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American Poetry’s Late Abundance: Stylistic Profusion as the Language Game

100%
Marcinkiewicz P.
Anglica Wratislaviensia
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2013
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issue 51
81 - 86
EN
In “The Historical Genesis of a Pure Aesthetic,” Pierre Bourdieu, the great continuator of Wittgenstein’s philosophical practice of interrogation, tries to characterize the fallacious grounds of artistic tastes and comes to a conclusion that they depend on the “entire set of agents engaged in the field,” which include artists, art critics, collectors, curators, etc. “who have ties with art, who live for art and, to varying degrees, from it.” Similarly in literature, the meaning of a particular poem or a novel results from an intricate web of activities and reactions, with so many different groups involved — publishers, interpretive communities (pace Stanley Fish), individual readers, booksellers — trying to use their own slippery criteria. The author, of course, is an active participant, and the rhetorical razzmatazz of contemporary American poetry might be understood as a Wittgensteinian language-game of the late American avant-garde, descending from Gertrude Stein, whose purpose is to resist — as it has always been — the literary mediocrity of the official verse culture and the marginalizing influence of the mass media.
2

Miłosz a amerykańska awangarda: od Pounda do Ashbery’ego

100%
Marcinkiewicz P.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2011
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issue 25
121-141
EN
Miłosz was an avant-garde poet who systematically realized his program of rejuvenating mid-twentieth-century Polish poetry: he chose the most appropriate methods and strategies to cure the maladies of Romantic and nationalistic discourses, whose extension seemed urgent in the post-war reality. Although finally he became very critical of avant-garde poetics, such as Ezra Pound’s, his initial, restoring impulse came from the Poundian source: the need to “make it new.” Miłosz’s poetry of the 1970s developed Pound’s formal inventions, particularly the “ideogrammatic method,” generating meanings by contrasting the poem’s fragments. Although the Polish poet often commented critically on the achievements of the American avant-garde of the mid-twentieth century, in fact he admired their artistic freedom. However, he realized that he himself could not contradict the “poetics of salvation” he had been following for years. The world presented in Miłosz’s late poems is not obvious. Its most astonishing feature is the perspective from which the narrator addresses the reader: the almost mystical space, timeless and unspeakable, where the dead meet the living, has nothing to do with a picture of the world based on mimesis. Miłosz’s “second space” has a lot in common with the “real reality” designed by the surrealists, which John Ashbery evokes in his recent poems. Both poets reach a similar mystical point, where the word touches on the mystery.
3
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German Romantic Tradition in John Ashbery’s "Where Shall I Wander"

63%
Marcinkiewicz P., Pietrek D.
Anglica Wratislaviensia
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2019
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issue 57
75-88
EN
In popular critical and readerly reception, the New York School of poetry was shaped mostly by what Marjorie Perloff calls the tradition of indeterminacy. This was started by Arthur Rimbaud and, a few decades later, developed by Dadaists and Surrealists. Therefore, the tradition of French modernism seems to have been vital for John Ashbery, Frank O’Hara, James Schuler, and Barbara Guest, and the poets themselves appeared to confirm this fact. They often visited France privately and as scholars, and lived there for extended periods of time. In the case of John Ashbery, his year-long Fulbright fellowship was prolonged to a decade. Moreover, the New York School poets contributed to the propagation of French literature, being translators, critics and editors of French authors. However, as John Ashbery’s late works prove, literary genealogies are far more complex. German Romantic tradition always exerted an important influence on John Ashbery, and it inspired the New York experimenter to contribute two major poems to the twenty-first century American literature: “Where Shall I Wander” and “Hölderlin Marginalia”.
4
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Współczesna metropolia: tożsamość i formy bycia razem jej mieszkańców

63%
Marcinkiewicz P., Pietrek D.
Społeczeństwo i Edukacja. Międzynarodowe Studia Humanistyczne
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2018
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issue 2(29)
323-332
EN
The following paper examines the Baumanian “forms of togethernes” in the space of the contemporary metropolis, both in the West (Europe, the USA), and the developing world (China). Zygmunt Bauman understands togetherness as a totality of interhuman actions, occurring in the city space. Paradoxically, the contemporary metropolis which often seems hostile towards traditional bourgeois urban life opens up new possibilities of mutual relations between contemporary citizens. The space in the contemporary city is neither fully artificial, nor natural, but it merges some features of both. Although its infrastructure is governed by effectiveness of molecular capitalism, it is not fully predicable in terms spatial design. This enables contemporary urbanites to experience unpredictable encounters with the Other, which has a potential to develop a new type of “liquid” identity in city dwellers.
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