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Pasaże i refrakcje. Literatura – „filologia narodowa” – komparatystyka

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Hejmej A.
Postscriptum Polonistyczne
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2012
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issue 1(9)
49-56
2
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Stefan Themerson’s Opera (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

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Hejmej A., Jagiellonian University F. o. P. S., hejmej@uj.edu.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2016
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vol. 38
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issue 8
EN
The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam–London 1972) and the question of intermediality in general. An interpretation of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Divertissements [1962] and factor T [1956]), places Themerson’s idea in the context of the aesthetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work, etc.) and argues that the aesthetics of intermediality appear to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other, the phenomenon of intermediality as the aesthetics of existence.
3

Słuchający Stanisław Barańczak: przekład i akuzmatyka

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Hejmej A.
Pamiętnik Literacki
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2023
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vol. 114
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issue 1
229-245
PL
Artykuł poświęcony jest przekładom Stanisława Barańczaka na język muzyki, powstającym w okresie kilkudziesięciu lat, pomieszczonym w tomie „Stanisław Barańczak słucha arcydzieł” (2016). Autor artykułu przybliża uwarunkowania oryginalnej koncepcji słuchania/pisania, wychodząc, z jednej strony, od praktyki słuchania muzyki określanej mianem „ascoltando” (formuła przejęta od Jeana-Luca Nancy’ego), z drugiej – od praktyki słuchania zapośredniczonego i doświadczenia akuzmatycznego (w kontekście ujęcia akuzmatyki przez Pierre’a Schaeffera). W takiej perspektywie rozstrzygane są cztery zasadnicze kwestie: konsekwencje słuchania w nowoczesnej kulturze audialnej, potrzeba słuchania i „utekstowienia” realizacji muzyki wokalnej (wokalno-instrumentalnej), sposób traktowania nietypowych tłumaczeń, a także porządek przekładów zaproponowany przez Ryszarda Krynickiego jako redaktora wyjątkowej antologii. Zasadnicze konkluzje, formułowane w związku z doświadczeniem słuchającego w kulturze akuzmatycznej, odnoszą się do przekładowych praktyk sytuowania „języka-w-dźwięku” i do fenomenu paratopiczności rodzącego się za sprawą indywidualnie stwarzanej audiosfery.
EN
The paper is devoted to Stanisław Barańczak’s translations to music, specifically the translations produced for a few dozens of years and contained in the volume “Stanisław Barańczak słucha arcydzieł” (“Stanisław Barańczak Is Listening to Masterpieces,” 2016). The author of the paper explicates the conditions of the original concept of listening/writing, starting, on the one hand, from the practice of listening to music referred to as ascoltando (the term derived from Jean-Luc Nancy) and, on the other hand, from the practice of mediated listening and acousmatic experience (in the context of Pierre Schaeffer’s view on acousmatics). In this optic, Hejmej settles four major issues: the consequences of listening in modern auditory culture, the need to listen and to “textualise” vocal (vocal-instrumental) music realisations, the mode of viewing untypical translations, and ultimately the order of translations proposed by Ryszard Krynicki, the editor of the exceptional anthology. The valid conclusions formulated in connection with the listener’s experience in acousmatic culture refer to translational practice of situating “language-in-sound” and to the phenomenon of para-topicality born as a consequence of individually created audiosphere.
4

STEFAN THEMERSON'S AESTHETICS OF INTERMEDIALITY ('ST. FRANCIS & THE WOLF OF GUBBIO OR BROTHER FRANCIS' LAMB CHOPS') (Estetyka intermedialnosci Stefana Themersona <'St. Francis & The Wolf of Gubbio or Brother Francis' Lamb Chops'>)

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Hejmej A.
Pamiętnik Literacki
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2011
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vol. 102
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issue 3
55-76
EN
The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis' Lamb Chops. An Opera in 2 Acts. Text and music by Stefan Themerson, drawings by Franciszka Themerson. De Harmonie - Gaberbocchus Press. Amsterdam-London 1972) and the question of intermediality in general. An interpretation of the 'semantic opera' (written in 1954–1960, as a continuation of Semantic Divertissements <1962> and factor T <1956>), places Themerson's idea in the context of aesthetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera, hybrid work, intermedial work etc.) and argues that an aesthetics of intermediality appears to be an important and inspiring context for the interpretation of Themerson's text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other hand, the phenomenon of intermediality as aesthetics of existence.
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