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Gdzie kończy się literatura? Głos Pana i Golem XIV — Stanisława Lema „resztki (po) powieści”

100%
Brzostek D.
Literatura i Kultura Popularna
|
2017
|
vol. 23
39-50
EN
The paper discusses the literary works of Polish science fiction writer — Stanisław Lem, particulary two of his late novels: His Master’s Voice (1968) and Golem XIV (1981). The essay focuses on the relics of a novel in these non-narrative works, including the lectures of an artificial intelligence (Golem XIV) and scientific essays on the first contact between humans and alien life form (His Master’s Voice). A subject of the paper is the psychoanalysis of the creative process and the reading of the relics of a novel such as a description (as a pattern of development) or a found-manuscript device in terms of Lacanian theory of the symptom and the theory of jouissance of the speaking subject (parlêtre).
2
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Napięcia autobiograficzne

100%
Dziel P.
Autobiografia. Literatura. Kultura. Media
|
2019
|
vol. 13
|
issue 2
167-179
EN
This article analyses Artur Hellich’s book Gry z autobiografią: przemilczenia, intelektualizacje, parodie (Games with autobiography: concealments, intellectualisations, parodies), which outlines various strategies for processing the autobiography genre paradigm. Hellich analyses the variations of playing with the traditional model of confession represented primarily by writers of Jewish origin, especially Polish authors publishing in the PRL (Polish People’s Republic) period. The research material includes works of Kazimierz Brandys, Stanisław Lem, Roman Zimand, Artur Sandauer, Philip Roth, Paul Karl Feyerabend and Michał Głowiński. The article shows category of conventions against the background of transformations of twentieth-century literary theories. Literary criticism practices that attempt to define intimacy as a supra-species phenomenon have been highlighted.
PL
Artykuł stanowi omówienie książki Artura Hellicha Gry z autobiografią: przemilczenia, intelektualizacje, parodie, która dotyczy różnorodnych strategii przetwarzania paradygmatu gatunkowego autobiografii. Hellich analizuje odmiany gier z tradycyjnym modelem wyznania, reprezentowane przede wszystkim przez pisarzy żydowskiego pochodzenia, zwłaszcza Polaków publikujących w okresie PRL. Materiał badawczy obejmuje utwory Kazimierza Brandysa, Stanisława Lema, Romana Zimanda, Artura Sandauera, Philipa Rotha, Paula Karla Feyerabenda oraz Michała Głowińskiego. Artykuł ukazuje naczelną w Grach z autobiografią kategorię konwencji na tle przekształceń teorii literatury XX wieku. Wyeksponowane zostały te praktyki literaturoznawcze, które podejmują próby definiowania intymistyki jako zjawiska ponadgatunkowego.
3
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Sienkiewicza przygody z literaturą „trzecią”

100%
Szargot B.
Tematy i Konteksty
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2016
|
issue 6(11)
494-497
EN
The article is a review of the book by Agnieszka Kuniczuk-Trzcinowicz, Sienkiewicza talent i intuicja. Studia i szkice [Talent and Intuition of Sienkiewicz. Studies and Sketches], published in Opole in 2014. The publication is an interesting example of analysis of relations between popular literary conventions and the works by Sienkiewicz. According to the reviewer, the essential merit of the book is the ambitious comparative idea – conventions of popular literature are observed not only in the novels by Henryk Sienkiewicz, but also in other 19th century works that belong to the canon of high literature.
4

Polski prekursor intertekstualności? Rzecz o „wpływologicznych” książkach Stanisława Windakiewicza

80%
Lubański M.
Prace Literaturoznawcze
|
2013
|
issue 1
251-266
EN
Issues concerning history of literary research in Poland constitute content of the paper. The author aimed at examining possible relations between contemporary researches on intertextuality and so called Polish school of ”influenceology” – a popular trend in Polish literary study in two first decades of the 20th century. Ruminations on scholarly achievements of Stanisław Windakiewicz who is the main representative of this trend are included in the paper, as well as detailed critical reception of his works at that time. An outline of differences of opinions between supporters of researches on literary influences and interrelations and opponents of such way of analyzing of literature were presented. The author aimed at emphasizing both advantages, as well as disadvantages of comparative investigations of that time. Finally, similarities and differences between ”influenceology” and intertextuality were pointed. Definitions of intertextuality proposed by i.e. Polish literary theoreticians ( H. Markiewicz, M. Głowiński) were used in the paper.
5

A Digressive Poem: Słowacki—Norwid

71%
Toruń W.
Roczniki Kulturoznawcze
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2014
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vol. 5
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issue 3
111-122
EN
The main purpose of the sketch is to show the relation of these two artists to digressive poem. Cyprian Norwid although not written in the strict sense digressive poem of this type as Beniowski of Juliusz Słowacki, but in the lectures O Juliuszu Słowackim [On Juliusz Słowacki] spoke about this poem and referred to the poetics of the genre. In such works of Norwid as: Wesele [The Wedding Party], Szczesna, Epimenides, Quidam, Rzecz o wolności słowa [On Freedom of Speech], Assunta, Emil na Gozdawiu [Emil in Gozdaw], A Dorio ad Phrygium we find numerous digressions, having different functions arts. Generally it can be said that for Norwid personality so rich and nonstandard digressive course was very useful. The patron of it was not so much parody, autothematicity or irony as the main purpose prevailed artistic creativity, reaching out for the truth.
PL
Głównym celem ninieszego szkicu jest ukazanie stosunku tych dwóch twórców do poematu dygresyjnego. Cyprian Norwid nie napisał, co prawda, sensu stricto poematu dygresyjnego tego typu jak Beniowski Juliusza Słowackiego, ale w wykładach O Juliuszu Słowackim wypowiadał się na temat tego poematu i nawiązywał do poetyki tego gatunku. W takich utworach Norwida jak Wesele, Szczęsna, Epimenides, Quidam, Rzecz o wolności słowa, Assunta, Emil na Gozdawiu, A Dorio ad Phrygium znajdujemy liczne dygresje, pełniące różne funkcje artystyczne. Uogólniając, można powiedzieć, że dla Norwida, osobowości tak bogatej i niestandardowej, tok dygresyjny był bardzo użyteczny. Partonowała temu nie tyle parodia, autotematyzm czy ironia, ile przyświecał główny cel twórczości artystycznej - docieranie do prawdy.
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