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Book Review: Sarah Cole, At the Violet Hour. Modernism and Violence in England and Ireland, New York: Oxford University Press, 2012

100%
Ciceri M.
Anglica Wratislaviensia
|
2015
|
issue 53
169 - 174
EN
This book review analyses At the Violet Hour. Modernism and Violence in England and Ireland by Sarah Cole. Cole’s volume deals with the troubling relationship between art, with its focus on formal beauty, and violence in English-language literary modernism. Cole’s argument concentrates on three related issues: how literary modernism engages the controversial issue of violence, whether there exist major imaginative structures about violence in modernist works, and how these repeated patterns relate to the theoretical paradigm of enchanted/disenchanted violence. Cole argues that works of the modernist period had the tendency to elaborate aesthetic forms to restrain and display both intensive and extensive modes of violation, and she concludes that Eliot, Yeats, Conrad, and Woolf were able to formulate an idiosyncratic performative language of violence. In addition, Cole claims that this distinctive stylistics of violence gravitates around certain abstract patterns, preeminent among which are the rhetorical strategies of allegory, analogy, and substitution. Moreover, I note that Cole’s argument about a sort of miscegenation between the destructive nature of violence and its narrative creative potential resonates with an increasing focus on pre-modern, modern, post-colonial, and contemporary theories and traditions, thus progressively moving the reflections about the form and force of violence towards new literary, artistic, and cultural developments.
2
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Rozterki modernistycznego (nie)istnienia – „ja” entropiczne w prozie Stanisława Przybyszewskiego

75%
Badowska K., Uniwersytet Łódzki I. F. P., katarinar@wp.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 33
|
issue 3
EN
The author declares Stanisław Przybyszewski as one of the precursors of the modern recognition of subject as a broken entity, aware of internal contradictions, and therefore unable to constitute itself, unreconciled with being, turning into and enemy of itself. The Young Poland writer portrayed as an exponent of ontological uncertainty that characterised thinking about man and the world throughout the twentieth century. Analysing works from different stages of his career, the author finds that their heroes are not an aftermath of the epidemic of pessimism, but a reflection of a deeper anthropological crisis, one that lead, after Przybyszewski’s death, through Sartre’s existentialism to the postmodern proclamation of “death of the subject.” The author also indicates that Przybyszewski’s characters suffer from vagueness and elusiveness of their own selves, until they lose the sense of self, experiencing a crisis of rationalism and plunging into the cultural matrix.
3
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The Mirror Image of Josef Bašek: On Human Metamorphosis in Egon Hostovský’s Novel Ztracený stín (1931)

75%
Kopecká Z.
Slovo a smysl - Word & Sense
|
2022
|
vol. 19
|
issue 39
161-172
EN
The sphere of art, which became highly personalised after the First World War, reflects the state of fragmentation of society into individuals and their inner world. In Egon Hostovský’s novel Ztracený stín (Lost Shadow, 1931), this phenomenon appears on various textual levels, but the dominant realm, reflecting the chaos of the world as well as of the inner self, is the level of motifs in the author’s poetics. In the process of self-identification of the main protagonist Josef Bašek, the rupture in his psychological experience is encoded in the recognition of his own deformed image, the new identity of the double, in the mirror. The author thus reflects the disintegration of an integrated structure in two directions. On one hand, the external world foments an individual metamorphosis of personality, while on the other this is no longer merely a matter of the human inner self and psychological experience, but in its deformed aspect becomes a visible component of the fragmented society within which the protagonist operates.
4
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Artur Daniel Liskowacki i liryka nowoczesna

75%
Skrendo A.
Autobiografia. Literatura. Kultura. Media
|
2021
|
vol. 17
37-45
EN
The subject of the article is the poetry of Artur Daniel Liskowacki. The context of the considerations is the essays of Liskowacki himself and modern aesthetics, especially avant-garde and post-avant-garde. Liskowacki uses the principles of modern aesthetics in his own way and leads them to contradictions.
PL
Tematem artykułu jest twórczość poetycka Artura Daniela Liskowackiego. Kontekstem rozważań jest eseistyka samego Liskowackiego oraz estetyka nowoczesna, zwłaszcza awangardowa i postawangardowa. Liskowacki we własny sposób wykorzystuje zasady estetyki nowoczesnej i doprowadza je do sprzeczności.
5
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Rozterki modernistycznego (nie)istnienia – „ja” entropiczne w prozie Stanisława Przybyszewskiego

51%
Badowska K.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 33
|
issue 3
137-154
EN
The author declares Stanisław Przybyszewski as one of the precursors of the modern recognition of subject as a broken entity, aware of internal contradictions, and therefore unable to constitute itself, unreconciled with being, turning into and enemy of itself. The Young Poland writer portrayed as an exponent of ontological uncertainty that characterised thinking about man and the world throughout the twentieth century. Analysing works from different stages of his career, the author finds that their heroes are not an aftermath of the epidemic of pessimism, but a reflection of a deeper anthropological crisis, one that lead, after Przybyszewski’s death, through Sartre’s existentialism to the postmodern proclamation of “death of the subject.” The author also indicates that Przybyszewski’s characters suffer from vagueness and elusiveness of their own selves, until they lose the sense of self, experiencing a crisis of rationalism and plunging into the cultural matrix.
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