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1

Między aktem świadomości a wypowiedzią. Technika strumienia świadomości jako metafora sztuki

100%

Saganiak M.

Prace Filologiczne. Literaturoznawstwo

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2017

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issue 7(10)

141-156

EN

The subject of the article is an aesthetic experience in literary arts illustrated with the example of stream of consciousness used in poetic prose by Julian Przyboś in his cycle of poetry entitled Pióro z ognia (A Feather Made of Fire, 1937). There are several kinds of the stream of consciousness technique, but the most interesting one is a direct written record of a character's thought process which usually takes the form of an interior monologue. Such record of the multitudinous thoughts and feelings which pass through the mind cannot by treated as a speech act because of the lack of an apparent organized form and because of the fact that the "speaker" is not addressing an audience or a third person. However this equivalent of thoughts can be treated in an aesthetic manner, on a special meta-level which is possible in aesthetic communication. Therefore, the following questions arise: is it possible to take someone’s own stream of consciousness as a subject of that kind of aesthetic experience and then to treat everything forming part of consciousness as inspiration for certain aesthetic interest? Could it be similar to ‘progressive universal poetry’ described by Friedrich Schlegel? Could a well-known definition of aesthetic experience by Stanisław Ossowski be a proper description of such attitude? In Ossowski 's concept, the most important features of aesthetic experience are as follows: separating from our scientific interests and practical concerns, a certain ‘disinterested’ attitude and a play which allows different perception of time i.e. ‘living in the moment’. If we adopt that approach to the modern stream of consciousness technique it may transpire that the most important aspect of any aesthetic experience is not a certain feature of a given piece of art but a certain activity of consciousness which assumes a particular position to itself and finds pleasure in the feeling of its own power and activity.

2

Walka o Słowo. Odpowiedź Spirydionowi Prawdzickiemu

100%

Saganiak M.

Prace Literackie

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2010

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vol. 50

51-70

EN

The article examines Psalmy przyszłości [Psalms of the Future] by Zygmunt Krasiński, Odpowiedź na “Psalmy przyszłości” [Answer to the “Psalms of the Future”] by Juliusz Słowacki and two polemic psalms added by Krasiński: Psalm of Sorrow and Psalm of Good Will. The author treats them as a dialogue and uses Bakhtin’s understanding of the dialogic word to describe it. Due to the limited scope of the publication, she focuses in particular on the second part of the dialogue, namely Answer to the “Psalms of the Future” by Juliusz Słowacki. She assumes that Bakhtin’s category of the word is related to the category of the act and resembles the Romantic philosophy of the act. Bakhtin, just like Romantic thinkers, looked at a word (utterance) from a pragmatic point of view. A word reveals an idea, which means that it is uttered responsibly as something true (this does not exclude the use of any fi ctional elements in the utterance) and as something that expresses our ideological, ethical and political choices made in this very historical moment. Bakhtin’s categories enable us to describe precisely the position of Słowacki’s reply to Krasiński’s Psalms. The author’s analysis demonstrates a very complex architecture of Answer to the “Psalms of the Future” in which we find all types of Bakhtin’s double-voiced words (unidirectional, active and parodic words) but also the author’s direct words. The analysis, carried out by means of Bakhtin’s categories, reveals both the inner complexity of historiosophical ideas of late Polish Romanticism, and intellectual, emotional and volitional relations between the two friends. There were great forces between them that connected them but also divided them. That is why Answer to the “Psalms of the Future” has its own dynamism. First we can notice its parodic and polemic elements which manifest themselves in the use of the double-voiced word. Then emerges, however, Słowacki’s single-voiced word which is presented as clearly opposite to Krasiński’s word. At the same time when the ideological opposition is revealed, we can see a strong emotional relation between the two men and Słowacki’s desire to rebuild the destroyed bond with his friend. The last part of the discussion, namely two psalms added later by Krasiński, shows the liveliness of Krasiński’s idea, flexibility of his imagination and breadth of his horizons. This is manifested in the creative transformation of his own ideas under the infl uence of the dialogue with his great adversary (and under the infl uence of historical events of the Galician Slaughter). Psalm of Sorrow and Psalm of Good Will also seem to show that the friends can sustain their bond even though they may differ in their ideas about history and action.

3

Uchwała nr 3/2000 Senatu Uniwersytetu Kardynała Stefana Wyszyńskiego w Warszawie z dnia 20 stycznia 2000 roku

63%

Bartnicki R., Saganiak M.

Prawo Kanoniczne

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2001

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vol. 44

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issue 1-2

4-4

4

Uchwała nr 7/2002 Senatu Uniwersytetu Kardynała Stefana Wyszyńskiego w Warszawie z dnia 14 marca 2002 roku

51%

Bartnicki R., Saganiak M.

Prawo Kanoniczne

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2003

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vol. 46

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issue 1-2

6-6

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Między aktem świadomości a wypowiedzią. Technika strumienia świadomości jako metafora sztuki

Walka o Słowo. Odpowiedź Spirydionowi Prawdzickiemu

Uchwała nr 3/2000 Senatu Uniwersytetu Kardynała Stefana Wyszyńskiego w Warszawie z dnia 20 stycznia 2000 roku

Uchwała nr 7/2002 Senatu Uniwersytetu Kardynała Stefana Wyszyńskiego w Warszawie z dnia 14 marca 2002 roku