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„Kicz, kiczyzm” Justyny Bargielskiej

100%
Lisak-Gębala D.
Przestrzenie Teorii
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2019
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issue 31
173-196
EN
The article develops the analysis of recurrent kitschy motifs in poetry and prose by Justyna Bargielska. This authoress consciously and intensively takes advantage of pop-cultural kitsch, kitsch connected to maternity and femininity, sacrokitsch and consolatory kitsch used in mourning practices. She derives many fetishized objects from these areas and transforms them into private talismans; she also borrows many established pop-cultural visions that serve her heroines to create their identity, but sometimes these patterns become a costume for individual fears and phantasies. The term ‘kitschism’ was invented by Bargielska herself and it suggests intellectual distance towards the figures and requisites used. The writer’s attitude towards kitschy cliches is developed as a dialectical movement of attraction and repulsion, and is not meant to overthrow dominant stereotypes; this approach is often similar to camp strategies, yet it extends beyond ludic or ironic games. Bargielska is interested mainly in the anthropological aspect of kitsch, which is situated between the individual and the community. The writer tests the usefulness of cliches while confronting her heroines with the most serious subjects, like death, love or loss.
2
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„Uparte trwanie baroku” w recepcji wierszy Stanisława Barańczaka

100%
Lisak-Gębala D.
Poznańskie Studia Polonistyczne. Seria Literacka
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2019
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issue 36
59-76
EN
The article focuses on the functioning of the term ‘baroque’ in the reception of Stanisław Barańczak’s poems. The author takes into account the context of fashion for returning to the legacy of the baroque which became visible after 1956 in both poetry itself and in the discourse of both literary criticism and literary studies.
3
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Eseistyczna chopinologia Piotra Wierzbickiego

100%
Lisak-Gębala D.
Poznańskie Studia Polonistyczne. Seria Literacka
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2021
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issue 41
327-348
EN
Piotr Wierzbicki’s deep interest in Chopin’s music has been revealed in his volumes of essays published since 1993. What appears to make his music writings exceptional in comparison with other Polish essays dealing with Chopin’s life and work is the prevailing concentration on particular pieces or even single performances chosen by famous pianists. Wierzbicki develops his project of extradisciplinary essayistic Chopinology that blends together the musicological knowledge, critical involvement, philosophical reflection and highly individual psychosomatic experience. Having stated a fundamental difficulty of ‘translating’ sounds into words, he tries to elaborate a ‘musical’ style and form for his writing, e.g. he includes ekphrases full of metaphors and synesthetic figures. This wide array of music-centred properties encourages readers to treat these essays as a starting point for coming up with the question of whether it is possible to differentiate a type of ‘musical’ essay.
4
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Polska eseistyka o malarstwie i fotografii od 2. połowy XX wieku w świetle rozważań nad esejem jako formą (pisarstwa, poznania, doświadczania…)

100%
Lisak-Gębala D.
Przestrzenie Teorii
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2014
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issue 22
55-69
EN
Contemporary Polish essays on paintings and photographs (by, e.g. Z. Herbert, G. Herling-Grudziński, W. Karpiński, J. Pollakówna, E. Bieńkowska, A. Olędzka-Frybesowa, and W. Nowicki) are juxtaposed with the personal essay which was invented by Montaigne. A wide range of commentaries, including ideas about this genre which were expressed by Th. W. Adorno, G. Lukács, and G. Douglas Atkins, provide a theoretical background for the analysis. Selected Polish texts are presented as artistic constructions that recreate the process of experiencing pictures and the movement of thoughts of the essayistic “self” which uses many disguises (e.g. a traveler, amateur, scholar and critic). A particular painting or photo, which is often artfully described by means of ekphrasis, is treated by essayists as a starting point for analyzing many broader issues as well as for indirect self-presentation.
5
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Przeinaczanie i inne klęski poetów. Leśmianowski projekt poetologiczny w świetle lektury „Przygód Sindbada Żeglarza”

100%
Lisak-Gębala D.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2018
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issue 7
229-244
EN
The paper is aimed at tracing the motif of the poet’s failure in the context of the poetological project, articulated most vividly by Bolesław Leśmian in his literary essays, but also developed in numerous poems with auto-thematic threads. The author proposes a peripheral perspective, placing in the centre of his deliberations the most ill-fated poet from the gallery of artists evoked by Leśmian, Sinbad’s uncle Tarabuk from Przygody Sindbada Żeglarza (The Adventures of Sinbad the Sailor) (1913). Even though this early literary fable tends to be treated as a marginal text in the poet’s literary output, it does contain in its core many elements which are important for his literary views. One of them is, for instance, the vision of a poet who strives to translate the rhythm of nature translate into the rhythm of his melodious verse, yet continues to experience failures of different types: the fruits of his labour undergo destruction, and subsequent methods of preserving poetry distort the author’s original intention. The paper contains elements of polemics with the essay entitled Wuj Tarabuk i nędza pisania (Uncle Tarabuk and the misery of writing) by Ryszard Koziołek.
PL
Artykuł ma na celu prześledzenie motywu klęski poety w kontekście projektu poetologicznego, najpełniej wyartykułowanego przez Bolesława Leśmiana w szkicach literackich, ale rozwijanego też w licznych wierszach z wątkami autotematycznymi. Autorka proponuje perspektywę peryferyjną, w centrum rozważań stawiając najbardziej feralnego poetę z galerii twórców przywoływanych przez Leśmiana, czyli wuja Tarabuka z Przygód Sindbada Żeglarza (1913). Choć ta wczesna baśń literacka traktowana jest zwykle jako tekst marginalny w dorobku pisarza, zawiera w postaci zalążkowej wiele elementów istotnych dla jego światopoglądu literackiego. Należy do nich między innymi wizja poety, który stara się rytm natury przekładać na rytm swoich śpiewnych wierszy, jednak stale doświadcza różnego rodzaju porażek – owoce jego pracy ulegają destrukcji, a kolejne metody utrwalania poezji przeinaczają oryginalny zamysł autora. Artykuł zawiera elementy polemiki z esejem Ryszarda Koziołka Wuj Tarabuk i nędza pisania.
6
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New Century – ‘New Essays’?

100%
Lisak-Gębala D.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2019
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issue 8
13-35
EN
This article constitutes an attempt at organising the non-conservative tendencies in Polish essays published in the 21st century, which apply to themes, the lowering of the tone, and forms of writing. One major stream is travel writing, which focuses not on the Mediterranean legacy, but on the ‘second world’: long-disadvantaged provincial areas. Many essayists abandon the traditional topic of books and works of art, and turn to ‘reading’ the animal world, the plant world, and the world of ordinary objects. The essay has also become a tool for introducing polarisation between that which is mainstream and that which is marginal and concerns minorities. The fact of choosing a non-traditional topic often entails a non-canonical cognitive attitude, which translates into experiments within the area of the form of expression. The author of this article argues that all those innovations can be accommodated by the flexible convention of the essay as a genre which, in principle, is supposed to constitute an artistic cognitive experiment.
7
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Współczesna polska eseistyka w poszukiwaniu aury obrazów malarskich i fotograficznych

100%
Lisak-Gębala D.
Zagadnienia Rodzajów Literackich
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2013
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vol. 56/112 z. 2
223-237
EN
Contemporary polish essays on paintings and photographs, by Wojciech Karpiński, Zbigniew Herbert, Ewa Bieńkowska, Jarosław Iwaszkiewicz, Wojciech Nowicki and Jacek Dehnel, are described in the article as the specific kind of real or envisaged journey — undertaken in space and time, in search for pictures’ aura (Walter Benjamin’s notion). Since essayists often mention about numerous obstacles that hinder the fully individual contact with famous paintings (eg. overabundance of known descriptions and artificiality of museum expositions), the increasing writer’s interest in old, unique photographs could be regarded as an enclave for experience of aura.
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