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W cudzej przestrzeni – narracyjne gesty (samo)poznania w prozie przełomu XX i XXI wieku

100%
Czyżak A.
Białostockie Studia Literaturoznawcze
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2016
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vol. 8
EN
The article attempts to recognize the most distinctive aspects of spatial representations in literary works from the 20th and 21st centuries. It analyzes the narrative strategies employed in the following novels Terminal by Marek Bieńczyk, Sońka by Ignacy Karpowicz and Ludzka rzecz by Paweł Potoroczyn. Consequently, it shows that textual exploration of space which is foreign, other, untameable may be instrumental in authorial self-representation and that it may additionally reveal the writing process with its innate limitations.
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Od letargu do akrobacji. O wertykalnej orientacji podmiotu w eseistyce Marka Bieńczyka

94%
Bielawa J.
Autobiografia. Literatura. Kultura. Media
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2022
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vol. 18
53-63
EN
Initially two-handed, Marek Bieńczyk’s writing evolved towards a hybrid, multi-genre essay formula. Referring to Sloterdijk’s concept of theoretical life (bíos theōrētikós), this evolution was presented as an expression of an attitude reluctant to create a coherent theoretical framework of scientific discourse and to construct a clearly defined identity of a scientist. It has been shown that this attitude is reflected in an increasingly frequent appearance of sylleptic selves in Bieńczyk’s essays. These subjects are placed in heterotopic spaces of acrobatic activism (which provides an alternative for a lethargic state of a theoretical man). By creating such subjects, the writer uses topoi of vertical poetics of rising and falling, which is characteristic for the melancholic imagination.
PL
Początkowo dwuręczne pisarstwo Marka Bieńczyka ewoluowało w stronę hybrydycznej, wielogatunkowej formuły eseistycznej. Ewolucję tę, w nawiązaniu do Sloterdijkowskiej koncepcji życia teoretycznego (bíos theōrētikós), przedstawiono jako wyraz postawy niechętnej tworzeniu spójnych teoretycznych ram dyskursu naukowego oraz konstruowaniu wyraźnie określonej tożsamości człowieka nauki. Wykazano, że postawa ta uwidacznia się w coraz wyraźniejszym ujawnianiu się w eseistyce Bieńczyka podmiotów sylleptycznych, umieszczanych w heterotopicznych przestrzeniach akrobatycznego aktywizmu (stanowiącego alternatywę dla letargicznej postawy człowieka teoretycznego). Kreując tego rodzaju podmioty, pisarz sięga po charakterystyczne dla wyobraźni melancholijnej toposy wertykalnej poetyki wznoszenia się i upadku.
3
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Podręczny słownik przezroczystości

73%
Misun J.
Poznańskie Studia Polonistyczne. Seria Literacka
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2013
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issue 21
239-252
EN
The article discusses an essay collection by Marek Bieńczyk, Przeźroczystość [Transparency]. The concept, placed in various context, shows various aspects and is seen in various shades. The author does not put forward a statement, but rather proposes a work to be done: to determine the modality of transparency. The concept initially seems to be mainly epistemological: the cognizant subject would like to make the world transparent, to discover all possible mysteries. Before that, however, the subject must know itself, and here the dream of trans­parency also plays the key role. Lack of epistemological transparency is the main cause of melancholy and its reverse - hysteria. The concept turns out to be important in the domain of love - the loer thinks that (s)he knows the desired person more better anybody else, that (s)he has entirely penetrated the subjectivity of the Other. Ultimately, however, the dream of transparency goes down to a slow demise of the subject: as self-discovery progresses, there is less and less of the discoverer. In conclusion of this work, the border of modality of the concept turns out to be horrifyingly obvious. The desire for transparency consequently searches not for knowledge, but for an escape whose name is death.
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