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1

Gliwice – zapomniany mikrokosmos. Semiotyka przestrzeni miasta w polskiej i niemieckiej prozie współczesnej

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Ćwiklak K.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 43-64
EN
This text contains an analysis of the literary ways of creating a city, carried out on the basis of the literary works of Polish and German writers who chose Gliwice and its vicinity as the background of their plot. What is important here is the historical, social and cultural context of the depicted works. Gliwice played a similar role to Gdańsk, which is often forgotten nowadays. In the 20th century both cities several times became the flashpoints in European politics and were stigmatized with the course of the events which started World War II; both are located near the Polish-German borderline and both appeared in literature thanks to Polish and German writers. After the war both cities were elevated to the rank of myth through the novels written by renowned German writers and later also through the works of Polish authors. This inconspicuous and non-poetic industrial city has been presented in literature, however, it cannot be compared to the myth of Rome, Paris or London. Horst Bienek’s tetralogy, which serves in this analysis as a benchmark for the texts of Polish writers, played the most important role in establishing the literary myth of Gliwice. Through the writings of Adam Zagajewski, Julian Kornhauser, Piotr Lachmann, Stefan Szmutko and Henryk Waniek Gliwice has become an important, however still underestimated place on the map of Polish culture. The text consists of three parts. It begins with a sub-chapter entitled City as a Research Subject: Introductory Comments which presents important theoretical refl ections on the city. The second sub-chapter, entitled Gliwice: A City of the Beginning, shows the signifi cance of this city in Bienek’s tetralogy and in the contemporary Polish initiation prose. The primary focus here is on how literature employs the work of memory and how the space is created. The third sub-chapter Silesian Myth is devoted to the growth of the significance of Silesia in contemporary Polish culture. The work confronts and analyses the character and the components of two myths of Gliwice: created by German and Polish literature and culture. One of them is the myth of the decline of German Silesia which was established at the end of (and as a result of) World War II; the other – the myth of the gradual death of the culture of industrialized Upper Silesia in the 1970s and 1980s. The work also stresses the unusual cultural revival of Upper Silesia in recent years which is reflected in the books discussed.
2

Antonio Rafele, La Métropole. Benjamin et Simmel. (Metropolia. Benjamin i Simmel ). Wstęp Michel Mafessoli. Paris: CNRS Editions, 2010

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Walczak-Delanois D.
Rocznik Komparatystyczny
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2012
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vol. 3
p. 289-298
EN
Antonio Rafele, the author of the book presented here, contemplates the literature of a big city, as Georg Simmel and Walter Benjamin did before him. This book, published by CNRS (Centre national de la recherché scientifique) in France, is an attempt at a philosophical-literary essay; it is addressed to the world of academia, although the text is situated between an academic and a literary world. The two main parts are simply entitled LA METROPOLE. Simmel and LA PHOTOGRAPHIE. Benjamin. The richness and elegance of language, the depth of thought and the eclectic allusions are as surprising as are the ascetic form and the (occasional) laconic assertions. Rafele easily refers to global and universal Simmel’s perspective as well as to the detailed and individual Benjamin’s views. The center of attention is photography, the first medium of that new revolutionary world of media which would later utilize the television and the Internet. However, what interests Rafele in his reading of Benjamin is that photography, for the first time since the Renaissance, introduced new interpretation of the past. The author does not attempt to apply his considerations about the works of Simmel and of Benjamin to the contemporary, the futuristic, the avant-garde or the archaic model of the city. No other city except for Paris appears.
3

Miasto jako przestrzeń autorskiej autokreacji w prozie niemieckiej i polskiej po 1989 roku

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Chołuj B.
Rocznik Komparatystyczny
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2011
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vol. 2
p. 27-42
EN
This article analyses prose texts by Inga Iwasiow, Vladimir Kaminer and Tina Strohecker, in which the representation of cities is essential. The authors do not aestheticise nor organise the city, it is the city that organises the texts and the narration. – Reference to Variationen der Erzahlformen im gegenwartigen Wandel der literarischen Gattungen by Zoran Konstantinovic – who perceives a story as an anthropological category, as a human need for self-expression – facilitates the comprehension of these texts for the “I” in the narration is self-created as it talks about the city in each of the texts. Since the literary characters are created in the likeness of the authors themselves, they represent the author’s feeling of isolation and alienation. The analysis shows that it is the first-person narration with dominant self-viewpoint which determines – to a considerable extent – the self-creation in the space and through the space of the cities described. Each time, the narration is so coherent with the city presented that, along with it and through it the narration starts to live its own life in the text. When we analyse some earlier texts, such as Berlin Alexanderplatz (1929) by Alfred Doblin, which is one of the most prominent novels about the city, not only a polyphonic character of Berlin may be seen, but also a polyphonic character of the whole work, which depicts Franz Biberkopf, a creation of pre-war Berlin. In the case of contemporary works presented in the article, it is not polyphony that is mostly important, but fragmentation. However, not fragmentation in relation to a work or a character – such was an example of Doblin – but in relation to the self-creation of an author.
4

Pytania do Komparatystyki dyskursu

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Bielawna K.
Rocznik Komparatystyczny
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2011
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vol. 2
p. 283-290
EN
The text aims at examining Mieczysław Dąbrowski’s book Komparatystyka dyskursu / Dyskurs komparatystyki (Comparative Studies of Discourse / Discourse of Comparative Studies) and addresses some vital categories whose defi nitions have not been wholly clarified. The article seeks the definitions of the most rudimentary concepts of the study, namely comparative studies and discourse (in the Foucauldian meaning of the word). The text considers how, if at all, the category of discourse can be applied to literary studies as it is primarily a philosophical idea and hence requires adaptation to be employed in the study of literature. It also addresses the issue of the position of comparative studies in consideration of the discourse: whether the first is the superior to the latter or vice versa.
5

Postkolonializm wobec podróży. Niektóre przypadki Andrzeja Stasiuka

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Iwasiów S.
Rocznik Komparatystyczny
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2012
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vol. 3
p. 51-69
EN
The aim of the research conducted within this article is to incorporate the latest interpretation of Polish prose in the current issues related to postcolonial studies and the theory of traveling. As an example of the connection between these two categories, the author has chosen books written by the acclaimed Polish writer Andrzej Stasiuk (born in 1960). Stasiuk is not only one of the most influential novelists of his generation but he also has created a certain style of writing: realistic, straightforward, anti-aesthetic and heavily inspired by the so-called ‘beat generation’ writers, especially by Jack Kerouac’s novels. Stasiuk describes the Eastern regions of Europe (mostly the Balkans) in their historical, political and cultural opposition to the Western world. The Polish writer claims that his constant journeys to Eastern Europe and almost compulsive narrations are the only way to ‘save untouched’ places like Romania, Albania or Serbia from the negative influences of Western pop-culture. But the symptoms are depressing: no one can stop the spread of the ‘MTV-like’ way of life and the Balkans are gradually transforming into something that soon will be unrecognizable from any country in the Occident. There is also a positive aspect of these negative conclusions. For modern-day writers like Stasiuk peregrination is something different than just sightseeing – every journey becomes a ‘sociological’ or ‘anthropological’ opportunity to narrate about the human condition. Traveling dynamically changes the point of view: literature not only describes the transformation of the world but may successfully affect these changes.
6

Dyskurs, estetyka, tożsamość – spojrzenia komparatystyczne

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Popiel B.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 273-282
EN
The article is a summary and review of the main points of Komparatystyka dyskursu/ Dyskurs komparatystyki (Comparative Studies of Discourse/ The Discourse of Comparative Studies; 2009) by Mieczysław Dąbrowski. The book presents discourse as a subject of comparative literature. In the first part, the author elaborates on the theory of discourse; in the second part, he gives literary examples concerning the discourses of aesthetics and identity. Komparatystyka dyskursu/ Dyskurs komparatystyki proposes a method of researching literature that makes use of both the tools of comparative literature and of discourse. Dąbrowski emphasises that comparative literature creates its own discourses and every discourse needs a comparative attitude. According to the author, the proposed method should be very useful in the contemporary world and for the contemporary literature since we need comparative studies as well as thorough insight into existing discourses.
7

Jezioro Bodeńskie – sielanka, azyl i granica. O związkach geografii i literatury

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Makarska R.
Rocznik Komparatystyczny
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2011
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vol. 2
p. 9-26
EN
The article is based on the concept of literary geography (Geographielitteraire)and concerns the author’s geography (e.g., centres of literary activity, places of birth and death) and the geography of the literary space. The focus will be, however, on the conceptualization of spaces at Lake Constance in literary texts of the 19th and 20th centuries. Selected examples depict Lake Constance as 1) both an idyllic and dangerous space (Gustav Schwab and Eduard Morike), 2) a symbol of refuge from urban and industrial spaces and movement toward nature (Annette von Droste-Hulshoff and Hermann Hesse), 3) a border that is (impossible) to be crossed (Stanisław Dygat) and 4) a stage for crime novels (Lake Constance turns into Lake Murder). In almost all conceptualizations the ambivalence of this space is emphasized. In Polish literature, this space is presented in two texts: Jezioro Bodeńskie (Lake Constance) by Stanisław Dygat (1914–1978) and Wypędzeni do raju (Expelled to Paradise) by Krzysztof Maria Załuski (born 1963). While Dygat marks Lake Constance as an ambivalent place (border), Załuski places the lake “at the edge of the map”, at the end of a familiar world: the border can merely be a space of tragedy.
8

Słowo o Moskwie (i pewnej metaforze)

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Kopeć Z.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 111-124
EN
At the beginning of the 1930s the USSR wished to convince everybody that a “new wonderful world” had been created in the east of Europe. Stalin was not only after the hearts and minds of proletarians and artists but also after trade with the capitalist world. Wood, which was harvested by the prisoners of the gulags, was an important Russian export commodity. Thus many people from all over the world – Trotsky’s poputchiks or, as Lenin put it more bluntly, “useful idiots” – were invited to come to the USSR for propaganda reasons. Russian propaganda officers wanted the visitors to write and speak well about the USSR after they returned back to their home countries. Th e metaphor which most frequently appears in the reports on the visits to the USSR is that of “water”. Visitors perceive themselves as persons closed in a bathyscaphe submerged in some liquid or fluid and the inhabitants of Moscow are depicted as a fl owing and flooding liquid/fluid. According to Zygmunt Bauman, a liquid/fluid can contaminate/infect/ cause death whereas, according to Mircea Eliade, a fluid is a “community” of all potential, the cradle of life. Th e tension between these two possible readings of this aquatic metaphor can be clearly seen in the reports on the visits to the USSR. The reports on the visits to Moscow, which were published in Western Europe and in Poland at the beginning of the 1930s, bear the mark of the times in which they were written. Their authors – Bernard Shaw, Andre Gide, Antoni Słonimski, Stanisław Cat-Mackiewicz – had very different attitudes towards the USSR. Some of them believed in the “new wonderful world”, others depicted it more critically. However, all of them had the opportunity of learning that the world which they saw was fabricated.
9

Rosyjska Północ jako punkt widzenia: Geopoetyczne strategie w prozie Mariusza Wilka

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Marszałek M.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 97-110
EN
This article analyses the geopoetic strategies in the prose of Mariusz Wilk, a Polish writer, who has been living in the Russian North, mostly on the Solvetzky Islands, since the 1990s. Th is area has become the subject of his essayistic writing. Mickiewicz’s idea of a ‘double’ Russia and his interesting – and paradoxical – colonizing view on Russia from the perspective of a colonized culture, function as reference points for the analysis. Wilk dissociates himself from the European tradition of writing about Russia, among which the Polish, to his opinion, played a great role in establishing the code of the western orientalizing view on Russia. Wilk’s hyperborean perspective enables him to establish his own – very personal – place in this tradition. To write about Russia from the northern point of view – and from an eccentric position – diverts the attention from the perception of Russia as the East and undermines the binary continental perspective. The prose of Wilk can be described as geopoetic in two respects. On the one hand, it contributes to a new tendency in literature that deals with the geographic space and combines autobiographism and factography with poetical essayism. On the other hand, it demonstrates its own performativity and metatextual consciousness: The importance of autopsy – of experience of the space – for his writing, which is stressed by the author, goes along with the search for a poetics that transforms this experience into text. The shifting of the perspective corresponds with the shifting of the canon: Wilk studies the Russian canon of literature and philosophy of culture and gets a lot of his inspiration from Varlam Shalamov. Wilk also refers to Shalamov in his central metaphor for his writing/traveling as a tropa. The transcultural effect of Wilk’s prose emerges, among others, through his linguistic experiments which follow a utopia of a language that could be understood both by Russians and Poles.
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Przestrzenią staje się czas. Gesty nostalgiczne i melancholijne Pamuka i Pessoi

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Roszak J.
Rocznik Komparatystyczny
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2012
|
vol. 3
p. 159-173
EN
A special interest in geopoetics, a flourishing idea since the 1980s of the 20th century, may be observed to have developed in the areas of Central and Eastern Europe and in Germany. As an inhabitant of these regions, I am interested in how authors deriving from other corners of the European continent fit in the frame of geopoetics. This article concerns the Portuguese writer Fernando Pessoa and the Turkish writer Orhan Pamuk, both of whom had come from imperial empires (Portugal and Turkey, respectively) that no longer possess their numerous colonies and could now be thought to be yearning for their lost power. In Pamuk’s Istambul and Pessoa’s The Book of Disquiet, I discuss how these writers tackle the epistemology of nostalgia (saudade, hüzün, dor) and space.
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Dworzec i katedra. Miasto i architektura w powieściach Chestertona

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Schenkel E.
Rocznik Komparatystyczny
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2012
|
vol. 3
p. 255-264
EN
Chesterton was a very visual writer and architecture plays an interesting, though somewhat neglected role in his works. It reflects human strengths and weaknesses as well as religious and political attitudes. Such functions can be seen in The Man Who Was Thursday with its tunnels, labyrinths and secret shelters. Architecture here is meant to protect, but also to dissociate the anarchists from social life. Eccentricities and the return to Nature may also be reflected through architecture, as in The Club of Queer Trades. Or, architecture may be seen as dangerous – a moral temptation – as in the Father Brown story, “The Hammer of God”, where the spire of a church nourishes ideas of the superman in a local priest and turns him into a murderer. This leads to the question of how Chesterton looked at sacred architecture, especially Gothic cathedrals. He discovered his own sense of the fantastic in them (“On Gargoyles”) but also used them in his Christian crusade. His major contribution is that he rediscovered sacred symbolism in railway stations and other secular places but he also studied architecture in everyday life. Thus Chesterton links his architectural thought to his general message: i.e., to rediscover the everyday world as an arena of surprising adventures, in other words, to make life worth living.
12

Odpowiedzi wieku

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Dąbrowski M.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 291-300
EN
The article is a response to questions posed by Katarzyna Bielawna in the former text. The author indicates that the majority of questions may be dismissed by a closer examination of the book’s structure for it was planned not to be a fully comprehensive textbook of the comparative studies of discourse but merely a collection of articles/research papers concerning various texts of culture, assembled in order to present various realisations of the theoretical issue of the comparative studies of discourse. The author expands his understanding of the term “discourse”, based on its usage in Michel Foucault’s writings. It is claimed in the text that there shall always be two major aspects of discourse. Firstly, this term shall be understood in a broad meaning – “everything is a discourse” – and hence everything may be perceived as performative and persuasive since discourse is never “innocent”. Secondly, discourse may be understood as an individual commentary, remaining in resistance towards the official discourse. As the author claims, there is no inconsistency between the two usages of the term “discourse”.
13

Berlin – antologia z ograniczoną odpowiedzialnością

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Roszak J.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 209-228
EN
Edward Soja used Borges`s idea of El Alleph (a set of all places) to describe Los Angeles. I refer to El Alleph as a starting point in order to reveal the phenomenon of Berlin and I propose to read this city as a palimpsest and a magic set of signs. This perspective is related to the rapid transformations that occurred in the present capital of Germany in the 19th and 20th centuries. In an essay The Poem of the City, devoted to New York, John Hollander points out that the city is a figure of poetry and compares the metropolis of New York to an anthology. Similarly, my text was conceived as an anthology of the most interesting statements on Berlin, (among others: the cover of “Der Spiegel”, Brecht’s letters, opinions by Walter Ruttmann, Franz Hessel, Gottfried Benn, Friedrich Seidenstucker, Robert Walser, Julian Tuwim, Witold Gombrowicz), the “city-symphony”.
14

Heterotopia i literatura narodowa w Dzienniku argentyńskim Witolda Gombrowicza

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Mandolessi S.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 245-264
EN
As David Damrosch claims in his work World Literature. National Context (2003), literature should not be perceived only from a national, limiting, perspective. A literary text always balances between the culture of its origin and the culture of the receiver, it is “connected to both cultures, circumscribed by neither alone”. This is particularly true for the texts of authors in exile. The article of Silvana Mandolessi, now translated into Polish, is an attempt to analyse the Diary of Witold Gombrowicz (in Argentina known as Argentinian Diary) in the context of two cultures: the national culture of the writer (Polish) and the his adopted nationality (Argentinian). Mandolessi claims that in the Diary the tension between these two cultures and spaces is significant. She refers to the notion of “speculative border intellectual” (introduced by Abdul JanMohamed) that combines two cultures into a new syncretic form. It should be emphasized, however, that a critical attitude towards both cultures is maintained. Mandolessi analyses the work of Witold Gombrowicz from this new combined perspective as a piece of travel writing as well as an example of the typical heterotopia (a term borrowed from Michel Foucault). For Mandolessi continuous displacement constitutes a generative background for the Diary. Mar de Plata, Cordoba, Santiago del Estero – all these areas of the Argentinian province are heterotopias in a way that Gombrowicz’s description cumulates in one place various spaces which sometimes are not compatible, similarly to the theatrical stage that contains series of strange scenes. For Mandolessi the function of heterotopias created by Gombrowicz is a compensatory one.
15

Polak w Niemczach. Witold Gombrowicz w Berlinie

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Schahadat S.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 229-244
EN
The author of the article presents Berlin through the eyes of Witold Gombrowicz by means of the writer’s bio-topography of the city. From 1963 to 1964 the Polish writer spent some time in Berlin at the invitation of the Ford Foundation. The article at hand is divided into two sections which are also the main points on the map of Gombrowicz’s bio-topography, namely the Hansa district where the writer lived and Cafe Zuntz at Kurfurstendamm where he tried to set up a meeting point for writers. As he penetrates the city and uncovers layers of this palimpsest, Gombrowicz essentially penetrates and uncovers his own self. The places he visits and lives in shape and reflect his biography, Gombrowicz’s apartment in Berlin does not only take on an aspatial-material but also a metaphysical dimension, essentially turning the apartment into a philosophical and ideological issue. Gombrowicz as a Polish-Argentinian exile writer is deprived of his shelter not only in a physical but also in a metaphysical sense – he is an alien in Berlin. By reading diff erent signs of the city, Gombrowicz notices cracks in the city’s surface – he perceives Berlin as a place that tries to hide its own bloody history. The Hansa district with its modern buildings is an unsuccessful attempt at disguising this past. Instead Gombrowicz is attracted to older houses that carry their history (for example the house of G. Grass). He perceives Berlin as a kind of Lady Macbeth, a city that constantly tries to wash its hands but cannot get rid of the blood.
16

Komparatyzm – italianizm – orientalizm. Badania porównawcze jako Dziedzina

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Wolski P.
Rocznik Komparatystyczny
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2011
|
vol. 2
p. 265-272
EN
The article presents the book by Olga Płaszczewska Przestrzenie komparatystyki – italianizm (Th e Fields of Comparative Studies: Italianism) as a manifesto of the discursive force of Italian studies – or as I call them in reference to Edward Said’s work: “Italianism” – understood as a discipline. Such a perspective stands in opposition to perceiving “Italianism” merely as a method of study. In my attempts to interpret Płaszczewska’s monumental comparative study of Italian and Polish literature (on the examples of Ignacy Kraszewski, Ignazio Silone and many others), in addition backed up by a competent and thorough presentation of the main issues of comparative studies, I indicate the author’s arguments aiming at separation of the “complit” from the literary studies in order to justify the discipline’s autonomy. Płaszczewska’s way of achieving that goal – which by any means does not have to be perceived as a hostile gesture towards any other discipline, but simply as a self-referential discursive refl ex – is very convincing, at least from the rhetorical point of view. By including some of Polish (e.g. Henryk Markiewicz) and foreign (e.g. Gayatri Chakravorty Spivak) researchers in the comparative studies’ field (and therefore excluding them from the literary theory fi eld of study) or by stressing the importance and the infl uence of Italian studies on the status of literary studies as a whole, the author creates a vision of a fully self-referential, autonomous fi eld of literary studies – i.e. comparative studies. In effect I describe the book as a signal of a more complex phenomenon of what I would like to call “comparatism”, another term – after “Italianism” – suggesting a fundamental connection to orientalism as described by Edward Said.
17

,,Baśń miejska", czyli o tym, jak przestrzeń miasta zmieniła baśń

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Vandenborre K.
Rocznik Komparatystyczny
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2012
|
vol. 3
p. 97-114
EN
The paper is devoted to the urban fairy tale, which is supposed to be a new type of fairy tale, mainly characterized by an urban scenery: the usual countryside is therefore replaced by a city. As the urban fairy tale is based on a geographical change in the fairytale landscape, we seek to examine the representation of the city and its evolution in the fairy tale in order to question the relevance of this genre. Indeed, although most folk tales take place in the countryside or in a natural place, some of them are partly connected with a city. Moreover, the presence of a city does not contradict the indefiniteness of space and time, which is typical for the fairy tale. Beside it, we have to pay attention to the evolution of the fairy tale itself, namely as a literary work, because writers are willing to transgress the spatial indetermination to describe realistic cities in fairy tales. It seems that the fairy tale has changed in such a way since the end of the 19th century that the city – even its evil version – has turned into a normal component of literary fairy tale, which has become more and more urban. Thus, although we can find urban marks in fairy tales ever since, the city has grown also according to the evolution of the fairy tale on the one hand, and the transformation of society on the other. Therefore, as the urban dimension of the fairy tale is due to its natural change, it is not necessary to create a separate category called “urban fairy tale”.
18

Miasto jako przestrzeń groteskowego wyobcowywania (w perspektywie błazna i kaznodziei) w Blaszanym bębenku Guntera Grassa i Ostatniej Wieczerzy Pawła Huellego

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Wesołowska M.
Rocznik Komparatystyczny
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2011
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vol. 2
p. 165-178
EN
The article presents a comparative analysis of two literary images of Gdańsk city. The author compares Freie Stadt Danzig immortalized by Gunter Grass in his famous novel The Tin Drum [Die Blechtrommel, 1959] with a postmodern Gdańsk of Paweł Huelle described by the Polish writer in his recently published book The Last Supper [Ostatnia wieczerza, 2007]. The theory of the grotesque – introduced by German researcher of this mode, Wolfgang Kayser (Das Groteske. Seine Gestaltung in Malerai und Dichtung, 1957) – serves as a tool for this comparative analysis. Although Gdańsk in The Tin Drum and in The Last Supper is presented as a radically different city, that is to say, as the historic Free City of Danzig (the Gdańsk of Germany) in The Tin Drum and a futuristic metropolis (the Gdańsk of Poland) in The Last Supper, a common ground for these two diff erent accounts can be established. Gdańsk is introduced by both novelists as a city on the brink of revolutionary historic events – it becomes a place of grotesque alienation where the status quo of the co-existing cultures is threatened and return to the previous state is impossible. Kayser’s idea of the grotesque as an alienating world has been employed here to present the ways of manifesting, inter alia, the desecration of cultural sacrum, the encounter with madness and the threat that comes from the outside as well as from the inside of German or Polish culture. Furthermore, the author introduces the idea of a clown-narrator and a preacher-narrator as the complementary ways of telling a story by using the grotesque mode.
19

Geopoetyka jako principium comparationis w badaniach kulturowych

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Dąbrowski M.
Rocznik Komparatystyczny
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2012
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vol. 3
p. 9-28
EN
This article is an attempt to use geopoetical language (that of cultural geography) for comparative research. The author has engaged in what is known as “inner comparative studies”: the material selected consists of three novels by Miron Białoszewski from the postwar period (when he was living on Poznańska Street in Warsaw) and several posts by a certain Budrys published on the Internet in 2009/10, concerning the Sielce district in Warsaw and also dating from after the war. Regardless of the character of these writings (direct and nostalgic reminiscences), both show the importance of vision (the eye), memory, language, the materialization of space (locality), subjectivity, experience, and general double coding (here and there, one’s possessions and those of others), which leads to the epistemological justification for the concept of ‘glocalism’. The analysis shows that geopoetics can be fitted into the model of comparative cultural studies and can be consciously and effectively employed thereby.
20

Przeciw „literaturze w sosie własnym” .Edward Kasperski, Kategorie komparatystyki. Warszawa: nakładem Wydziału Polonistyki Uniwersytetu Warszawskiego, 2010

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Rajewska E.
Rocznik Komparatystyczny
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2012
|
vol. 3
p. 267-276
EN
Kategorie komparatystyki [Categories of Comparative Literature] by Edward Kasperski presents comparative literature as a discipline going far beyond literary studies, responding to the needs of human consciousness, which develops constantly through comparison not only of objects and phenomena, but also of concepts, cultures and civilizations. According to the author, comparative research in this broad sense “should be the alternative to conceptions of «stewing literature in its own juice», that prevailed in XXth-century scholarship”. Literary studies, once a midwife of comparative literature, are now a subfield of cultural comparative studies, although Kasperski admits that literature has a privileged position in his discussion – it is his comparandum. The author declares himself an adherent of comparative literature “open” to visual images, film, theatre, music and dance as well as philosophy, cultural studies, literary anthropology, theory of discourse, hermeneutics. However, Edward Kasperski, is simultaneously not willing to open comparative literature to a perspective different than Western, unlike Gayatri Chakravorty Spivak who has proposed an inclusive comparative literature.
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