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The Poet of Decay and Psychic Entropy: The Intersection of Surrealism and Science in J. G. Ballard’s Fiction

100%
Tereszewski M.
Academic Journal of Modern Philology
|
2021
|
issue 14
337–346
EN
Images of decay, both psychological and physical, permeate much of J.G. Ballard’s fiction, creating in effect a unique aesthetic that has acquired the eponymous description “ballardian.” This imagery, stemming from the surrealist tradition, is more than aesthetic affectation; it is, as this article argues, the manifestation of an eschatological theme underlying much of New Wave science fiction. This article also addresses how scientific discourse, especially references to entropy, and surrealist aesthetics intersect in his novels (High-Rise and The Drowned World) to provide a metaphor for Ballard’s frequent use of decay imagery. Though the surrealist component of his imagination has been well documented, what still invites closer scrutiny are the ideological assumptions linking Ballard’s incorporation of surrealism with the work of other surrealists and the way Ballard develops this theme for his own purposes.
2
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Famae petitor. Lucan’s Portrayal of Pompey.

84%
Pypłacz J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 2
97-118
PL
In spite of the fact that Lucan’s sympathies are apparently with the Republicans, his attitude to Pompey, which emerges from the Pharsalia, turns out to be rather critical. Moreover, this criticism actually comes very close to ridicule. Lucan depicts Pompey as a senile and narcissistic leader who dwells on his past success and lives in the world of his own fantasies. Trapped in the vicious circle of his delusions of grandeur, he is rather grotesque than majestic. The harder he tries to enhance his public image, the more pathetic he becomes both in the eyes of his friends and in those of his enemies. The effects of his efforts are, therefore, quite contrary to their purpose. On the one hand, the figure of the senile and deluded Pompey is the caricature of the decaying Roman Republic, whose degeneracy it obviously mirrors. On the other hand, however, Lucan’s grotesque anti-hero is the exact opposite of archetypal epic characters such as Virgil’s Aeneas. Willing yet unable to emulate his literary predecessors, he functions as the caricature of the literary paradigm of a standard epic hero.
3

Obsesja wstrętu. Wizje rozkładu a kategoria obrzydzenia w poezji Kazimierza Przerwy-Tetmajera

84%
Kamińska L.
Pamiętnik Literacki
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2023
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vol. 114
|
issue 3
5-23
PL
Artykuł jest poświęcony nader częstym w twórczości poetyckiej Kazimierza Przerwy-Tetmajera wizjom rozkładu, których katalizatorem jest doświadczany przez podmiot wstręt, zwłaszcza opisywany przez Julię Kristevą „wstręt do siebie”. Rozkładowi, mającemu charakter destruktywnej siły, w imaginarium Tetmajera podlegają ciało i dusza, życie i śmierć, natura i poezja, podmiot i jego wspomnienia czy uczucia. Za najbardziej reprezentatywne przykłady szczególnego nagromadzenia wspomnianych motywów uznać należy dwa najwcześniejsze tomy – pierwszą (1891) oraz drugą (1894) serię „Poezji”. Do interpretacji poezji Tetmajera wykorzystane zostały założenia studiów afektywnych. W tekście zaprezentowano też następujące problemy: wstręt do życia, pejzaże rozkładu, figury wstrętu, rozkład „ja”, wstręt do cielesności, rozkład pamięci i wspomnień.
EN
The paper is devoted to common in Kazimierz Przerwa-Tetmajer’s poetic work visions of decay, the catalytic agent in which is repulsion experienced by the subject, in particular the one described by Julia Kristeva as „fear of the self.” The body and soul, life and death, nature and poetry, subject and its memories and feelings in Tetmajer’s imaginarium are subordinated to decay—a destructive force in its nature. Most representative examples of uncommon accumulation of the motifs in question are two earliest volumes: the first (1891) and the second (1894) series of “Poezje” (“Poetry”). Assumptions of affective studies are employed to interpret Tetmajer’s poetry. The article also touches the following issues: repulsion to life, landscapes of decay, repulsion figures, decay of the self, repulsion of the bodily, decay of memory and memories.
4
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Thanatomorphose and Contracted: Feminine body and sexuality in horror and the horror of feminine body and sexuality

67%
Marak K., Strehlau N.
Literatura i Kultura Popularna
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2018
|
vol. 24
187 - 197
EN
The paper juxtaposes two films — Thanatomorphose directed by Éric Falardeau (2012) and Contracted directed by Eric England (2013) — in order to illustrate how both use similar themes of rot, disfigurement and decay of the body to paint different images of the female body and its aesthetic and functional value. Through the use of close reading, the analysis focuses on the manner in which the aforementioned themes in the discussed film texts are expressed within the boundaries of horror discourse to emphasize issues such as abuse, objectification and self-harm.
5
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Czysto ludzka sprawa? Archeologiczne przywracanie pamięci o trudnej przeszłości przez tropienie naturo-kulturowych przemian cmentarzy wojennych

58%
Zalewska A., Cyngot D., Czarnecki J., Kiarszys G.
Folia Praehistorica Posnaniensia
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2018
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vol. 23
EN
In this article the outcomes of historical, archaeological, spatial and anthropological research concerning material remnants of the war cemeteries left by the Great War in Central Poland, in the area of Rawka and Bzura are presented. On the example of one of the four communes (Nowa Sucha) subjected to research under the project Archaeological Revival of Memory of the Great War (ARM), the processes of creation, transformation, decay, destruction and re-making present the resting places of the soldiers fallen between December 1914 and July 1915 are shown. In the first part, we sketch the output atmosphere that accompanied the primary context in which war cemeteries were established and place the war cemeteries in the network of social, formal and legal determinants. In the second part, we frame the historical and social contexts in which the resting places of the fallen soldiers of the German and Russian armies were massively created. Than, we show the difficulties associated with locating particular war cemeteries and signal strengths and obstacles in correlating results of archival research and use of remote sensing and archaeological methods in order to restore the memory of war cemeteries and establish their current and future condition as material warnings. Also we stress the looping of cultural and natural factors both in the process of protecting and destroying material condition of war cemeteries. Finally, on the example of one of the cemeteries we show how slow and arduous but at the same time  promising can be the process of transformation from a forgotten/plowed cemetery into a place of/in memory, and as an agent struggling with the continuous nature-cultural transformations.
PL
In this article the outcomes of historical, archaeological, spatial and anthropological research concerning material remnants of the war cemeteries left by the Great War in Central Poland, in the area of Rawka and Bzura are presented. On the example of one of the four communes (Nowa Sucha) subjected to research under the project Archaeological Revival of Memory of the Great War (ARM), the processes of creation, transformation, decay, destruction and re-making present the resting places of the soldiers fallen between December 1914 and July 1915 are shown. In the first part, we sketch the output atmosphere that accompanied the primary context in which war cemeteries were established and place the war cemeteries in the network of social, formal and legal determinants. In the second part, we frame the historical and social contexts in which the resting places of the fallen soldiers of the German and Russian armies were massively created. Than, we show the difficulties associated with locating particular war cemeteries and signal strengths and obstacles in correlating results of archival research and use of remote sensing and archaeological methods in order to restore the memory of war cemeteries and establish their current and future condition as material warnings. Also we stress the looping of cultural and natural factors both in the process of protecting and destroying material condition of war cemeteries. Finally, on the example of one of the cemeteries we show how slow and arduous but at the same time promising can be the process of transformation from a forgotten/plowed cemetery into a place of/in memory, and as an agent struggling with the continuous nature-cultural transformations.
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