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1

El mundo-telarańa de Roberto Bolańo (Estrella distante)

100%
Grzesiak Z.
Estudios Hispánicos
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2012
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vol. 20
67 - 75
EN
The work of Roberto Bolaño requires a reader equipped with erudition equal to the one necessary to read Borges. What is more, even Gérard Genette has yet to create a paradigm of intertextuality that would suffice to describe this phenomenon in the writings of the Chilean author. Our objective is to analyse Distant Star with the focus on the complexity and profundity of allusions concerning a Polish writer, Bruno Schulz. The metalepsis which introduces the figure of Schulz into the plot of Bolaño’s novel implies the necessity of investigating not only in the work of Schulz, but also in his biography, as well as in the pertinent metaliterature. Such proceedings will allow us to decipher and perhaps recreate the “spider’s web” which Bolaño “casts” on the world in order to subvert the traditional modes of communication.
2
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Metaphor, Metonymy and Metalepsis: Three Tropes in Contemporary Slovak Documentary

100%
Ferencuhova M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 15
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issue 24
27-40
PL
This paper presents the films of three Slovak contemporary documentary filmmakers of the younger generation from a rhetorical and poetic perspective. Through their authorial films, Peter Kerekes, Marko Skop and Juraj Lehotsky call into question the widespread conception of documentary as recorded reality. Meanwhile, Peter Kerekes uses metaphor in a sophisticated way to structure his film Cooking History (2009), and presents various analogies between war and food, and cooking and historiography, Marko Skop uses more subtle figures to creatively treat the actuality. In Osadne, uses spatial metaphors and a large number of symbols to represent the small Slovak village of Osadne within the European Union. He also transforms a seemingly linear narration into a thread of analepses and prolepses. Finally, Juraj Lehotsky in his Blind Loves involves fiction in actuality, by representing his own ideas of blind peoples’ visions and fantasies, creating a metaleptical documentary chronotope. In accordance with George Lakoff and Mark Johnson’s cognitive theory of meaning, the paper presents metaphor, but also other figures and tropes as means that help to understand one kind of experience in terms of another kind of experience. At the same time, the paper demonstrates that metaphorical, but also metonymical and meta- leptical thinking by the filmmaker transforms recorded reality and provides a new, personal outlook on the world - an outlook that the spectator can not only understand, but sometimes even adopt.  
3
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Fellini-Roma : sur les bords du Léthé. Un usage fellinien de la métalepse

100%
Tubman-Mary A.
Academic Journal of Modern Philology
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2021
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issue 11
187-198
EN
In Fellini’s Roma, the famous sequence in which ancient frescoes are discovered during the construction of the subway is a key scene and an allegory of his filmic and artistic approach. But Fellini’s boldness goes further. During the sequence, the filmmaker, using a somewhat fantastic shortcut, breaks through the wall that separates the world of the living and the forgotten world of ancient figures. He thus uses metalepsis at the heart of the film. Figures who were about to fade away under the effect of the outside world come again to life in his film, just as, in Virgil, the souls of the dead, grouped on the banks of the river Lethe, are waiting in the hope of returning to the world of the living. The film has often been compared to a patchwork, or a mosaic, imaging a complex and stratified city. But rather than a mosaic, we should speak of threshold crossings, that is to say rhetorical effects, amongst which the main one could be metalepsis. Fellini’s Roma is not only a melancholic and hectic fresco of a visionary director, but also an ever-moving network of initiatory paths. Through the Fellinian shifts and transgressions, it is the incessant renewal of Rome which is shown.
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Mowa przejęta nicością: retoryczne postawy wobec Nietzscheańskiego żywiołu nicości w poetyce Wallace’a Stevensa i Jarosława Marka Rymkiewicza

100%
Bartczak K.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2017
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vol. 40
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issue 2
33-75
EN
This essay compares the poetic philosophies of Wallace Stevens and Jarosław Marek Rymkiewicz, Stevens’s first Polish translator. In the first part, I trace a deep affinity in the way both poets engage with the Nietzschean-Dionysiac element in language. The Nietzschean dynamism creates a rich conceptual background against which it is possible to understand the process of poetic language merging with nothingness. Both Stevens’s and Rymkiewicz’s early poems are reactions to such conceptual environment: Stevens’s Harmonium and Rymkiewicz’s Co to jest drozd present a way of engaging with nothingness in which the absence of logos becomes a source of the poems’ figurative power. As they attain this power, the poems arrive at a form of self-consciousness. I trace this affinity through the deconstructive figure of catachresis, as it has been applied to Stevens by his deconstructive critic J. Hillis Miller. In the second part, I change the method. Here, I show how the later poetries of Stevens and Rymkiewicz can be approached by replacing Miller’s deconstructive catachresis, with Harold Bloom’s metalepsis. This Bloomian reading allows me to identify a vital difference between the later phases in the two poets. Discussing Stevens’s “Auroras of Autumn” next to Rymkiewicz’s Do widzenia Gawrony, I show how Rymkiewicz diverts sharply from his American Romantic/Modernist counterpart in the way his poetry reads Nietzsche’s trope of the eternal recurrence of the same. For Stevens, this concept is realized in the form of metalepsis, which, as Bloom shows, is a figure allowing the poem to retain its figurative capability while steering its course away from any notion of essence or necessity. In contrast, for Rymkiewicz, the eternal recurrence of the same paves way to an essentialist understanding, and affirmation, of human history as eternal cycle of creation-destruction, a cycle presided over by a mixture of pain, cruelty, and ecstasy. Consequently, I argue that while Stevens’s late poetry remains faithful to figurativeness as the poem’s self-reliance – that is, the poem’s refusal to join forces with any sort of concept or process conceived of as independent from the poem’s re-descriptive capability – Rymkiewicz’s late poems find their visionary power in precisely such joining of forces.
5
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Postmortem Punishment in the Parable of Lazarus and the Rich Man (Luke 16:19-31): Between Coherence and Indeterminacy of Luke’s Eschatology

84%
Szkredka S.
Verbum Vitae
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2019
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vol. 36
109-132
PL
Biorąc za punkt wyjścia powszechnie znany brak spójności pomiędzy obrazem kary pośmiertnej zawartym w przypowieści o ubogim Łazarzu (Łk 16:19-31) a innymi Łukaszowymi konceptualizacjami życia pozagrobowego, autor artykułu bada wspomniany obraz w relacji do ogólnego tła Łukaszowej eschatologii. W pierwszej części zostają wydobyte na światło zarówno dwubiegunowy horyzont ideologiczny Łukasza jak i powiązanie eschatologii z etyką dóbr materialnych. Ujawniona zostaje w ten sposób ogólna spójność pomiędzy przypowieścią a Łukaszową perspektywą eschatologiczną. Kara pośmiertna zostaje ukazana jako natychmiastowa i ostateczna. W drugiej części zostają wyeksponowane elementy niedookreśloności obecne w Łukaszowej eschatologii. Ukazane zostaje jak bogata struktura Łukaszowej narracji pozwala na generowanie dodatkowych możliwości interpretacji pozagrobowych cierpień bogacza. W rezultacie, precyzyjna kwalifikacja kary jako ostatecznej, czyli nie tymczasowej, nie daje się orzec w sposób zupełnie jednoznaczny.
EN
Taking as its point of departure the commonly recognized tension between the image of postmortem punishment in Lk 16:19-31 and other Lukan conceptualizations of the afterlife, the article examines the said image against the background of Luke’s overall eschatology. In the first step, both Luke’s bipolar ideological horizon and the conjunction of eschatology and wealth ethics are brought to light, demonstrating general coherence between the parable and Luke’s eschatological perspective. The parable’s presentation of the post-mortem punishment as immediate and final is affirmed. In the second step, elements of indeterminacy in Luke’s eschatological perspective are explored. Through the workings of metalepsis, the rich texture of Luke’s narrative is shown to generate additional possibilities for interpreting the rich man’s punishment. It follows that the precise nature of the punishment – its final as opposed to intermediate character – cannot be said to be completely unambiguous.
6
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„Práce, o kterou se pokoušíte,se vám ani v nejmenším nedaří“ Reflexe psaní v povídkách Karla Miloty

67%
Šebek J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2021
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vol. 31
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issue 1
41-58
EN
The article deals with three short stories from Karel Milota’s collection The Night of Mirrors (Noc zrcadel; 1981, rev. ed. 2005): the eponymous text, “Carol” (“Koleda”) and “Pastoral” (“Pastorála”). These second-person narratives foreground the character of the writer (or, in the case of the “Pastoral”, the composer) and the process of creation — or rather its failure. The argument presented in this article proceeds in three steps. First, it focuses on the unnatural narration and paradoxical narrative techniques, namely mise en abyme and ontological metalepsis. Next, it analyzes the representation of architectural space and “musicalisation” of fiction as basis for building literary atmospheres. Finally, it concentrates on the (self-) presentation of the writer and indistinct quality of literary and theoretical discourse in the stories. These three mutually related aspects persistently engage the reader’s cognitive and emotional faculties, and vividly stage the identity of the author and creative process.
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