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1

Traductions transfuges, oulipotentielles

100%
Lungu Badea G.
Translationes
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2013
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vol. 5
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issue 1
75-81
EN
In this paper, we present and analyse the challenges faced by the translator of potential literature. In the context of translation and thus of reconstruction according to a principle - a constraint that can be expressed mathematically, thus reducing the number and categories of readers - the translator’s task is even more difficult than in other translational situations. The Oulipians’ literature eludes traditional benchmarks and puts the translator to the test. However, the latter does not give in to the effort of “délabyrinther” the text
2
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The Mousetrap of Language: The Mechanism of Anamorphosis in the Works of Edgar Allan Poe and Antun Gustav Matoš

88%
Milanko A., Tomljenović A.
Poznańskie Studia Slawistyczne
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2023
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issue 25
257-275
EN
Rethinking conditions of revolutionary potential of literature, with special regard to ways literature incessantly has re-examined otherness in language, in this paper we have chosen to focus on specific mechanism of illusion-making, i.e. anamorphosis taken both as a technique and a theme. Since one of the most famous elaboration of anamorphosis in literature is to be found in Poe’s stories, it is worthwhile to examine how Poe’s game of hide and seek with depth and surface is reflected in his devoted Croatian reader and interpreter A.G. Matos. In a comparative analysis of Poe’s and Matos’s stories, we will elaborate on how a procedure of naming and a procedure of signifying are revealed to be mere effects of anamorphosis in Matos’s short story “Miš” (The Mouse). Since it is an embodiment of a figure designating schism and split, the rodent from the title of Matos’s short story reveals the other side of thinking, which is no other than the other within.
3
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Teoria splątana

75%
Krajewska A.
Przestrzenie Teorii
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2020
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issue 34
7-15
EN
Referring to her earlier articles, Anna Krajewska develops her own concept of “entangled theory”. Adopting the principles of operation of elementary particles in quantum physics, referred to as the “entanglement state”, she proposes to see literary studies through anti-binary, performative concepts, which include, above all, anamorphosis. She ties theory in with the process of experiencing art. She proposes to “entangle” seeing in art (the viewer in front of the painting) with the role of seeing in theory (the viewer as practising dramaturgy). In this approach, the theory appears as the theory of entanglement. In this concept, disciplines become dramaturgies.
4
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Dualizm na skraju załamania nerwowego. Medytacje o pierwszej filozofii jako zamysł zmysłowego doświadczenia abstrakcji

71%
Olesik M.
Praktyka Teoretyczna
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2016
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vol. 19
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issue 1
78-103
EN
The text is a critique of the prevalent approach to Cartesianism and its stance towards sensuousness and matter, which is accused of being instrumental and reductive. The author’s aim is to surpass the binary opposition of sensuousness and abstraction, which constitutes the basis for this approach. To that end, Cartesian Meditations are analyzed in the context of the general crisis of experience which affected the Baroque era. Cartesian doubt transforms this sense of crisis into a method, systematically inflating subjective uncertainty. Referring to the baroque technique of anamorphosis, the text demonstrates that the critical uncertainty does not disappear with the introduction of cogito, but is transformed into the basis for the newly constructed rationality. This transformation is based on the relation between formal arbitrariness of Cartesian dualism and the metaphysical arbitrariness of absolute caprice, personified by the figure of the malicious demon. It is as this anamorphic transfiguration that the sensuousness of Cartesian rationality is constituted – and the text systematically traces Cartesian argument in this respect.
PL
Tekst poddaje krytyce, zwyczajowe we współczesnej humanistyce, oskarżenie Kartezjusza o instrumentalizację i uprzedmiotowienie zmysłowości i materii. Autorka koncentruje się na przezwyciężeniu binarnej opozycji pomiędzy zmysłowością i abstrakcją, która stanowi podstawę tego oskarżenia. Tekst Medytacji jest analizowany w kontekście barokowego kryzysu doświadczenia i towarzyszącego mu niepokoju, który kartezjańskie wątpienie przekształca w metodę. Odwołując się do barokowej kategorii anamorfozy, tekst pokazuje, iż metodologizacja ta nie prowadzi do prostego przezwyciężenia stanu kryzysu przez pewność cogito, ale do jego przekształcenia w podstawę pewności. Przekształcenie to oparte jest na relacji pomiędzy formalną arbitralnością relacji dualizmu a metafizyczną arbitralnością kaprysu, którą ucieleśnia figura złośliwego geniusza. Tekst poświęcony jest analizie tego przekształcenia, w procesie którego wytwarza się zmysłowość kartezjańskiej racjonalności, abstrakcja jako materialna forma doświadczenia.
5

Comparative History of Images and Transcultural Imaginary: Jurgis Baltrušaitis’ Legacy

63%
Žukauskienė O.
Dialogue and Universalism
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2020
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issue 3
281-300
EN
This essay examines Jurgis Baltušaitis’ writings and shows its connections with the works of Henri Focillon, Aby Warburg and Athanasius Kircher. Baltušaitis oriented his interdisciplinary analyses in art history and cultural studies. The essay aims to demonstrate the complexity and importance of Baltrušaitis’ ideas that are developed in the comparative research of medieval art history, depraved perspectives, aberrations and illusions. Those works are linked by the philosophy of image and imagination that stand at the crossroads between abstractness and concreteness, myth and history, reality and illusion, rational and irrational forces, the East and West. This article tries to shape Baltrušaitis’ legacy by offering an insight into his thinking which unites various research topics, typically excluded from positivistic studies. It reveals the underlying structures of cultural imaginary in which cross-cultural interactions take place. It argues for the revaluation of his oeuvre by attending to the theoretical concerns behind his historical research program.
6
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W parku z Raymondem Rousselem – anamorfoza i ornament

62%
Gołąb M.
Śląskie Studia Polonistyczne
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2018
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vol. 11
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issue 1
71-88
EN
The article is devoted to the semantic and composition functions of the figure of a park/garden in Raymond Roussel’s novel Locus Solus. The issue discussed in this paper concerns a pretextual function of fictional space for the narration mode and sequential order of the novel. An attempt is made to supplement the dominant structuralist tradition of interpreting Roussel’s work, for example, with the concepts appearing in Maria Gołaszewska’s eco-aesthetic approach and Arnold Berleant’s environmental aesthetics. The proposed direction of reflections allows us to see in the rhetorical aspects of Roussel’s style, among which numerous hyperboles particularly attract the reader’s attention, a narrative method of anthropologically understood imaginary structures. These structures were based on the systems of objects, whose task, apart from rhetorical and cultural deluding, governed by the poetics of absurd, is to determine an anthropological point of observation in the very problem of visual experience connected with the walk in the park, intended by Roussel as an integral element of the plot. The article points out that the main problem of the novel is garden space seen from the perspective of visual anthropology, with the cultural pattern of an imaginary structure determined by the space. This space is given the function of disinterested narrating. According to the author of the proposed analyses, the meaning of such an understood visual metaphor is carried by two primary figures inscribed in the space of the garden: anamorphosis and ornament.
7
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Kairos fotografii – moment i wartość

51%
Spalińska-Mazu J.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2011
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issue 2
27-37
EN
Since we have handed over the manufacturing process to machines, the art-photography reaches the limit where creation is identified with cropping. The article essentially focuses on works by Georges Rousse, who can hardly be placed in the indicated paradigm and who often declares that his painting interventions in places of different architecture result from his drive for sanctification of the places that may disappear or become empty. In case of this type of activities, we are not dealing with the reflection of the actual history of the places or a narrative that can be presented, but with the exploration of the possible time orders – not so much logical as imaginary; we are dealing with a higher register of sensations – with heterotopia. Geometric and monochromatic paintings that Rousse creates, based on simple architectural patterns to better modify the perception, disappear along with the places that contain them. The explosive moment of this art-photography, its kairos, urges the audience to learn the mystery of the documented places; to travel in search of their original shape and energy.
8
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Matesztuka

51%
Olek J.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2018
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vol. 102
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issue 3
160-175
EN
Mathematics, being a study on reality moulding, is a science of structures. Artists often draw on the patterns developed in this area. And mathematicians themselves present some of the theories as images that can be seen as works of visual arts. Inevitable questions appear about what art is and what it can be, and should objects, which were not made by artists, be seen as artistic. There are and always have been a lot of common themes: classic geometry with its central perspective, non-Euclidean geometry, topological aspects, reversible figures, impossible objects, fractals, anamorphosis, theory of numbers, games and many more.
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