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Jak jeździć na nartach. Autobiografizm w przestrzeni literacko-naukowej Kacpra Bartczaka

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Żurek Ł.

Autobiografia. Literatura. Kultura. Media

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2022

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vol. 18

65-76

EN

The first part of this article discusses the specificity of Kacper Bartczak’s work, determined by the interdependence of his poetic, literary and translation activities. At the same time, the reasons for the lack of interest of critics writing about Bartczak in the issue of autobiography are indicated. The second part of the article, focused on a comparative analysis of two versions of a fragment of the autobiographical essay The Law of the Poem and the poem In Love I Have an Access to My Father’s Body from the book Naworadiowa (2019), shows that Bartczak’s purpose in including autobiographical material in his texts is not to point to the biographical underbelly of his work, but to gain new access to the matter of his own biography, allowing him to develop new techniques or forms of writing.

PL

W pierwszej części artykułu omówiono specyfikę twórczości Kacpra Bartczaka, wynikającą ze współzależności między działalnościami poetycką, literaturoznawczą oraz translatorską. Jednocześnie zasygnalizowane zostają powody braku zainteresowania krytyki kwestią autobiografizmu u tego twórcy. Druga część, skupiona na analizie porównawczej dwóch wersji fragmentu eseju Zamiast wstępu. Prawo wiersza oraz wiersza W miłości mam wstęp do organizmu ojca z tomu Naworadiowa (2019), pokazuje, że celem włączania przez Bartczaka materiału autobiograficznego do tekstów nie jest wskazanie na biograficzną podszewkę tej twórczości, lecz umożliwienie odmiennego kontaktu z własną biografią, pozwalającego wypracować nowe techniki czy formy pisania.

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Świadomość wersu

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Waligóra A., Bartczak K.

Forum Poetyki

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2021

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issue 25

142-163

EN

In this interview, Kacper Bartczak, professor at the University of Łódź, Americanist, poet, and translator, talks about creative self-awareness in the broader context of versification studies. The question of meta-reflexivity and its role in the works of literary scholars and poets is discussed first. More specific questions follow, including the conceptualization of the line in poetry and research, the role of the line in organic poetry and translation. Pragmatism (James, Dewey, Rorty, Shusterman, Nehamas), so important for Bartczak, and the role it plays in creative self-awareness is also discussed. Bartczak also comments on American literary theory and twentieth-century Anglo-Saxon poets (Coleridge, Stevens, Williams, Olson, O’Hara, Gizzi, Armantrout).

PL

Wywiad dotyczy samoświadomości twórczej oraz jej odniesienia do kategorii wersologicznych. Rozmówcą jest Kacper Bartczak – profesor Uniwersytetu Łódzkiego, amerykanista, poeta i tłumacz. Rozmowa koncentruje się najpierw na problemie metarefleksyjności badaczy literatury i poetów, by następnie przejść do kwestii szczegółowych; kolejno omówione zostają zagadnienia takie jak konceptualizacja wersu w optyce poetyckiej i badawczej, rola wersu w wierszu organicznym czy przekład wersu. Wypowiedzi stanowią też próbę zarysowania kluczowej dla rozmówcy tradycji pragmatystycznej (James, Dewey, Rorty, Shusterman, Nehamas) i jej roli dla twórczej samoświadomości. Amerykańska linia namysłu teoretycznego jest tu wytyczona w odwołaniu się do poglądów licznych dwudziestowiecznych poetów anglosaskich (Coleridge, Stevens, Williams, Olson, O’Hara, Gizzi, Armantrout).

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“In your synthesis the signal condenses”: Adam Dickinson’s polymers and Kacper Bartczak’s organic poems and the plastic poetics of the contemporary organic poem

85%

Ambroży P.

IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych

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2017

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vol. 29/1

EN

The article “In Your Synthesis the Signal Condenses:” The Plastic Poetics of the Contemporary Organic Poem” examines contemporary poets’ revisionary engagements with the concept of the organic form. For the analysis I have chosen Adam Dickinson’s Polymers (2013) and Kacper Bartczak’s Wiersze organiczne [Organic poems] (2015) – the two recent innovative volumes of poetry which approach the notion of organicity via the conceptual metaphor of plastic. The poets take up Roland Barthes’ challenge, as formulated in his Mythologies, to engage with the contemporary mythology of plastic and to reclaim for poetry the infinitely transformative potential of synthetic forms. Barthes looks into the “negative reality” of plastic, observing that, “in the hierarchy of the major poetic substances”, plastic is perceived as “a disgraced material”, a mere substation for the original, “something powerless ever to achieve the triumphant smoothness of Nature” (98). “[M]ore than a substance,” the philosopher claims however, “plastic is the very idea of its infinite transformation; as its everyday name indicates, it is ubiquity made visible. And it is this, in fact, which makes it a miraculous substance: a miracle is always a sudden transformation of nature”(97). Using plastic at once as a metaphor and formal frame for their most recent collections, Dickinson and Bartczak experiment with its proliferating, ubiquitous, flocculent and repeated structures, as well as its contradictory nature which thrives in the tension between the natural and the artificial, the original and the imitative, the malleable and resistant, the shaped and shapeless, the colloquial and the scientific. As I argue in the study, Dickinson sees plastic as both outdated and futuristic form, and a curious and ubiquitous language of the contemporary Anthropocene capable of “recreating the world as an alternate and translated reality” (The Polymers). Bartczak, in turn, pulls us into “a translated reality” of his “organic” poems in which highly condensed, opaque and stratified metaphors flaunt their artifice, revealing the obsessive discursive pollutions and transformations of language. Plastic incorporates the inherent paradoxes of organic form in which the notions of completeness, perfection and unity are interwoven with their opposites – temporality, process, contingency and becoming. This doubleness, as evidenced in Bartczak’s and Dickinson’s poems, proves particularly productive for addressing the aesthetic, ideological and epistemological challenges of contemporaneity

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Jak jeździć na nartach. Autobiografizm w przestrzeni literacko-naukowej Kacpra Bartczaka

Świadomość wersu

“In your synthesis the signal condenses”: Adam Dickinson’s polymers and Kacper Bartczak’s organic poems and the plastic poetics of the contemporary organic poem