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1

Gombrowicz nienaturalny

100%
Lutostański B.
Pamiętnik Literacki
|
2019
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vol. 110
|
issue 1
77-90
PL
Główną tezą artykułu jest nieprzystawalność tradycyjnych paradygmatów interpretacyjnych, które opierają się na teorii powieści oraz na klasycznej narratologii, do badania konstrukcji formalnej w "Pornografii" Witolda Gombrowicza. Powieść ta, z jednej strony, generuje konkretne zjawiska genologiczne i semantyczne (autobiografia fikcyjna i gawęda), z drugiej zaś je kwestionuje. Paradoksalność dotychczasowych ujęć została zaprezentowana na przykładzie nowo zaobserwowanego zjawiska formalnego – interdiegetyczności. Polega ono na warunkowym zawieszeniu rozdzielności diegetycznej w utworze (fundamentalnej zarówno dla autobiografii, jak i dla gawędy). Analizy tego zjawiska dokonano przy wykorzystaniu narzędzi i technik interpretacyjnych wywiedzionych z tzw. narratologii nienaturalnej, której podstawowym celem jest przedefiniowanie dominującego słownika teorii narracji w taki sposób, by mógł się on stać bardziej adekwatny do badania tekstów uznawanych za „eksperymentalne”, „dziwne” czy „nietypowe”.
EN
The main thesis of this paper is incommensurability of interpretive paradigms which rely on the theory of the novel and on classical narratology to researching the formal construction of Witold Gombrowicz’s “Pornografia” (“Pornography”). The novel on the one hand generates specific literary genetic and semantic occurrences (fictional autobiography and yarn), and on the other hand questions them. Paradoxicality of to date methodologies is presented as based on a newly observed formal phenomenon of interdiegeticity. It consists in a conditional suspense of diegetic division in a piece of writing (fundamental for both autobiography and yarn). The problem is analysed with resort to the tools and interpretive techniques derived from so-called unnatural narratology the main aim of which is redefinition of the narrative theory’s dominating dictionary in such a way so that it may become more adequate to research texts labelled as “experimental,” “weird,” “untypical.”
2
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Résister au monde. Déclinaisons historiques de l’identité contemporaine dans quelques romans de Véronique Bergen

100%
Zbierska-Mościcka J.
Studia Romanica Posnaniensia
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2013
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vol. 40
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issue 4
77-85
EN
Fictional autobiographies of a Belgian writer, Véronique Bergen, describing fates of outstanding characters albeit marginalised by history (Kaspar Hauser, Ludwig II of Bavaria, Ulrike Meinhof), may be interpreted as a metaphor of a contemporary man’s fate, a man caught, often against his will, in a course of political or social events. The characters described here adopt an active resistance stand against life, the stand defi ned by Bergen in her essay Résistances philosophiques, and manifested by striving to create one’s own, coherent world and a new language. In her reference to G. Deleuze, the author states that the said resistance is not only an act of existence but, also, an act of creation while creation of a new language involves, mainly, building of one’s own “I’. Identity of an individual is entangled within identity of a creator while reflection on language – with reflection on artistic medium.
3
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Facta ficta – wokół apokryficznych Pamiętników Hadriana

86%
Szajnert D.
Zagadnienia Rodzajów Literackich
|
2016
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vol. 59/119 z. 3
13-29
EN
The main issue of this article is primarily the paratextual comments by Marguerite Yourcenar made about her novel Memoirs of Hadrian. Paradoxically — despite all the objections of the author against recognising the text in terms of apocrypha (defined as a strong hoax / forgery) — the remarks confirm the diagnosis of the apocryphal character of the novel in another sense. Those self-commentaries, which relate to efforts to uphold ancient realities and build the illusion behind the authenticity of the autobiography of the emperor, support the idea and such understanding of apocrypha, which fully utilizes the potential genre intertext, or biblical apocrypha. The apocryphal character of Memoirs of Hadrian and other literary quasi-autobiographical fictions are not false attributions in which the role of the author is to play real historical persons, determine mimetic convention of a narrative, re-narration and re-focalization and related to them is the supplementation of biographical or (possibly) autobiographical intertextuality.
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