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1
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Tekst (dźwiękowy) Mirona Białoszewskiego

100%
Hejmej A.
Przestrzenie Teorii
|
2005
|
issue 5
53-74
EN
The paper focuses on the interaction between the visual text and sound-text in the works of Miron Białoszewski, especially in his Separate Theatre. In this case, considerations on the subject of textuality show a relation between Białoszewskim linguistics experiments and contemporary sound poetry. In essence, the sound poetry as an artistic practice (particularly, the sound poetry of Bernard Heidsieck) appears to be an important and inspiring context for interpretation of Białoszewskim text. Finally, based on the problem of sound-text, many similarities are found between Miron Białoszewski and Bernard Heidsieck.
2
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Opera Stefana Themersona (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

100%
Hejmej A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2012
|
vol. 16
|
issue 2
77-91
EN
The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam – London 1972) and the question of intermediality in general. An interpreta-tion of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Diver-tissements /1962/ and factor T /1956/), places Themerson’s idea in the context of aes-thetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work etc.) and argues that an aesthetics of intermediality appears to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other hand, the phenomenon of intermediality as aesthetics of existence.
3
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Świat nie przedstawiony. Felietonistyka Kisiela

100%
Hejmej A.
Konteksty Kultury
|
2011
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vol. 7
PL
The article is devoted to the feuilleton work of Stefan Kisielewski (Kisiel), a long-term associate of “Tygodnik Powszechny”. A review of various feuilleton achievements, the archeology of a “feuilleton by Kisiel”, leads to an attempt to put in order the diagnoses of the liberal conservative, and the exposure of certain traits of his way of thinking (nonconformism, humour, antitheticity, etc.). A particular attention is drawn to one of the feuilletons – Świat nie przedstawiony  (The Unpresented World) – written in France, after visiting the Paris exhibition of Polish art Présences polonaises in Centre Pompidou (1983). This text applies directly to the geopolitical situation (East-West), the status of Polish art and a human in the isolated political and cultural space, and finally the situation of the author himself. Hejmej presents arguments for the thesis that Kisiel’s feuilletonism – a specific “journal of soul” – is related not only to public dimension (“Polish Rochefort”) but also, in a particular way, to the privacy zone, with an inner need do be a feuilletonist.
4
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Interdyscyplinarność i badania komparatystyczne

100%
Hejmej A.
Wielogłos
|
2007
|
vol. 1
|
issue 1
PL
INTERDISCIPLINARITY AND COMPARATIVE LITERATUREThe paper focuses on the history and current situation of the discipline of comparative literature, particularly on the question of interdisciplinarity and comparative literary studies. A general discussion on interdisciplinarity (as a concept, a methodology, a way of thinking) leads to the conclusion that there are several branches of comparative literature. Consequently, in the developing fi eld of comparative literature three areas can be distinguished: „traditional” comparative literature, interdisciplinary comparative literature, and comparative cultural studies. Finally, the author concludes that the discipline of comparative literature is an advantageous approach for the study of literature and culture.
5
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Słyszeć poprzez język. Pogłosy awangardy

100%
Hejmej A.
Zagadnienia Rodzajów Literackich
|
2019
|
vol. 62
|
issue 2
11-29
EN
The paper addresses two main issues: the first relates to modern hearing and the phenomenon of a new understanding of sound in the world of modernity, the second - as a consequence - to the repercussions of the auditory experience in the works of representatives of the first avantgarde. The author, following various examples of avant-garde manifestations of “language-noise” (including the works of Filippo Tommaso Marinetti, Luigi Russolo, artists of Cabaret Voltaire in Zurich), points out that they reveal the compulsion to hear, to be in sound-noise. He highlights the special importance of early European avant-garde movements (such as Futurism and Dadaism) in the process of restoring the proper sound potential to language (and literature) and at the same time refers to the new understanding of literature in the context of the modern soundscape.
PL
 The paper addresses two main issues: the first relates to modern hearing and the phenomenon of a new understanding of sound in the world of modernity, the second - as a consequence - to the repercussions of the auditory experience in the works of representatives of the first avantgarde. The author, following various examples of avant-garde manifestations of “language-noise” (including the works of Filippo Tommaso Marinetti, Luigi Russolo, artists of Cabaret Voltaire in Zurich), points out that they reveal the compulsion to hear, to be in sound-noise. He highlights the special importance of early European avant-garde movements (such as Futurism and Dadaism) in the process of restoring the proper sound potential to language (and literature) and at the same time refers to the new understanding of literature in the context of the modern soundscape.
6
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Dialogowość i komparatystyka

100%
Hejmej A.
Wielogłos
|
2008
|
vol. 1
|
issue 3
PL
DIALOGISM AND COMPARATIVE LITERATUREThe article concerns the current situation of the discipline of comparative literature, particularly the question of dialogue/dialogism and comparative literary studies. A general discussion on dialogue and dialogism (with special reference to Mikhail Bakhtin’s theory discussed by Julia Kristeva and also by others such as Paul de Man, Jola Škulj, Michael Holquist) leads to the conclusion that these concepts are crucial to the comparative literature at the time of the “cultural turn”. Finally, the author distinguishes two types of comparative studies: “traditional” comparative literature and “new” comparative literature (cultural comparatism). In the field of “traditional”  comparative  literature the dialogism is considered as a problem of intertextuality in its most literal sense, whereas in the field of cultural comparatism it is understood as a pragmatically oriented theory of knowledge.
7
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Stefan Themerson’s Opera (St. Francis & The Wolf of Gubbio or Brother Francis’ Lamb Chops)

100%
Hejmej A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 38
|
issue 8
35-52
EN
The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam–London 1972) and the question of intermediality in general. An interpretation of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Divertissements [1962] and factor T [1956]), places Themerson’s idea in the context of the aesthetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work, etc.) and argues that the aesthetics of intermediality appear to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other, the phenomenon of intermediality as the aesthetics of existence.
8
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Niestabilność komparatystyki

100%
Hejmej A.
Wielogłos
|
2010
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vol. 1
|
issue 7-8
PL
Non-stability of comparative literature The paper focuses on the history and current situation of the discipline of comparative literature, particularly on the condition of comparative studies in literature and comparative cultural studies. A general discussion on comparative literature as ‘indiscipline’ (David Ferris’s concept), based on negative definitions (e.g. Hugo von Meltzl), limitations of comparison and comparability (Paul van Tieghem, René Etiemble, Gayatri Ch. Spivak, Jonathan Culler, Kenneth Reinhard), and individual projects (George Steiner, Daniel-Henri Pageaux, Armando Gnisci, Gayatri Ch. Spivak, Emily Apter, Susan Bassnett), leads to the conclusion that the ‘non-stability’ has been a crucial problem for comparative literature in the course of the last two centuries. Three metaphors are used to describe comparative literature: the Eiffel Tower (the idea of modernity), the World Trade Center (comparative literature as translatio) and the Tower of Babel (translation). In this context, the author argues that modern comparative studies can be defined not as a rigorous intellectual discipline, but rather as a discipline in statu nascendi, as a practice of reading and interpretation
9
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Stereotyp(y) muzyki w literaturze

100%
Hejmej A.
Przestrzenie Teorii
|
2003
|
issue 2
35-48
EN
The article concerns the question of music in literature, one of the problems of comparative studies, and terms: "non-musicality", "musicality" as stereotypes in literary studies. In the course of considering these views the following problems are discussed: analogy between literature and music (esthetic point of view), "non-musicality" of literature (as quite controversial category in literary research), musical contexts and intertexts (numerous artistic and analytical-literary strategies), contemporary typology of music in literature (S. P. Scher, E. Wiegandt, F. Arroyas, S. Jeanneret).
10
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ROZMOWA „WIELOGŁOSU”

33%
Korytowska M., Skwara M., Płaszczewska O., Bakuła B., Bilczewski T., Borowski A., Hejmej A., Sławek T.
Wielogłos
|
2010
|
vol. 1
|
issue 7-8
PL
Rozmowa „Wielogłosu”: O problemach współczesnej komparatystyki
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