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Микола Хвильовий: вибух мовчання в Театрі Смерті

100%
Chomenko H.
Slavica Wratislaviensia
|
2019
|
vol. 168
109-122
EN
Mykola Khvylovy: The silence explosion in the Death Theatre The article deals with the Death Theatre in Mykola Khvylovy’s works. The author of the article claims that Death Theatre is the attribute of intermittency, the transition era between the dying/passing and the one who has not been born yet. It shows its atopic/marginal status employing destroying silence, the traditional death attribute. As the analog of the “explosion chaos”, it implies the destruction of clear forms up „to the point”/ „to the bottom” and their infinite deconstructive formation either according to the law of anagramming, or the law of reduction and ellipsis, interval and three dots as well. The gap and emptiness in the text are subject to the effect of the theatre wings deformation, the irresistible mirror/illusory of man existing in reality. This is accompanied by his balancing between the doomed melancholic and euphoria of the one after touching the secrets of creating the new and the paradox of silent, triumphant assertion in its destruction. Liluli (1923), Mykola Khvylovy’s novella, a unique master of life and text, has become the basis for such judgments.
RU
Микола Хвылевый: взрыв молчания в Театре Смерти Театр Смерти — атрибут междувременья, переходной эпохи, ставшей соприкосновением умирающего/отходившего и еще не родившегося, демонстрирует свой атопичный/маргинальный статус путем разрушения традиционного атрибута смерти — молчания. Аналог „хаоса взрыва”, оно предполагает деструкцию четких форм „до точки”/„до основания” и их бесконечное деконструктивное становление по закону не только анаграммирования, но и редукции и эллипсиса, интервала и многоточия. Зияние и пустота в тексте подчинены эффекту деформации кулис в театре, непреодолимой зеркальности/иллюзорности существования человека в реальности, сопровождающееся его балансированием между обреченностью меланхолика и эйфорией прикоснувшегося к тайнам создания нового и к парадоксу триумфального утверждения молчания в его разрушении. Основания для таких суждений дала новелла „Лилюли” (1923) уникального мастера жизни и текста Миколы Хвылевого.
2
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Kotły Beethovenowskie jako partytura braku

98%
Szczerbowska-Prusevicius K.
Wortfolge. Szyk Słów
|
2020
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issue 4
1-24
EN
In his novel entitled Beethoven’s Timpani, Michał Choromański made absence central category. It refers to absent persons, lost items and belongings, and the elusiveness of meaning. The narrative underscores the said category many a time in a self-referential manner, for instance, by using in various contexts a seemingly unattractive metaphor – “the hole.” Presence and absence in Choromański’s novel are not oppose in a binary fashion, but they interpenetrate. Beethoven’s Timpani is, therefore, both a crime novel and not quite, the protagonist Janek is and is not a pianist. The traces in the text elude the reader freely, by postponing or even nullifying the possibility of attaining a convincing interpretation. Beethoven’s Timpani, in whose depicted world events and claims are presented only to be subsequently dismantled, may serve as an exemplification of deconstructionism in literature. The present article’s aim is an inquiry into Choromański’s efforts to underscore the category of absence and the meaning postponement, and pointing to those efforts’ similarity to some of deconstructionist tenets. What deserve an utmost attention is the eponymous motif of Beethoven’s timpani (otherwise deserves kettledrums), which in the novel triggers the error/mistake mechanism akin to Derridean différance.
DE
In Michał Choromańskis Roman Kotły Beethovenowskie (Beethovens Pauken) werden Leerstellen zu einer zentralen Kategorie erklärt. Sie manifestieren sich überall dort, wo von abwesenden Personen, verlorenen Gegenständen und ungreifbarer Bedeutung die Rede ist. Der Text betont seine Leerstellen mehrmals in einem autoreferenziellen Verfahren, z. B. durch die scheinbar unattraktive Metapher des Lochs, die in verschiedenen Kontexten gebraucht wird. Präsenz ud Nicht-Präsenz werden hier nicht als Pole einer binären Opposition aufgefasst, sondern sind miteinander verbunden. Choromańskis Werk ist also ein Kriminalroman und gleichzeitig entzieht es sich dieser Gattungsbezeichnung. Der Hauptprotagonist Janek ist Pianist und ist es zugleich nicht. Die Zeichen treiben mit dem Leser/der Leserin ein freies Spiel, in dem sie die Möglichkeit, an eine überzeugende Interpretation zu gelangen, ständig verzögern oder sogar verweigern. Der Roman, in dem Ereignisse und Behauptungen konstituiert werden, um gleich danach in Frage gestellt oder widerlegt zu werden, kann als fiktionale Verkörperung des Dekonstruktivismus gelten. Der vorliegende Beitrag setzt sich zum Ziel, Choromańskis Strategien, die auf die Hervorhebung der Leerstellen und Aufschiebung des Sinns ausgerichtet sind, zu verfolgen und ihre Ähnlichkeit zu Prämissen der Dekonstruktion zu veranschaulichen. Eine besondere Aufmerksamkeit kommt dem Titelmotiv der Pauken zu, deren Einsatz in Beethovens 9. Sinfonie während der Uraufführung für Aufregung sorgte. Im Roman setzt das Paukenmotiv ein Räderwerk des Fehlers in Gang, das man mit Derridas différance assoziieren kann.
PL
W powieści Kotły Beethovenowskie Michała Choromańskiego kategorią centralną jest brak. Dotyczy on nieobecnych osób, zagubionych przedmiotów, nieuchwytnego znaczenia. Tekst akcentuje go wielokrotnie w autoreferencyjny sposób, np. przez użycie w różnych kontekstach pozornie mało atrakcyjnej metafory „dziura”. Obecność i nieobecność nie stanowią tu binarnej opozycji, ale się ze sobą łączą. Kotły Beethovenowskie są zatem i nie są powieścią kryminalną, Janek jest i nie jest pianistą. Znaki prowadzą w tym tekście swobodną grę z czytelnikiem, odraczając, a nawet niwecząc możliwość dotarcia do przekonującej interpretacji. Kotły Beethovenowskie, które konstytuują w świecie przedstawionym wydarzenia i twierdzenia po to, by je następnie poddać rozbiórce, mogą służyć jako literacka ilustracja dekonstruktywizmu. Autorka stawia sobie za cel prześledzenie zabiegów Choromańskiego zorientowanych na uwypuklenie kategorii braku i odraczanie sensu oraz wskazanie na ich podobieństwo do niektórych założeń dekonstruktywistycznych. Na szczególną uwagę zasługuje tytułowy motyw kotłów Beethovenowskich, który w powieści uruchamia mechanizm błędu kojarzący się z Derridowską différance.
3

DIFFÉRANCE DERRIDY. CZY BŁĄD DAJE SIĘ (WY)TŁUMACZYĆ?

85%
Marzec A.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2010
|
issue 2(24)
263-280
EN
The article examines Polish translations of the Derridian term différance. Polish philosophical discourse uses the following renditions of différance: róż(ni(c)oś)ć by Bogdan Banasiak, różNICa by Tadeusz Sławek, gra-na-zwłokę-o-różnicę by Stanisław Cichowicz and the most popular: różnia by Joanna Skoczylas. Should a mistake be deliberately committed in Polish, as it was done in the original? Or should it be corrected, and if so – how to explain the correction? The suggestion to translate the controversial concept by means of a Polish neologism, the neographism rórznica, may be productive and such a solution may be open to a number of interpretations. Thank to its ambivalence, rórznica introduces a majority of Derridian motifs and may generate new ideas and concepts. Moreover, it allows a successful critique of logocentrism and phonocentrism of Western philosophy and a subversion of binary oppositions, hard subject and desire of self-presence. Finally, the misspelled différance may be viewed as an example of grammatical Otherness.
4
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Dva základní analytické koncepty strukturalistického myšlení

80%
Müller R.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
|
2015
|
vol. 51
146-155
EN
Both texts present a systematic survey of two elementary analytical categories of Structuralist thought — binarity and opposition, especially in their semionarratological implications. In “Binarity”, one structuralist version of binary analysis is described as a decomposition “of the continuum of the observed world along universal relational axes constituting logical oppositions (contradictions). An inventory of elementary binary oppositions is established, which form a paradigmatic matrix of the observed area and structure is as a relational system or network”. Within this method an apriori aspect can be sometimes distinguished when an elementary binary logical structure is assumed as a universal principle underlying the multiplicity of observable phenomena. According to another, yet different conception, used in the context of artificial linguistic simulations and computing, binarity is understood as a principle of reversible de/composition of code based on two elementary signals or elements (formalized, for instance, as +/- or 0/1), which makes further combinatorial descriptions and operations of the system possible. The genesis of binary method, beginning with G. W. Leibniz’s binary code on one hand and Ferdinand de Saussure’s structural linguistics on the other, is followed, including Trubetzkoy’s and Jakobson’s phonology, Claude Lévi-Strauss’s ethnology, Greimas’s structural semantics and ending with the fundamental critique of binarism formulated by Jacques Derrida through his notion of différance and his descriptions of temporalization of structure. In “Opposition”, Trubetzkoy’s non-binary oppositions (gradual, equipollent, isolated, ternary, n-ary oppositions) within phonology, Greimas’s semiotic square (two types of binary oppositions: contradiction, contrariety or Mukařovský’s notions of dynamic antinomies within functionalstructuralist aesthetics are further taken into account.
5
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Mykola Khvylovyi and the French Republic of Literature: the Experience of Re-reading

71%
Khomenko H.
Studia Polsko-Ukraińskie
|
2018
|
vol. 5
111-122
EN
The article analyzes Mykola Khvylovy’s text as an area of multivector expression of the will to death, that in the first quarter of the XXth century is defined as the criterion for the high-value literature, the correlate of its complexity, the phenomenon which is endowed with great power and mystery that involves permanent cognitive anxiety, rotating, viewing, looking for a different point of view. That is why the series of literary versions of the writer’s tanatological projects include inherent need of supplement. Nowadays the justification for this need is proved by French deconstruction of Jacques Derrida (in the time of Khvylovy – “deconstruction to deconstruction of Friedrich Nietzsche”), which is recorded in the set of its viewpoints. One of them is the re/reading, which is selected to be the focus of analysing Khvylovy, as well as the experience of cognition of his death, offered by Leonid Plyushch, the Ukrainian scientist from France. It is taken into account that the deconstructive re/reading is the inversion of romantic idea of a language as “the soul of nation”, which is replaced by the idea of sidelong / “touching” and subtle game with a word or its fragments. Observed doubling is accompanied in the process of analysis by permanent fixation of the points of split and wedging that corresponds in the sphere of deconstruction to the science of pharmakon. For re/reading there are tanatological projects selected in the studio that meet deconstruction positions: those that are non-obvious outlined, where signs of death are felt as nuances, organic for Khvylovy’s poetics of the “smell of words”. The important part of the article is dedicated to re/reading of those writer’s tanatological models, which he exposed to his own re/reading, while testing himself by death and perfecting his death as a unique opportunity. Re/reading led to the conclusion that Khvylovy’s constructing of death corresponds the deconstructive experience of decentralization, which may be the correlate of “walking around the circles” or a set of rings that are, barely touching each other, provide endless additions in terms of différance, that could be the supplement to centripetal project in the manner of Leonid Plyushch’s anthroposophy.
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