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Piecing Together J. G. Ballard’s "The Atrocity Exhibition"

100%
Tereszewski M.
Lublin Studies in Modern Languages and Literature
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2020
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vol. 44
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issue 2
DE
Der Artikel enthält das Abstract ausschließlich in englischer Sprache.
EN
J.G. Ballard’s The Atrocity Exhibition can easily be classified as his most experimental novel, one that, more than any other of his works, succeeds in presenting, or perhaps representing, the fragmented condition of a media-saturated Western culture. On the surface, it does appear to be a postmodern and seemingly chaotic bricolage of pop iconography, landscapes, and medical references arranged non-linearly and without plot, and yet there is a unifying principle at work, anchoring the texts in a specific ideological context of 1960s Western culture. The main argument of this paper expands on Debord’s study of spectacle and regards The Atrocity Exhibition as a work that not only attempts to frustrate reading expectations, but also addresses the cultural shift towards spectacular society.
FR
L'article contient uniquement le résumé en anglais.
2

„Jedes Wort ist eine Übersetzung“: Zsuzsanna Gahses experimentelle Vermittlungen zwischen Sprachen, Medien, Gattungen und Kulturen

100%
Sośnicka D.
Rocznik Komparatystyczny
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2014
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vol. 5
p. 173-193
EN
This essay sketches in broad outline the literary work of the German-language author Zsuzsanna Gahse, which is characterized by a variety of linguistic and formal experiments, particular attention being paid to her activity as a translator of Hungarian literature. At the centre of the discussion is Gahse’s literary portrait Translated. A Disunity, in which she reflects on writing and translating, but also takes as a theme her ‘disunity’ between literature and the graphic arts. Gahse found a way out of this ‘disunity’ by blurring the distinctions between different languages, media, genres and cultures in her works, by mediating in various ways between them and by ‘transferring’ them, for translating – as she always emphasizes – means very much more than simply mediating between two languages.
3
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Joe Brainard’s I Remember, Fragmentary Life Writing and the Resistance to Narrative and Identity

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Drąg W.
Text Matters: A Journal of Literature, Theory and Culture
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2019
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issue 9
223-236
EN
Paul Ricoeur declares that “being-entangled in stories” is an inherent property of the human condition. He introduces the notion of narrative identity-a form of identity constructed on the basis of a self-constructed life-narrative, which becomes a source of meaning and self-understanding. This article wishes to present chosen instances of life writing whose subjects resist yielding a life-story and reject the notions of narrative and identity. In line with Adam Phillips’s remarks regarding Roland Barthes by Roland Barthes (1975), such works-which I refer to as fragmentary life writing-emerge out of a profound scepticism about any form of “fixing” oneself and confining the variety and randomness of experience to one of the available autobiographical plots. The primary example of the genre is Joe Brainard’s I Remember (1975)-an inventory of approximately 1,500 memories conveyed in the form of radically short passages beginning with the words “I remember.” Despite the qualified degree of unity provided by the fact that all the recollections come from the consciousness of a single person, the book does not arrange its content in any discernible order-chronological or thematic; instead, the reader is confronted with a life-in-fragments. Although individual passages could be part of a coming-of-age, a coming-out or a portrait-of-the-artist-as-a-young-man narrative, Brainard is careful not to let any of them consolidate. An attempt at defining the characteristics of the proposed genre will be followed by an indication of more recent examples of fragmentary life writing and a reflection on its prospects for development
4

“I’m a I’m a Scholar at the Moment”: The Voice of the Literary Critic in the Works of American Scholar-Metafictionists

75%
Drąg W.
American, British and Canadian Studies Journal
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2016
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vol. 26
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issue 1
36-51
EN
In her seminal book on metafiction, Patricia Waugh describes this practice as an obliteration of the distinction between “creation” and “criticism.” This article examines the interplay of the “creative” and the “critical” in five American metafictions from the late 1960s, whose authors were both fictional writers and scholars: Donald Barthelme’s Snow White, John Barth’s Lost in the Funhouse, William H. Gass’s Willie Masters’ Lonesome Wife, Robert Coover’s Pricksongs and Descants and Ronald Sukenick’s The Death of the Novel and Other Stories. The article considers the ways in which the voice of the literary critic is incorporated into each work in the form of a self-reflexive commentary. Although the ostensible principle of metafiction is to merge fiction and criticism, most of the self-conscious texts under discussion are shown to adopt a predominantly negative attitude towards the critical voices they embody – by making them sound pompous, pretentious or banal. The article concludes with a claim that the five works do not advocate a rejection of academic criticism but rather insist on its reform. Their dissatisfaction with the prescriptivism of most contemporary literary criticism is compared to Susan Sontag’s arguments in her essay “Against Interpretation.”
5
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Pisarstwo konceptualne i nowe media w dobie konwergencji. Studium przypadku polskich utworów eksperymentalnych

75%
Spodaryk M.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2020
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vol. 12
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issue 3
94-110
EN
The following paper concerns Polish examples of conceptual writing against the context of post-media discourse. It also contains a proposal for typology and preliminary systematisation of the relationship between literature and electronic media. On the basis of Polish works, an attempt has been made at explaining the features of conceptual writing. Its interdisciplinary problematics has been indicated and the application of the typology (presented in the first part of the paper) has been demonstrated. This text is a development of some of the theses presented in the paper ‘Literatura postelektroniczna?’ ‘Od literatury elektronicznej do kartki papieru, czyli podróż powrotna, z bagażem nowych doświadczeń’ (Spodaryk 2016), published in: Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura, no. 8.2, edited by Agnieszka Ogonowska, Kraków 2016.
PL
Niniejszy tekst dotyczy polskich przykładów pisarstwa konceptualnego umieszczonego w kontekście dyskursu postmedialnego. Stanowi także propozycję typologii i wstępnej systematyzacji relacji literatury i mediów elektronicznych. Na przykładzie polskich utworów podjęto próbę wyjaśnienia specyfiki pisarstwa konceptualnego. Zaznaczono jej interdyscyplinarną problematykę oraz wykazano zastosowanie przedstawionej w pierwszej części artykułu typologii. Tekst jest rozwinięciem niektórych tez z artykułu Literatura postelektroniczna? Od literatury elektronicznej do kartki papieru, czyli podróż powrotna, z bagażem nowych doświadczeń (Spodaryk 2016), opublikowanego w „Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura”, nr 8.2, pod red. Agnieszki Ogonowskiej.
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Przekład literatury konceptualnej Studium przypadku lokalizacji Paint the Rock Shiva Kotechy jako Namaluj Popka

63%
Marecki P., Małecka A.
Przekłady Literatur Słowiańskich
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2018
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vol. 9
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issue 1
99-123
EN
The article presents a case study of the conceptual book Paint the Rock by Shiv Kotecha, which was translated into Polish using conceptual localizaton. The orig- inal is an unconventional “coloring book” that invites the reader to paint American male celebrities from memory. The Polish localization, Namaluj Popka, replaces these global household names with figures from the local popular imaginary. The authors describe the context of the original literary work, the translation process, the new context for reception in Poland, with a special focus on the role of the translator as the ambassador of new trends in literature and the creative aspects of experimental translation.
PL
| Jako studium przypadku przekładu literatury konceptualnej przed¬stawiona została książka Namaluj Popka Shiva Kotechy (2017), w której zastosowany został przekład poprzez konceptualną lokalizację. Oryginał pod tytułem Paint the Rock (2013) miał postać wpisującej się w nurt literatury ambientowej i proceduralnej kolorowanki zachęcającej do malowania z pamięci amerykańskich celebrytów płci męskiej. Polska wersja lokalizuje ten pomysł, używając postaci obecnych w rodzimej wyobraźni masowej. Autorzy opisują kontekst oryginału, proces tłumaczenia i nowy kontekst recepcji w języku polskim, podkreślając jednocześnie rolę tłumacza jako ambasadora nowych trendów w literaturze oraz twórcze aspekty przekładu eksperymentalnego.
7
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Zofia Romanowiczowa. Zarys twórczości i recepcji

51%
Królikowska N.
Zeszyty Naukowe Zbliżenia Cywilizacyjne
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2016
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vol. 12
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issue 1
36-90
PL
W artykule koncentruję się na przedstawieniu zarysu twórczości prozatorskiej Zofii Romanowiczowej oraz jej recepcji. Każdej z jedenastu opublikowanych powieści pisarki poświęcam fragment artykułu, uwypuklając ich stylistyczne podobieństwa oraz podkreślając charakterystyczną dla całej twórczości Romanowiczowej tematykę i problematykę. Część poświęcona recepcji ma z kolei stać się punktem wyjścia do rozważań o kanonie literatury polskiej XX wieku.
EN
The author of the article focuses on an overall picture of Zofia Romanowiczowa’s prose works and their critical reception. For each of eleven published novels of the author there was devoted a distinct part of the text, emphasizing at the same time the similarities in style and subjects so characteristic in all of writer’s work. In turn the part devoted to the critical reception is supposed to be the starting point for a reflection about the canon of twentieth century Polish literature.
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