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Facepoeia: The Author Becoming a Photographic Subject. The Example of Tadeusz Różewicz

100%
Bruś T.
Anglica Wratislaviensia
|
2018
|
issue 56
35 - 44
EN
This paper reflects on the visual practices involving the circulation of portraits of authors in their publications, and in public sphere. The photographic portrait of the author interjects the belief that the presence of the author through and in the image familiarizes and intensifies its subject’s presence and declares the author’s identity. As a visual paratext, a portrait becomes an autobiographical space of self-invention and self-construction. I wish to illustrate these processes by focusing on Tadeusz Różewicz’s (1921–2014) complex ways of accessing visibility and manners of “fixing” his identity in the collaborative work he produced with the photographer Adam Hawałej under the title Rubbish Dump (2015).
2

“Poema por contacto” como corriente oculta de la poesía moderna

84%
Kurek M.
Estudios Hispánicos
|
2019
|
vol. 27
211-220
EN
The aim of this text is to indicate possible senses of development of some of the ideas exposed previously in my studies on the literary poetry of the Catalan artist and writer Joan Brossa. In particular, I refer to the concept of “contact poemˮ interpreted in terms of a semiological analogy of photography that we consider as a modern technique and art par excellence, being probably the most radical and influential invention for culture of the last two centuries. In this sense, it is interesting to see if the consequences of the predominance of visual codes for the development of modern poetry can rather be perceived as a norm beyond the Brossian experiments of an avant-garde nature. Following a theoretical approach based on the ideas of V. Flusser and A. Rouillé, some of Brossaʼs texts are analysed from the perspective of visualisation techniques and linked to another literary example, the novel Pale Fire by V. Nabokov.
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