Search results

1

Od inter- do trans-: ciemne źródła sztuki Erny Rosenstein

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Tomczok M.

Porównania

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2021

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vol. 28

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issue 1

101-121

EN

The article examines the operability of the concept of intersemiotic translation in Emma Rosenstein’s post-Holocaust poetry. Both the semiotic origin of the concept as well as its susceptibility to modification and re-definition were taken into account. Ultimately, based on the theory of Bracha L. Ettinger’s matrix, it was proposed to replace the intersemiotic translation with the categories of transcriptum. It turned out to be a concept as if designed from the bottom up by the art and poetry of Rosenstein, the Holocaust survivors, reflecting well the interconnections and interferences. The analysis used poems and ink drawings included in the book of poetry All Paths from 1978, and other drawings published in the monograph by Dorota Jarecka and Barbara Piwowarska entitled Erna Rosenstein. I Can Repeat Only Unconsciously. (Warsaw: Foundation of the Foksal Gallery 2014). The analysis revealed that the source of many of the artist’s works is the remembered image of the death of her parents murdered by a “szmalcownik” in 1942. It turned out that the artist was looking for an opportunity to hide it and show it at the same time, therefore on a philosophical level she reaches for solutions resembling the aforementioned concept by Ettinger and on a formal level she creates anamorphoses.

PL

W artykule przebadano operacyjność pojęcia przekładu intersemiotycznego w poezji pozagładowej Erny Rosenstein. Wzięto pod uwagę zarówno semiotyczny rodowód pojęcia, jak i jego podatność na uzupełnienia, modyfikacje i redefinicje. Ostatecznie w oparciu o teorię macierzy Brachy L. Ettinger zaproponowano zastąpienie przekładu intersemiotycznego kategorią transkryptum. Okazało się ono konceptem jak gdyby zaprojektowanym „oddolnie” przez sztukę i poezję ocalałej z Zagłady Rosenstein, dobrze oddającym ich wspólne związki, interferencje, wpływy. Do analizy wykorzystano wiersze i rysunki tuszem zawarte w książce poetyckiej Wszystkie ścieżki z 1978 roku oraz inne rysunki opublikowane w monografii Doroty Jareckiej i Barbary Piwowarskiej Erna Rosenstein. Mogę powtarzać tylko nieświadome / I can repeat only unconsciously (2014). Analiza ujawniła, że źródłem wielu dzieł artystki jest zapamiętany obraz śmierci rodziców zamordowanych przez szmalcownika w 1942 roku. Okazało się także, że artystka szuka sposobności, aby jednocześnie go ukryć i pokazać, w związku z czym na poziomie filozoficznym sięga po rozwiązania przypominające wspomniany koncept Ettinger, a na poziomie formalnym tworzy anamorfozy.

2

Strony tytułowe i spis treści

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Tomczok M.

Narracje o Zagładzie

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2019

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issue 5

1-5

EN

First pages and contents of the 5th issue of Narrations of the Shoah.

PL

Strony tytułowe i spis treści piątego numeru "Narracji o Zagładzie".

3

Ogień i nóż – pirofityczna twórczość Erny Rosenstein

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Tomczok M.

pl.it / rassegna italiana di argomenti polacchi

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2022

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issue 13

118-131

EN

This article aims to demonstrate the meaning is attached to fire in Erna Rosenstein’s poetry and art. Based on the pioneering analyses by Dorota Jarecka, I suggest that the particularly intense presence of fire in the artist's oil paintings, assemblages and poems is driven by the need to create a constellation of random objects, myths and autobiographical material centered on the experience of witnessing her parents' deaths in 1942. By analyzing various approaches to fire, I show that Rosenstein searches for a form of invigorating and evolving destruction in her poetry (which I define as “pyrophytic art”) which would enable her to fantasize about a world after a catastrophe, a world without human life. In this approach, poetry emerges as an extension of the ideas presented in her art. Taking at times narrative, fairy-tale or mythographic forms, poetry defines Rosenstein’s artistic idiolect in a more individual way than art could, allowing the artist's voice, her own speaking self, to be emphasized and dynamized.

4

Czajka (nad)zwyczajna. Perspektywa ekokrytyczna w narracjach o Zagładzie Izabeli Czajki Stachowicz

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Tomczok M.

Narracje o Zagładzie

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2017

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issue 3

PL

(Extra‑)Ordinary Czajka. An Ecocritical Perspective in Izabela Czajka Stachowicz’s Narrations of the Shoah In the article, the author attempts to prove how valuable a change of methodology can be when it comes to war and Shoah literature of Izabela Czajka Stachowicz. Instead of a reading focused on the writer as a celebrity who shows off and is permeated with sexism, the author proposes the ecocritical and posthumanist reading in its broad understanding, grounded primarily upon the works of Rosi Braidotti. Basing on this perspective, the author discusses the diary entitled Ocalił mnie kowal, situating it against the background of Czajka’s autobiographical prose as well as numerous other war diaries and memoirs of the Jews. Czajka’s writings above all embrace plants and animals with figurative care, but at the same these texts they do not lack realistic narration, devoted to the examples of agreements that the writer hiding on the “Aryan side” has made with homeless or enslaved hens, dogs, and cats. Key words: Shoah, animals, Polish People’s Republic (PRL), stereotypes, female writing

5

Postkolonializm w konflikcie

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Tomczok M.

Porównania

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2022

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vol. 31

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issue 1

463-476

EN

In this article, I analyze the concept of postcolonialism in conflict, proposed in the work entitled Polish Post-Colonial Literature. From Sarmatism to Post-Accession Migration (2020) by Dirk Uffelmann. Referring to the most important works of Polish researchers (Hanna Gosk, Dorota Kołodziejczyk, Magorzata Zduniak-Wiktorowicz, Ryszard Nycz), I try to show the assumptions of the German Slavicist, as well as understand the position that this work wants to take among other researchers of the postdependence of Polish culture. To this end, I follow the historical and literary order adopted by Uffelmann in the book, I also try to describe its individual parts. I pay particular attention to the concepts of self-orientalization, autoindianization and auto-proletarianization, through which the author presents the literature of the 19th, 20th and 21st centuries (including Henryk Sienkiewicz or postaccession migrants) in the victim-colonizer dichotomy. The traps of this dichotomy and the way of avoiding or tightening it in the academic discourse of Polish researchers of postdependence are discussed in the last part of the article.

PL

W artykule analizuję koncepcję postkolonializmu w konflikcie, zaproponowaną w pracy Polska literatura postkolonialna. Od sarmatyzmu do migracji poakcesyjnej (2020) Dirka Uffelmanna. Nawiązując do najważniejszych prac badaczy polskich (Hanny Gosk, Doroty Kołodziejczyk, Magorzaty Zduniak-Wiktorowicz, Ryszarda Nycza), staram się pokazać założenia myśli niemieckiego slawisty, a także zrozumieć pozycję, jaką chce zająć tą pracą wśród innych badaczy postzależności kultury polskiej. W tym celu śledzę historycznoliteracki porządek przyjęty przez Uffelmanna w książce, próbuję także opisać jego poszczególne części. Szczególną uwagę zwracam na pojęcia samoorientalizacji, autoindianizacji oraz autoproletaryzacji, za pośrednictwem których autor ujmuje literaturę XIX, XX i XXI wieku (m.in. Henryka Sienkiewicza czy migrantów poakcesyjnych) w dychotomię ofiara – kolonizator. Pułapki tej dychotomii i sposób jej omijania bądź zaostrzania w dyskursie akademickim polskich badaczy postzależności omawiam w ostatniej części artykułu.

6

Jak opowiadać dziecku o Zagładzie? Opis przypadku (na podstawie twórczości Irit Amiel)

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Tomczok M.

Polonistyka. Innowacje

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2021

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issue 13

11-20

EN

In the article, I initially analyze the issue of passing on to young children, brought up in non- Jewish families, the knowledge about the Holocaust. In this article I refer to the example of my seven-year -old daughter who, influenced by my work on the book about Irit Amiel, became interested in the Holocaust, its history and literature. Thanks to the interwiew, I try to understand which of the objects connected with the writer and why influenced the seven-year- old child, and whether my own experience can be helpful in educating other young children.

PL

W artykule wstępnie analizuję zagadnienie przekazywania małym dzieciom, wychowanym w rodzinach nieżydowskich, wiedzy o Zagładzie. Sięgam w tym celu po przykład siedmioletniej córki, która pod wpływem mojej pracy nad monografią twórczości ocalałej Irit Amiel zainteresowała się Holokaustem, jego historią, oddziaływaniem na biografie pojedynczych ludzi oraz literaturę. Dzięki zebranemu wywiadowi staram się zrozumieć, które z obiektów łączących się z osobą pisarki i dlaczego oddziałały na siedmioletnie dziecko, i czy można moje własne doświadczenie uczynić pomocnym w edukowaniu innych małych dzieci.

7

„Płacz genów”. Magdalena Grzebałkowska: 1945. Wojna i pokój. Warszawa, Biblioteka Gazety Wyborczej, 2015, ss. 413. Anna Janko: Mała zagłada. Kraków, Wydawnictwo Literackie, 2015, ss. 259

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Tomczok M.

Narracje o Zagładzie

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2015

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issue 1

PL

“The wail of the genes”. Magdalena Grzebałkowska: 1945. Wojna i pokój. Warszawa, Biblioteka Gazety Wyborczej, 2015, ss. 413. Anna Janko: Mała zagłada. Kraków, Wydawnictwo Literackie, 2015, ss. 259. In her review the author compares the narrations about the war and the Shoah which were published in 2015: a report by Magdalena Grzebałkowska entitled 1945. Wojna i pokój andMała zagłada by Anna Janko. The basis of the comparison is constituted by the Shoah of the Jews as the common, although secondary theme of both books, its influence upon the socialimagination and the rhetoric of both narrations. Apart from indicating the strong points of the narrations, which include an in‑depth study of the archive materials associated with the end of the war (Grzebałkowska) or the presentation of the problem – which was hardly present in the writings devoted to the war and occupation in Poland (the pacification of the village Sochy in the Zamojszczyzna region in 1943, of which Janko’s family fell victim), Marta Tomczok directs her attention to the weaknesses of such discourse, especially in reference to Mała zagłada. These weaknesses include: the intensification of the suffering of the recipient, effected through the juxtaposition in one book of the greatest massacres of children in the history of the world and the rhetoric of the Shoah transposed into the area of the stories about the war sufferings of the Poles. Janko presents both narrations, the Polish and the Jewish one, as mutually competitive.

8

„Opowiadanie jest stałym bytu cieniem”. Kilka uwag o kanonie Zagłady w literaturze najnowszej

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Tomczok M.

Narracje o Zagładzie

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2015

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issue 1

PL

“Narration is the persistent shadow of existence”. Some remarks about the canon of the Shoah in the most recent literary worksOn the basis of abundant short‑story and novelistic material the author presents the formation of the contemporary canon of the Shoah. According to Marta Tomczok, the domination of the short story over the novelistic form constitutes a result of the dialogue of generations and its influence upon the narrative situation of the prose by Agnieszka Kłos, Sylwia Chutnik or Magdalena Tulli. And in a deeper sense, which is discernible in Czarne sezony by Michał Głowiński, it involves a departure from the fictionalisation of the Shoah in favour of an autobiographical and memoir reflection. The author perceives the causes of such a state of affairs in the influence of Sąsiedzi by Jan Tomasz Gross upon Polish literature after 2000, and the rhetoric of cruelty, which is more and more discernible in it, as well as in the separation of the historiographical and the narrative discourses, which according to the author, influence each other in the case of the contemporary narrations about the Shoah, above all in the sphere of the popular novel. Key words: canon, narration, Holocaust, story, novel

9

Alegorie Zagłady w „Tworkach” Marka Bieńczyka i „Wieku 21” Ewy Kuryluk

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Tomczok M.

Prace Filologiczne. Literaturoznawstwo

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2016

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issue 6(9)

157-170

EN

This article is a combination of Robert Scholes and Walter Benjamin’s conception of allegory and the review of its role in the postmodern novels about Extermination. The author assumes that Scholes’s conception is a supplement to Benjamin’s conception adopted by Marek Bieńczyk and compares certain excerpts of the essay entitled Melancholia. About those who never find the loss, which are related to Benjamin’s allegory, with novels Tworki and Age 21. They include classical allegories which may be found in Cesare Ripa’s Iconology, as well as identity allegories connected with Jewish characters of the prose hiding on the Aryan side during the war or with the act of concealing their identity after the war. The allegory in novels by Bieńczyk and Kuryluk becomes the most important, yet not seen before, rhetorical figure.

10

Po Jedwabnem. Narodziny popularnej opowieści rozliczeniowej

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Tomczok M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2015

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issue 25

257-273

EN

The aim of the sketch Po Jedwabnem. Narodziny popularnej opowieści rozliczeniowej (“In the Wake of Jedwabne. The Start of a Popular Guilt Narrative”) is to discuss some literary phenomenon which was revealed several years after the publication of the book Neighbors (“Sąsiedzi”) by Jan Tomasz Gross, and may be treated as a reaction of literature (or more broadly: art) to the debate of historians, politicians, publicists and all other participants of the Polish social discourse, evoked by the mentioned book. The author terms this phenomenon post-Jedwabne narrations, including among them an extensive collection of almost twenty literary, theatrical and film productions, of which the article deals with Nasza klasa (“Our Class”) by Tadeusz Słobodzianek, Pingpongista (“Ping-Pong Player”) by Józef Hen and Łąkę umarłych (“Meadow of the Dead”) by Marcin Pilis. The social influence of these books and specific poetics based on modification of a narrative pattern adopted from Neigbors, is studied in the context of pop culture (as a discourse which is increasingly present in shaping the representation of the Holocaust), narratology (rhetorical models proposed by Hayden White) and comparative studies, referring it to the achievements of German-language guilt narrations, among others Der Vorleser (“The Reader”) by Bernhard Schlink and Nahe Jedenew (“Close to Jedenew”) by Kevin Vennemann. The author in her sketch is in the search for the sources of a new literary phenomenon which would testify to the involvement of art in negotiating the contemporary shape of history and at the same time, she asks to what extent this phenomenon absorbed the popular patterns of discussing history, including the ones which have been created by the West European Holocaust discourse.

11

Opisana Zagłada? Uwagi do projektu. Rec.: Sławomir Buryła, Tematy (nie)opisane. Kraków (2013)

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Tomczok M.

Pamiętnik Literacki

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2015

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vol. 106

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issue 3

243-249

PL

Recenzja omawia monografię Sławomira Buryły "Tematy (nie)opisane", poświęconą prozie o Zagładzie wydanej w Polsce po 1945 roku. Autorka recenzji pokazuje, jak dzięki drobiazgowym omówieniom Buryła odkrywa na nowo literaturę lat pięćdziesiątych i następnych, przywracając tę jej część badaniom nad polskim dyskursem Zagłady. W recenzji znalazły się omówienia poszczególnych problemów, na które wskazał Buryła w swojej książce (m.in. badań nad topiką Zagłady), uwagi na temat jej metodologii oraz zestawienie tej monografii z wcześniejszymi pracami Buryły. Recenzja, oprócz drobnych uwag krytycznych, pokazuje nowatorstwo książki i jej przydatność dla rozwoju studiów nad Zagładą.

EN

The review discusses Sławomir Buryła’s monograph "(Un)described Subjects" on prose about the Shoah issued in Poland after 1945. The reviewer shows how Buryła in his meticulous descriptions rediscovers the literature of the 1950s and of the subsequent years, restoring this part of literature to the research in the Shoah discourse. The review includes discussions on the issues that Buryła points out in his book (e.g. research in the Shoah topos), remarks on its methodology, and a confrontation of the monograph with Buryła’s earlier publications. The review, apart from brief critical remarks, shows the book’s innovativeness and its suitability for the Shoah studies development.

12

Medaliony przeciw milczeniu. Michał Głowiński: Carska filiżanka. Szesnaście opowieści. Warszawa, Wielka Litera, 2016, ss. 238

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Tomczok M.

Narracje o Zagładzie

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2016

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issue 2

PL

Medallions against Silence. Michał Głowiński: Carska filiżanka. Szesnaście opowieści. Warszawa, Wielka Litera, 2016, ss. 238. The author of the review is interested in chosen questions appearing in the collection of sixteen stories by Michał Głowiński, entitled Carska filiżanka… These include: memory and oblivion, silence and speaking, fate, past, old age, and homoerotism. While discussing the particular parts of the book, the author points to its most important and complex issue – homoerotism. Next to the war and its traces vanishing in old memory, it seems to be the most mature and interestingly formulated subject matter of the collection. The author does not abandon the autobiographical reading of Głowiński’s work, but she proposes that one can observe it through the prism of the category of the medallion, described by the writer in one of his works in literary studies. In this way, Marta Tomczok finds new realisations of the literary form known from Zofia Nałkowska’sand Ludwik Hering’s works, filled with a historical reality which is completely different from one of the war. The author also stresses the element linking the mentioned medallions: the crystal clear language.

13

Co stoi za stodołą? Przemiany toposu pojedwabieńskiego a topika Zagłady

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Tomczok M.

Narracje o Zagładzie

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2016

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issue 2

PL

What Hides behind the Barn? Metamorphoses of the Post‑Jedwabne Topos in the Context of the Topoi of the Holocaust The author endeavours to develop and discuss the concept of a topos which would respond to the needs of the future dictionary of the topoi of the Holocaust. She starts with the summary of the historical understanding of the notion in Aristoteles, Cicero and Quintilian; then, she takes a closer look at the twentieth century conceptualisations, among others in Janina Abramowska and Berthold Emrich. Finally, the author discusses the descriptions of the topoi of the Holocaust in Sławomir Buryła, Władysław Panas and Paweł Wolski, examining how the category of the image and imagery functions in their works. The author assumes that imagery, realism, affectivity, emotional impact and being prone to changes in meaning are the distinctive features of the topoi belonging to the thematic area of the Shoah. In the second part of the article, the author analyses Szmul Wasersztejn’s account of the Jedwabne massacre, firstly extracting all the possible topoi from it, and then describing in detail the topos of the barn. In the final part of the article, the author proposes the analysis of three different examples of its use: in Michał Pilis’s Łąka umarłych, Kevin Vennemann’s Blisko Jedenew and Marcin Wrona’s film, Demon. Key words: topos, image, pop culture, film, novel, intertextuality

14

Postmodernistyczne wymazywanie Zagłady (Raymond Federman, Georges Perec, Anatol Ulman)

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Tomczok M.

Poznańskie Studia Slawistyczne

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2017

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issue 12

299-315

EN

The article presents three strategies elaborated in the seventies of the last century by the postmodern prose, in order to tell us about the genocide. To name these strategies, the authoress makes use of the terms of blurring, patch, and “sous rapture”, which serve discussing Double or Nothing by Raymond Federman, W, or the Memory of the Childhood by Georges Perec, and Cigi de Montbazon by Anatol Ulman. The essential part in the discussion on the genocide is the reception of the above mentioned novels reconstructed among others on the base of works by Susan Rubin Suleiman along with her conception of the “1.5 generation”. The article also aims at a presentation of the interference between Cigi de Montbazon and European postmodernism exposed in Brian McHaleʼs idea of “worlds under erasure”. It is worth adding that the indicated presentation has not been yet considered.

15

MITOLOGIE CZAJKI

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Tomczok M.

Porównania

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2018

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vol. 23

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issue 2

139-150

EN

In this article I discuss the phenomenon of the mythology of a Polish-Jewish active artist in the second half of the twentieth century. This is a mythology of “long duration”, because it goes back to the interwar period, surrealism, avant-garde and Warsaw’s Bohemia. The example is provided by prose from Izabela Czajka Stachowicz but also statements of literary critics and journalists of Jan Kott, Krystyna Kolińska, and Ryszard Matuszewski. By means of discussing gender stereotypes and stigmas that the works of Czajka were described with after the war, I try to show the negative aspects of her mythology. In turn, I am looking for a reaction to stigmatization in the form of symbols of objects and animals in her prose.

PL

W artykule omawiam zjawisko mitologii polsko-żydowskiej artystki, aktywnej przede wszystkim w drugiej połowie XX wieku. Jest to mitologia „długiego trwania”, sięga bowiem czasów dwudziestolecia międzywojennego, surrealizmu, awangardy i warszawskiej cyganerii artystycznej. Przykładu dostarcza mi proza Izabeli Czajki Stachowicz, a także wypowiedzi krytyków literackich i publicystów: Jana Kotta, Krystyny Kolińskiej i Ryszarda Matuszewskiego. Omawiając stereotypy płciowe i stygmaty, jakimi opisywano po wojnie twórczość Czajki, staram się pokazać negatywne aspekty jej mitologii. Z kolei w jej prozie szukam reakcji na stygmatyzację w postaci symboli rzeczy i zwierząt (totemizm).

16

Biblioteka Babel Zagłady. O Historii miłości Nicole Krauss

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Tomczok M.

Prace Filologiczne. Literaturoznawstwo

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2019

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issue 9(12) cz.2

143-154

EN

The concept of the Holocaust Babel Library discussed in my article was based on articles and lectures of John Barth, Anna Burzyńska, Umberto Eco and Raymond Federman. I show how this notion has crystallised from the popular postmodernism label that was named the Tower of Babel and had its beginning in 2000s. I follow a 2005 novel − History of Love by American writer Nicole Krauss (Polish, poorly translated, edition was published in 2006) rated among the so-called third generation. I show both the historical aspect of this novel (pogroms of Jews in Słonim in 1941) as well as its ideological facet. The Holocaust Babel Library in Krauss’ prose is a sign of a funeral ritual consisting in the reconstruction of history from innumerable quotations, allusions and references to books.

17

Nieagonistyczny charakter polskich studiów o literaturze Zagłady

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Tomczok M.

Prace Filologiczne. Literaturoznawstwo

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2020

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issue 10 (13)

277-292

EN

The purpose of this article is to rethink the thesis claiming a non-agonistic character of Polish Holocaust Studies. The author, using Chantal Mouffe’s agonism theory, outlines the model of agonism and then applies it to literary studies and confronts the concept with affirmative humanism of Ewa Domańska. Non-agonistic structure of Holocaust studies in Poland turns out to be their advantage over studies conducted in Europe and in the world, especially those of post-humanistic variety. Two analysed examples of polemics of writers and literary scholars show that the concept of agon should be re-evaluated because it often leads to the weakening of the subject of science and scientific discourse.

PL

Celem artykułu jest przedyskutowanie tezy o nieagonistyczym charakterze polskich Holocaust studies w ich aspekcie literaturoznawczym. Autorka, korzystając z teorii agonizmu Chantal Mouffe, zarysowuje model agonizmu, by następnie odnieść go do literaturoznawstwa i skonfrontować z koncepcją humanistyki afirmatywnej Ewy Domańskiej. Nieagonistyczna struktura studiów nad Holokaustem w Polsce okazuje się ich potencjalną przewagą nad studiami prowadzonymi w Europie i na świecie, zwłaszcza w ich odmianie posthumanistycznej. Dwa przeanalizowane przykłady polemik pisarzy i literaturoznawców pokazują natomiast, że pojęcie agonu powinno ulec przewartościowaniu i krytycznej ocenie jako to, które często prowadzi do osłabienia podmiotu nauki oraz dyskursu naukowego.

18

Robinson w postantropocenie

100%

Tomczok M.

Porównania

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2019

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vol. 25

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issue 2

277-288

EN

This article attempts to explain the relationship between the expression „Robinson of Warsaw” and the novel Robinson Crusoe by Daniel Defoe and a contemporary reference to it in the futureska Two Ends of the World by Antoni Słonimski. The analytical part demonstrates the dependence of Słonimski’s prose on the role model and essay writing by Jan Kott and Ian Watt devoted to exceeding the individualistic perspective in the European novel. Towards the end, a question is asked about the preposterous reading of Two Ends of the World in the context of Rossi Braidotti’s concept of posthumanism.

PL

W artykule podjęto próbę wyjaśnienia związków wyrażenia „Robinson warszawski” z powieścią Robinson Kruzoe Daniela Defoe i współczesnym nawiązaniem do niej w futuresce Dwa końce świata Antoniego Słonimskiego. W części analitycznej wykazano zależność prozy Słonimskiego od wzorca fabularnego oraz eseistyki Jana Kotta i Iana Watta poświęconej przekroczeniu perspektywy indywidualistycznej w powieści europejskiej. W zakończeniu postawiono pytanie o preposteryjną lekturę Dwu końców świata w kontekście koncepcji posthumanizmu Rosi Braidotti.

19

Po wydobyciu. Nieograniczone spalanie i koksowanie węgla wobec kultury umiaru

100%

Tomczok M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2022

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vol. 117

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issue 1

122-136

PL

Referring to the works by Giorgos Kallis and Jason Hickel, this article discusses the phenomenon of active and closed Polish coking plants in terms of boundaries and moderation. To this end, it analyses the case of a fully operational coking plant in Bytom-Bobrek and a closed coking plant in Ruda Śląska-Orzegowo, which was transformed into a memorial park and playground. In this context, the concepts of ultimate place and post-ultimate place are introduced as spaces that encourage reflection on human pride, unlimited extraction, and limits on fossil fuel burning/coking. The two case studies are supplemented with an interpretation of Jakub Pszoniak’s poetry and Diana Lelonek’s multimedia exhibition O węglu i lodzie [On Coal and Ice]. While exploring the cultural responses to unlimited coal burning and coking, both of which are detrimental to human health and cause environmental degradation later requiring long-term revitalisation and significant financial investments, the author ponders on the critical potential of images created by architects, poets, and artists. Similarly to the Greek tragedy referred to by Kallis, these images can scare and shock, and thus motivate people to abandon their pernicious habits and shift from the policy of growth towards a more balanced living and moderation.

20

Essay as the Autobiographical Heresy

100%

Tomczok M.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2019

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issue 8

67-79

EN

This article discusses the special kind of Holocaust essay which, on the one hand, remains in opposition to academic texts and, on the other, is a text which resembles an autobiography, and which reveals its author’s personal engagement in the discussed problem. By analysing Jan Tomasz Gross’ study titled Ten jest z ojczyzny mojej..., ale go nie lubię and its consecutive printed versions, the author of this article discusses the benefit of engaging in essay-writing for the scholar, who fluctuates between the academic and non-academic discourses. To this end, she also discusses other Polish Holocaust essays published in the mid-1980s (by, e.g., Jan Błoński and Roman Zimand) and the theory of the essay by Theodor W. Adorno, which triggered Gross’ formal and notional search.

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Essay as the Autobiographical Heresy