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Pół głosem, pół pismem. Wokół nowej edycji „Dziennika bez samogłosek” Aleksandra Wata

100%
Baron-Milian M.
Pamiętnik Literacki
|
2019
|
vol. 110
|
issue 1
149-160
PL
Artykuł stanowi próbę analizy fenomenu "Dziennika bez samogłosek" Aleksandra Wata w perspektywie materialności tekstu. Do podjęcia tematu prowokuje nowa edycja dziennika, przygotowana przez Michalinę Kmiecik, po raz pierwszy pozwalająca czytelnikowi zetknąć się z oryginalną postacią maszynopisu Wata i z jej nowym – niezapośredniczonym przez ingerencje Oli Watowej – odczytaniem. Punktem wyjścia do refleksji jest konfrontacja różnych interpretacji i uwag badaczy na temat formy "Dziennika bez samogłosek", będących zarazem odmiennymi próbami odpowiedzi na pytanie o specyfikę zastosowanego przez Wata szyfru i o powody, dla których prozaik dokonuje takiego właśnie wyboru. Analiza owej formy prowokuje jednak ostatecznie do ujęcia problemu w horyzoncie nieustannych konfrontacji pisarza z awangardą. W tej perspektywie szyfr jawi się raczej jako swoisty eksperyment, w którym miazga słowna pozostaje w bezpośrednim związku z – awangardową z ducha – nieufnością wobec języka, próbą defragmentacji systemu i pasją destrukcyjną.
EN
The article is an attempt at analysing the phenomenon of “Dziennik bez samogłosek” (“Diary without Vowels”) from the perspective of the text’s materiality. The subject was undertaken as a result of the diary’s Michalina Kmiecik’s new edition which for the first time allows to insight into Wat’s original typescript and into its new reading unmediated by Ola Watowa’s interventions. The reflection’s starting point is a confrontation of the various interpretations and scholarly remarks on the form of “Diary without Vowels”, all being both possibly different answers to settle the problem of specificity of Wat’s use of the code and to expound the reasons the poet makes such a choice. The analysis of the form ultimately prompts to resolve the issue on the level of Wat’s constant confrontation with the avant-garde. From this perspective the code is seen rather as a peculiar experiment in which lexical material remains in direct connection with (avant-garde in its nature) mistrust to language, an effort to defragment language and passion for destruction. The article is an attempt at analysing the phenomenon of “Dziennik bez samogłosek” (“Diary without Vowels”) from the perspective of the text’s materiality. The subject was undertaken as a result of the diary’s Michalina Kmiecik’s new edition which for the first time allows to insight into Wat’s original typescript and into its new reading unmediated by Ola Watowa’s interventions. The reflection’s starting point is a confrontation of the various interpretations and scholarly remarks on the form of “Diary without Vowels”, all being both possibly different answers to settle the problem of specificity of Wat’s use of the code and to expound the reasons the poet makes such a choice. The analysis of the form ultimately prompts to resolve the issue on the level of Wat’s constant confrontation with the avant-garde. From this perspective the code is seen rather as a peculiar experiment in which lexical material remains in direct connection with (avant-garde in its nature) mistrust to language, an effort to defragment language and passion for destruction.
2
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Prawość Ojca. Aleksandra Wata zmagania z testamentem

100%
Baron-Milian M.
Śląskie Studia Polonistyczne
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2015
|
issue 2(7)
59-76
EN
The article constitutes an attempt at analysing the role of the image of a real and a symbolic father in Aleksander Wat’s work. The point of the departure is a reflection upon the issue of avant-garde gesture of breaking off with the past and identity through a change of a family name from Chwat to Wat. The problem of misunderstanding resulting from the use of different languages forms the basis of the relationship between Wat and his father and serves as the background for the proposed interpretation, whose figure becomes the Tower of Babel. The image which emerges from the analyses of the poems composed by the author of Buchalteria, and especially from the fragments of his journal, is one of the “voice of the Father,” tormenting the writer, which has a close connection with the return of the suppressed Jewish identity.
3
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Awangarda płodna i bezpłodna

100%
Baron-Milian M.
Zagadnienia Rodzajów Literackich
|
2018
|
vol. 61
|
issue 2(126)
37-50
XX
Productive and Unproductive Avant-garde
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