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Ukryty, jawny, zdystansowany: Richarda Shustermana The Adventures of the Man in Gold: Paths Between Art and Life. A Philosophical Tale

100%
Budziak A.
ER(R)GO: Teoria – Literatura – Kultura
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2020
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issue 41
203-215
EN
The proposed discussion of Richard Shusterman’s The Adventures of the Man in Gold focuses on the literary-generic features of the text and the new ways in which it deploys several established thematic motifs. The tale is read as constituting not only a conte philosophique, but also a photo essay reviving the tradition of the paragone – the ancient rivalry of the image and the word – as well as the fairy tale, the quest-romance, and the fantastic story exploring the theme of the doppelgänger. This last motif is viewed in the context of, among other things, Shusterman’s essay on Wilde and Eliot, where he considers the contrastive ways in which they fashioned their public images. Shusterman’s book, containing autobiographical elements, is also discussed in terms of the relationships emerging among the implied author, the narrator, and the protagonist, with the emphasis put on the irony in the text which, rather teasingly, both asserts and denies the identity of the three personalities. And yet, even if Shusterman expertly uses irony to allow these three personae to retain their distinctiveness, the Man in Gold – a literary ingénu – can be viewed as the opposite of the figure of the Rortian ironist.
PL
Proponowane tu omówienie książki Richarda Shustermana koncentruje się głównie na jej wymiarze literackim, stawiając pytania o gatunek tego tekstu i jego usytuowanie w kontekście tradycyjnych motywów tematycznych. Ową publikację można bowiem odczytywać jako przykład nie tylko opowiastki filozoficznej, lecz także fotoeseju ożywiającego tradycję paragone (rywalizacji obrazu ze słowem), bajki, romansu opartego na motywie poszukiwania i opowiadania fantastycznego, wykorzystującego motyw doppelgängera. Ten ostatni wątek został  zinterpretowany (między innymi) w kontekście eseju literaturoznawczego Shustermana "Wilde and Eliot” i jego spostrzeżeń na temat sposobów kształtowania własnego wizerunku publicznego przez obu autorów. Ponadto w przedstawianym omówieniu rozważa się relacje pomiędzy autorem tekstu, jego narratorem i bohaterem, podkreślając znaczenie ironii jako strategii, która zapobiega wzajemnemu utożsamieniu tych trzech postaci – pomimo tego, że sam tekst zawiera jawne wątki autobiograficzne. W konkluzji niniejsza interpretacja proponuje, by spojrzeć na postać człowieka w złocie – literackiego ingénu – jako na filozoficzne przeciwieństwo Rortiańskiej ironistki.
2
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Antyesencjonalizm nietekstowy. O filozofii Richarda Shustermana

100%
Budziak A.
ER(R)GO: Teoria – Literatura – Kultura
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2006
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issue 12
EN
Anna Budziak Anti-textualist Anti-essentialism. The Philosophy of Richard Shusterman. Richard Shusterman's philosophy is outlined here as (1) providing a critique of Richard Rorty's "textualism" and (2) offering a philosophical alternative to Rorty's aestheticized ethics. In his critique of textualism, Shusterman points out the ontological as well as social and economic repercussions of Rorty's philosophical tenets: privileging the private discourse over the public, rendering self-definition exclusively in terms of self-narratives and prioritizing the aesthetic criterion of novelty. Shusterman proposes expanding the self-narrative's evaluative criteria by affirming integrity, harmony and growth. He also creates the discipline of somaesthetics: a branch of aesthetics which lays emphasis on the somatic aspect of the self and which defines the idea of "the aesthetic experience" as affective and transformatio­nal, thus capable of changing the course of life conducted not only within the textual confines but also hors de texte.
PL
Anna Budziak Anti-textualist Anti-essentialism. The Philosophy of Richard Shusterman. Richard Shusterman's philosophy is outlined here as (1) providing a critique of Richard Rorty's "textualism" and (2) offering a philosophical alternative to Rorty's aestheticized ethics. In his critique of textualism, Shusterman points out the ontological as well as social and economic repercussions of Rorty's philosophical tenets: privileging the private discourse over the public, rendering self-definition exclusively in terms of self-narratives and prioritizing the aesthetic criterion of novelty. Shusterman proposes expanding the self-narrative's evaluative criteria by affirming integrity, harmony and growth. He also creates the discipline of somaesthetics: a branch of aesthetics which lays emphasis on the somatic aspect of the self and which defines the idea of "the aesthetic experience" as affective and transformatio­nal, thus capable of changing the course of life conducted not only within the textual confines but also hors de texte.
3
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The Setting Sun of British Decadence: Material and Formal Aspects of the Term

100%
Budziak A.
Anglica Wratislaviensia
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2012
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issue 50
23-35
EN
The metaphor linking the idea of decadence with the image of a sunset captures an ambivalence typical of the term: it is uncertain whether this image emphasizes the sun’s sinking movement or its radiance, the sadness evoked by the sun’s decline at the end of the day or the uplifting of mood caused by the intensely coloured sky the moment the evening is about to begin. Starting from this metaphor, this essay proposes to consider contradictions entailed in the term “decadence,” looking at its material and formal aspects. The material aspect is viewed as manifest through thematic motifs — of individual malady, social pathology, the sensational thrill and scholarly interests — and visible in what this essay terms three “comforts”: the relish of an aesthetic moment, a fascination with decay, and a passion for collecting. However, by noting that these material attitudes (or “comforts”) have their aesthetic or “formal” consequences (such as impressionism, gothicism, and infra-realism), this essay changes its focus to the formal aspects of decadence, considered both in terms of their limitations and benefits. The faults of decadence are understood as Nietzsche would have it: as typical of an epoch overwhelmed with forms it could not absorb. The benefits, in turn, are seen through an analogy between decadent literature and the art of painting. In fact, this essay stresses a likeness that emerges when decadence is compared to Italian mannerism: both can be viewed as reservoirs of mature, if over-sophisticated, forms. So eventually, while discredited for its material decline, decadence is presented as deserving appreciation for its formal aspect: as a summation of aesthetic forms and the transition to the aesthetically new — to modernism.
4
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Oscar Wilde’s Renaissance References: Neo-Platonism, Hermeticism and Mannerism

100%
Budziak A.
Anglica Wratislaviensia
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2015
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issue 53
25 - 33
EN
A standard association of Wilde’s philosophy, of creating art and of living an aesthetic life, is with Hellenism. The Renaissance inspiration has received relatively little attention in the Wilde criticism. If somewhat overlooked by critics, the Renaissance underpinnings of Wilde’s attitudes and beliefs were largely viewed as providing him with a cultural code to explore and legitimise homosexuality. While fully in agreement with the view of Renaissance allusions as a cultural warrant for homosexuality, this paper aims to explore their significance in a different light. Its focus is twofold. It highlights Wilde’s allusions to the Renaissance interweaving of neo-Platonism and Hermeticism. It also stresses his invocations of the aesthetics typical of Italian Mannerists. By foregrounding these two themes, it attempts to demonstrate that, actually, Wilde’s preferences were for the art of the post- rather than of the Pre-Raphaelite period. Renaissance Hermeticism and neo-Platonism served him, as well as other Decadents, in the way they had served Italian Mannerists: by nourishing a belief that the world of artifice was founded on ideal neo-Platonic harmonies and Hermeticist correspondences. This ideal world, in turn, provided artists with a route to escape from the troubling sense of civilisational decadence.
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