearable is split for the subject, “on the side of silence” silence does not exist – it manifests itself as all kinds of sounds, even hallucinatory ones. We can reach the “absolute” silence only if we take the position of the paradoxical object which splits us – only through the surplus of constantly changing and at the same time formless sound, which paradoxically reaches a complex state of stasis. In the pure presence of the split, in which the difference between the subject (consciousness) and the object (sound) is overcome, the external rules of organisation (instinct, reason) are no longer biding, and the subject, who is a dissonance, becomes its own cause.
PL
John Cage w absolutnej ciszy komory bezechowej usłyszał ponoć dźwięki swego ciała i choć interpretacja ta poddawana jest w wątpliwość, można z jego doświadczenia wyciągnąć niekoniecznie empiryczną lekcję, że pole słyszalnego dla podmiotu ustanawiane jest przez nadmiar, który materializuje się w halucynacyjnym dźwięku. W Erwartung Arnolda Schönberga mamy do czynienia z odwrotnego rodzaju nadmiarem: z sekundą krzyku tak pełną, że na jej podtrzymanie przez pół godziny (czas trwania utworu) kompozytor  potrzebuje całej swej inwencji. Krzyk ten jest formalnie bezkształtną permanentną teraźniejszością, rozrywającą narrację i materializującą się jako jej zerwania, a zatem lokującą się po stronie (nieempirycznej) ciszy. Zatem ponieważ pole słyszalnego jest dla podmiotu rozszczepione, „po stronie ciszy” cisza nie istnieje – to tylko rożnego rodzaju dźwięki, nawet halucynacyjne. Do „absolutnej” ciszy możemy dotrzeć jedynie próbując zająć miejsce paradoksalnego obiektu, który nas rozszczepia – poprzez taki rodzaj nadmiaru zmieniającego się jak w kalejdoskopie, a zarazem formalnie bezkształtnego dźwięku, który paradoksalnie osiągnie złożony stan bezruchu. W czystej teraźniejszości obiektu, gdzie zostaje zniesiona różnica między podmiotem (świadomością) a przedmiotem (dźwiękiem), zewnętrzne reguły organizacyjne (instynkt, rozum) przestają obowiązywać i podmiot, który jest rozdźwiękiem, staje się swą własną przyczyną.
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