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Protisvěty: Na vlně ženské arménské moderní poezie Petra Košťálová

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Košťálová P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

2024

vol. 34

issue 69

87-108

Literary echoes of tragic events, deeply rooted in the collective memory of some nations or ethnic groups, very often represent the basis of their overall concept of identity. This trauma of the difficult construction of a sense of belonging (especially the experience of exile, diaspora, expulsion, loss of homeland, ethnocide, genocide, etc.) is reflected not only in the works of the generation concerned but also of later generations, deeply influenced by transmitted perceptions of trauma. Coping with the question of belonging to several worlds, cultures and languages — and sometimes to none of them completely — results in a specific form of literary processing and also requires a specific approach to literary analysis and to the translation of trauma poetry. The Armenian topos of pandukht or gharib (exile) should be understood within a broader context of the traumatic past and its subsequent interpretations. Key cultural words as stigmas of traumatic past, leaving intangible traces through narratives, represent an essential vector of collective memory here. The landscape description is emotionally invested and it could be perceived as a rhetorical expression of extremely disruptive experience. Focusing on Armenian women poets, whose works influenced the literary landscape of Armenia and Armenian diaspora in the second half of 20th and the beginning of 21st century and concentrating on their prevailing topoi, the role of memory in the shaping of trauma and its representation in poetry will be more obvious. In the case of female poets from the diaspora, their poetry should be read within the frame of their exilic experience as a kind of postmodern itinérance. The textual analysis of their poems perceived through trauma lens could bring a significant contribution to trauma studies theory in general as well as to gender studies within the Armenian context.

Rozpoznawanie kryzysu w kulturze

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Rosińska Z.

Kultura i Wartości

2016

issue 17

Das erwogene Hauptproblem bildet die Frage nach der Möglichkeit, die Krise in der Kultur zu erkennen. Durch Anerkennung verstehe ich die kognitive Intuition, die den Weg zu weiteren Stufen des Wissens ebnet, d.h. die Unterscheidung fremder, separater Phänomene und ihre Identifizierung als Krise. Die Krise wird hier als eine Übergangsetappe begriffen, als ein dramatischer Wechsel in der Wertestruktur. Die Symptome der Krise, deren einige Beispiele im Artikel dargestellt werden, wurden bereits in der Antike erkannt. Ich weise nach, dass eine solche Erkenntnis dank der Existenz einer Resonanz zwischen den Prozessen in der Kultur und den Prozessen in uns selbst möglich ist. Die Analyse des Phänomens führe ich anhand der Überzeugungen von zwei Autoren durch: des Künstlers und Philosophen Witkacy und des Kulturphilosophen und Ästhetikers Stefan Morawski.

The main problem I will consider is the question of the possibility of recognizing a crisis in culture. By recognition I mean the cognitive intuition that paves the way for subsequent stages of knowledge, i.e., the distinguishing of a given phenomenon as different and separate and its identification as a crisis. Crisis here is to be understood as a transitional state, a dramatic upturn in axiological structure. Manifestations of crisis recognition were present already in Antiquity and I will discuss some examples in my talk. I will argue that such recognition is possible owing to the resonant structure between the goings on in culture and goings on within ourselves. The analysis of the phenomenon will be carried out on the basis of the ideas of two authors: Witkacy, an artist and philosopher, and Stefan Morawski, a philosopher of culture and aesthetician.

Główny rozważany problem to kwestia możliwości rozpoznania kryzysu w kulturze. Poprzez rozpoznanie rozumiem poznawczą intuicję, torującą drogę dla późniejszych stadiów wiedzy, tj. wyróżnienie pewne obcych, odrębnych zjawisk i zidentyfikowanie ich jako kryzysu. Kryzys jest tu rozumiany jako stan przejściowy, jako dramatyczny przewrót w strukturze aksjologicznej. Objawy kryzysu były już rozpoznawane w starożytności; kilka przykładów przedstawię w artykule. Będę wykazywała, że takie rozpoznanie jest możliwe dzięki istnieniu rezonansu między procesami w kulturze i procesami w nas samych. Analizę zjawiska przeprowadzę na podstawie poglądów dwóch autorów: Witkacego – artysty i filozofa oraz Stefana Morawskiego – filozofa kultury i estetyka.

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1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Košťálová P.

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1 2016

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Protisvěty: Na vlně ženské arménské moderní poezie Petra Košťálová

Rozpoznawanie kryzysu w kulturze