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Gurami mozaikowy dyryguje Beethovenem. Oniryczny panfikcjonalizm Scen łóżkowych Adama Wiedemanna

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Lemann N.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

2012

vol. 15

issue 1

283-293

The paper discusses musicality of Sceny łóżkowe (Bedtime scenes) by Adam Wiedemann understood as the constructive and topical dominant of the book. The writer`s ‘dream diary’ (including a ‘testimonio’ notation of dreams from 1987 to 2000), simulating the poetics of a personal document, in fact draws the reader into multilevel intertextual games. The consequent amalgamation of high and pop culture and the poetics of collage or sampling organize the dreams records of Sceny łóżkowe. The author analyzes Wiedemann`s work as a manifesto of panfictionalism and constructivistical ‘world mak-ing’ (cf. Siegfried J. Schmidt, Ernst von Glaserfeld, Steven Tötsöy de Zepetnek, Nelson Goodman). This in turn results in revealing the false referentialism or, more precisely autopoietic self-referentialism of Wiedemann`s writing, thus showing how unuseful traditional psychoanalisys and interpretation of dreams are for analyzing the manifestly constructivistical fabric of the writer’s humoristic and grotesque oneiric projections

Suita Jonathana Littella — o konstrukcji Łaskawych

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Izdebska A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

2012

vol. 16

issue 2

34-42

The article addresses the issue of various interpretative contexts of Jonathan Littell’s best-selling novel The Kindly Ones (Les Bienveillantes). In particular, it deals with ethical and rhetorical consequences of the novel’s structure. The book’s form is based on a ba-roque suite – thus, the successive chapters are entitled: Toccata, Allemande I and Allemande II, Courante, Minuet (roundel), Aria and Gigue. The analysis of the meaning of the tech-nique employed by Littell yields a conclusion that there is no relation between the plot structure and the suite form. The ‘musical’ concept is used only to strengthen the fictionality of the novel. This way, Littell emphasizes that the foundation on which the monologue of his hero is built is at the same time documentary and purely ‘literary’. Thus, Littell’s novel only ‘pretends’ to be ‘a musical literary text’ – literature constructed by using musical forms. The last issue addressed in the article is the ethical ambivalence of Littell’s concept. Is it appropriate to ‘compose a suite about the Holocaust’? Does it locate The Kindly Ones near the sublime or kitsch? Or maybe both?

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2 Acta Universitatis Lodziensis. Folia Litteraria Polonica

2 2012

1 Izdebska A.

1 Lemann N.

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Gurami mozaikowy dyryguje Beethovenem. Oniryczny panfikcjonalizm Scen łóżkowych Adama Wiedemanna

Suita Jonathana Littella — o konstrukcji Łaskawych