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Access Paths: On Popular Women’s Literature and Criticism

100%
Nowacki D.
Tematy i Konteksty
|
2020
|
issue 1
395-404
EN
Referring to critical statements that have appeared during the last few years, the author discusses ways of commenting on popular literature penned byfemale authors. One may distinguish five types of comments, 1) Appropriation (Aneksja), employed when a popular novel is included in the socially important literature referring to pressing and alarming problems (e.g. domestic violence). 2) Playing with convention (Gra z konwencją), based on pinpointing both grotesque and ironic elements and, above all, metaliterary signals in popular novels. 3) Adherence to tradition (Zgodnie z tradycją), best represented in the secondary literature, either through a poetologic approach (structural analyses) or approaches inspired by feminist criticism. 4) Exhortation to pay close attention (Dobrze się wschłuchać), focused on the approaches suggested by other fields, e.g. how popular women’s literature is read by sociologists. 5) Focus on emotions and excess (Emocje i zbytek), based on emotional and therapeutic research on the perception styles of popular literature. In this case, one focuses not on popular women’s fiction, but on the way it influences the readers’ emotions.
2

THE WAYS TO OPERATIONALIZE FLOW EXPERIENCE

88%
Mózes T., Magyaródi T., Soltész P., Nagy H., Oláh A.
Magyar Pszichologiai Szemle (Hungarian Psychological Review)
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2012
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vol. 67
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issue 1
57-76
EN
The study summarizes the antecedents of flow-research and reviews the current questions of this topic focusing on the difficulties of the operationalization and on the possibilities of flow induction under laboratory circumstances. Our objectives include the clarification of the conceptual contradictions of the flow construct, the promotion of its effective discrimination from other similar concepts and the presentation of the difficulties of flow induction which may provide reference points for designing future studies.
3
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DON KICHOT CERVANTESA W KRYTYCE ROSYJSKIEJ I POLSKIEJ (NA MATERIALE PRAC VLADIMIRA NABOKOVA I ZOFII SZMYDTOWEJ)

88%
Karwacka M.
Acta Neophilologica
|
2015
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vol. XVII/1
113-120
EN
The paper deals with the critical texts of two writers / researchers whose roots come from Russia and interests are focused on similar literature areas among other things on Don Quijote. Zofia Szmydtowa a Russian researcher whose career was developed mainly in Poland and Vladimir Nabokov, whose critical and literature analysis were conceived outside Russia decided to make an attempt to decode the Cervantes’ masterpiece. Both authors have their own concept concerning interpretation and analysis of the Cervantes’ novel. The author of the paper tries to find similarities in their understanding and critical idiom, discovering the justification of such different critical texts. Although texts were written in different circumstances and environments they have a lot in common what is shown in the paper.
4
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Dramatyzacja tradycji. Dramaturgiczne konfrontacje z kanonem literackim

75%
Dobrowolski P.
Przestrzenie Teorii
|
2021
|
issue 36
33-55
EN
The article opens with a statement that dramaturgical creativity, long marginalized by literary studies, has returned to the area of its interest together with its researchers’ use of the achievements of performative and cultural turns. Taking these into account allows us to treat drama as a distinctive literary practice in which the reception of a text is exemplary. As the author claims, with the New Humanities, integrating scattered reading perspectives known to the history of literary studies into the horizons of New Positivity, dramatic studies enrich this standpoint and maintain a critical view making creative use of the antagonism of perspectives, confrontation of attitudes, conflict of qualities or different visions and ideas. The potential tensions revealed in the practice of active reading of a literary text in accordance with the dramatic matrix guarantee the positive effects of each act of engaged reading. The dramatization of tradition is a specific field of critical dialogue between the reader and the existing literary tradition. Three dramatic works by Jan Czapliński are indicated as examples of mediators for this dialogue. The work of this playwright presents and suggests a critical reading of the characters and works of Gabriela Zapolska, Henryk Sienkiewicz and Adam Mickiewicz, leading to the emancipation of their works that is situated beyond the framework of the discursively created, existing canon of contemporary Polish literature and culture. A critical view enriches and updates the canon. Dramatization, which allows the revaluation of existing values, appears as the basic category of contemporary art – revealing existing, usually ineffable conflicts and using them to build new, positive values.
5

Authenticity, Reception and Media Reality

75%
Kosmály P.
Creative and Knowledge Society
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2012
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vol. 2
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issue 1
118-128
EN
This article deals with the reception of media reality, which is meant to be an alternative mode of consciousness, and with the phenomenon of authenticity and its understanding within media reality. It is also pointed out the distortion in the reception of media reality. As an unifying concept for media education and for the treatment of reception defects it is mentioned media anthropology - an interdisciplinary, respectively trans-disciplinary science, which can provide more consistent re-analyzing of the relationship between man and media as tools for improving his skills. From the methodological point of view the method of epistemological anarchism, Paul Feyerabend's "anything goes" is explained as an epistemological translation tool for developing reviewing competences and reception skills as a whole (organic reception). We propose to deal the distortion of media reception in different therapeutic ways: from sensory deprivation, through media substitution, organic reception, to transcendence of the observer and imitation of media - meta-creation. In the sense of organic, systemic reception we in fact propose to "copy" the communication strategy of media system(s) in order to extend or set appropriate "epistemic" competences. In the related illustration of this mechanism, the theory of A. Weinstock is applied for setting a research indifference point in the middle of a fictive reception continuum of polarities sympathy and antipathy with media. This paper represents a part of activities, which summarize author's dissertation thesis Reception instruction in the media reality, where there are presented not only analyses and attempted typology of reception instructions, but also case studies with specific proposals for teaching and researching within areas of media ethics and media education.
6
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Twórczość Eugeniusza Morawskiego w oczach krytyków i kompozytorów

75%
Łapeta O.
Kwartalnik Młodych Muzykologów UJ
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2015
|
issue 1(24)
4-23
EN
The aim of this study is to present and synthesize the image of Eugeniusz Morawski’s output as presented by the Polish press and Polish composers. Morawski is an unknown composer, absent from the concert programs. His works were performed during composer’s lifetime and caused mixed and extreme reactions from the critics. His first successful concert – performance of now lost symphony-poem Vae victis in Salle Gaveau, Paris, was barely noted in Polish press. The first performance of symphonic poem Don Quichotte in 1912 caused vivid, yet mixed reactions. An important review was written by Aleksander Poliński, who criticized Morawski for being stylistically dependent on Richard Strauss’s style. Other reviews, some of them anonymous, were positive. The composer was praised for his talent and he was predicted to become a huge success in the future. Later on, his works were infrequently performed. In 1925, the symphonic poem Nevermore was performed in Warsaw under direction of Grzegorz Fitelberg. The work was very well received by the critic Karol Stromenger. Yet Morawski’s greatest success was his ballet The maid of Świteź, presented in Warsaw’s Great Theatre in May 1931. In 1933 Morawski received for this work the musical prize from the Ministry of Religious Beliefs and Publick Enlightment, winning the competition with Karol Szymanowski’s Symphony no.4. The event was discussed in great detail by the press. Some of the reviewers praised this work as Morawski’s masterpiece, others criticized it as worthless and clumsily written. The ballet was presented again in 1962 under the direction of Bohdan Wodiczko. A critic and a composer Stefan Kisielewski praised the word for its great orchestral effects and eerie climate. The article also uses extracts of letters of a composer Szymon Laks, essays of Stefan Kisielewski, and unpublished material from Polish Composers Union archive – letters of Grażyna Bacewicz and Włodzimierz Sokorski.
7
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Ścieżki dostępu. Popularna proza kobieca i krytyka

63%
Nowacki D.
Tematy i Konteksty
|
2015
|
issue 5(10)
185-193
EN
Referring to critical statements which have appeared during the last few years, the author discusses the ways of commenting on popular women’s prose. One may distinguish five types of comments, the first of which – Annexation (Aneksja) is employed when a popular novel is included in the socially important literature, which – by and large in the intervention mode – refers to pressing and alarming problems (e.g. domestic violence). In turn, from the formal and genre viewpoint, we may speak about a kind of transfer in which the women’s prose moves from its parent context to the so-called prose of the centre. The second type of context – Play with convention (Gra z konwencją) is based on tracking down both grotesque and ironic elements and – above all – metaliterary signals in popular novels. The findings allow us to accept the thesis on the double addressee of a book and they are the basis for the ‘advance’ of a trivial work. The third type – Following the tradition (Zgodnie z tradycją) is best represented in the literature on the subject. On the one hand, we are dealing here with a poethologic approach (structural analyses) which has been established in the research tradition, on the other – with approaches inspired by feminist criticism (exposing that popular narrations are in fact ideological statements). The fourth type – It is good to listen raptly (Dobrze się wsłuchać) focuses on the approaches suggested by other fields, e.g. how popular women’s prose is read by sociologists and culture experts. Finally, the fifth type – Emotions and excess (Emocje i zbytek) has been based on emotional-therapeutic research on the perception styles of popular prose. In this case, one focuses not on a popular love story, but on the way it influences a reader’s emotions.
8
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Concerning the Dialectical Criticism of Religion

63%
Krzos B.
Studia Sandomierskie. Teologia-Filozofia-Historia
|
2019
|
vol. 26
EN
A contemporary so-called „New Atheism” is one of the many ways the existence of God is denied. It is based on criticism directed against the followers of various religions. This criticism focuses on the object of religion to which the cult is directed. It is mainly about illuminating the natural or social foundation of religion. To annihilate religion, atheists postulate subjecting it to dialectical criticism developed by Karl Marx. This criticism of the concept of religion, although it will not make it disappear completely, will result in a post-religious synthesis which will appear in new forms of worship and spirituality.
PL
Współczesny ateizm nazywany „nowym” jest jedną z form negacji istnienia Boga. Polega on na krytyce kierowanej przeciwko wyznawcom różnych religii. Ta krytyka skupia się na przedmiocie religii, ku któremu skierowany jest kult. Polega ona w głównej mierze na tym, żeby naświetlić naturalny lub społeczny fundament religii. Aby doprowadzić do unicestwienia religii, ateiści postulują poddanie jej krytyce dialektycznej opracowanej przez Karola Marksa. Ta krytyka pojęcia religii, chociaż nie sprawi jej całkowitego zaniku, ale zaowocuje post-religijną syntezą w postaci nowych form kultu i duchowości.
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