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1

Przeszłość jako przyszłość. Anamnetyka Sebalda

100%
Czaja D.
Prace Kulturoznawcze
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2013
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vol. 15
105 - 120
EN
“Let us choose the future” — was a slogan used in one of the recent political campaigns. It could not have been a coincidence. Contemporary culture — in its many dimensions and scopes — is future-oriented. The “future” is the holy term of the present. An acceleration in the development of civilisation, strengthened by promises made by science, has turned the future into a promised land for human beings of today. Yet, ironically, the protagonists of books written by Sebald — an eminent German writer and academic — have their eyes on the past. They penetrate what has been forgotten, pushed to obscurity, repressed. Sebald probes this unwanted past, placing there the sources of our present and, more importantly, our future. A robust anamnesis is a prerequisite for thinking reasonably about our future, both individually and collectively.
2

Szmery, szepty i krzyki. Muzyka wenecka

100%
Czaja D.
Prace Kulturoznawcze
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2012
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vol. 13
57-59
EN
Innumerable accounts by travellers as well as literary and film works demonstrate that Venice is primarily an eye-centred space. In the “Venetian text” the activity of the other senses may not be as intense as that of the eye, yet it does undoubtedly exist! What comes to the fore is hearing, a Venice made of sounds. Careful readers will note that authors writing about Venice not only s e e but also h e a r the city and are happy to record their aural impressions. The Venetian audiosphere is a rich, varied and unequivocal space. It is a transgressive phenomenon, going far beyond the physiology of hearing and simple phenomenology. The Venetian soundscape clearly refers to semantics that goes beyond the senses and purely aural impressions.
3
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Stacja Rovigo. Przyjazdy, odjazdy

100%
Czaja D.
Przegląd Kulturoznawczy
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2012
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issue 1(11)
26-35
EN
Rovigo is the name of small town in the northern part of Italy. No Baedeker, no guide notices the name in its hot list of Italian “miracles”. Rovigo is the common, ordinary place, no spectacular monuments or tourist attractions one can meet there. In this context, it seems to be a bit enigmatic and striking, that the famous poem by Zbigniew Herbert has been entitled after Rovigo (it’s the title of the penultimate set of poems by Herbert, as well). Why Herbert decided to honor such “invisible city” in his poetry? The author brings out the main motives of the poem and tries to delineate deep semantics of the very name Rovigo.
4
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Water, time and a dark-green coat. On Chopin’s Barcarolle

100%
Czaja D.
Interdisciplinary Studies in Musicology
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2010
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issue 9
283-296
PL
The Barcarolle, Op. 60 is a late (1846) Chopin masterpiece. The shrewdest interpreters (Maurice Ravel, Jarosław Iwaszkiewicz) immediately understood that this miniature represents something much deeper than just a skilful stylisation based on Italian (Venetian?) melody. The author presents and discusses in detail several hermeneutic attempts at interpreting the meanings of the Barcarolle, devoting particular attention to Iwaszkiewicz’s sketch ‘Barkarola Chopina’. He also draws attention to the peculiar rhetoric of the text (strongly marked aquatic motifs, accentuated polyvalence and the shimmering of meaning). He goes on to reveal striking connections between the semantics of Iwaszkiewicz’s essay on the Barcarolle and his texts devoted to Venice. In the final section, he puts forward the hypothesis that the Barcarolle can be interpreted as a musical portrait of Venice - a portrait made of sounds, and so by definition vague, allusive and symbolic; a portrait in which the rocking and shimmering of the notes is also the shimmering of meaning.
5
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Grzech Kaina. Nowe konteksty interpretacyjne

100%
Czaja D.
Etnolingwistyka. Problemy Języka i Kultury
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2016
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vol. 28
EN
The author aims to reinterpret the biblical story of Cain and Abel. The account contained in The Book of Genesis is considered here to be ambiguous and in need of new anthropological interpretive approach. The sense of the story extends beyond known interpretations: Jacek Filek’s Cain’s Sad Face (philosophical interpretation), Alan Aycock’s The Mark of Cain (anthropological interpretation) and Jose Saramago’s Cain (atheist viewpoint). The new interpretation proposed here is termed mysterious. The following questions are asked: Why did Cain kill? Could he have avoided killing? Why did God accept Abel’s sacrifice and reject Cain’s? Why does God place a protective mark on him? And who is the figure of Cain in the first place? The basis for the new approach to Cain’s sin is Michał Klinger’s Cain’s Mystery. Klinger concludes that the biblical account contains the message of the vagueness of God’s decrees and the universality of evil – evil is an inalienable element of humanity, besides good. Cain is interpreted as being similar to the sinners in Gospels, who encounter Jesus and receive forgiveness and salvation.
PL
Zamierzeniem autora jest nowa interpretacja biblijnej historii Kaina i Abla. Autor uznaje perykopę z Genesis za tekst niejednoznaczny, wymagający nowej interpretacji antropologicznej. Sugeruje, że sens historii Kaina i Abla wykracza poza znane interpretacje: Jacka Filka Ponura twarz Kaina (interpretacja filozoficzna), Alana Aycocka Piętno Kaina (wykładnia antropologiczna) oraz Jose Saramago Kain (ateistyczny punkt widzenia). Prezentuje jej nową wykładnię, którą nazywa misteryjną. Stara się znaleźć odpowiedzi na pytania: Dlaczego Kain zabił? Czy mógł nie zabić? Dlaczego Pan przyjął ofiarę Abla, a nie przyjął ofiary Kaina? Dlaczego Bóg kładzie na nim znak ochronny? I kim w ogóle jest postać Kaina?Podstawą zaprezentowanego w artykule nowego spojrzenia na grzech Kaina jest interpretacja zawarta w pracy Tajemnica Kaina teologa Michała Klingera. Autor przedstawia nowe konteksty rozumienia istoty kainowego przewinienia. Dochodzi do wniosku, że biblijna opowieść o bratobójcy zawiera w sobie przesłanie o niejasności wyroku boskiego i o uniwersalizmie zła, ideę, że nieodłącznym elementem człowieczeństwa jest nie tylko dobro, ale również zło. Kain jest podobny do grzeszników ewangelicznych obecnych w życiu Chrystusa i dostępujących przebaczenia i zbawienia.
6

Efekt motyla. Natura jako paradoks

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Czaja D.
Prace Kulturoznawcze
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2012
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vol. 14
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issue 2
23-32
EN
A clear-cut structuralist distinction between nature and culture seems to be a somewhat anachronistic concept in today’s humanities. What belongs strictly to nature and what pertains to culture only? Can these two domains be cleanly separated from each other, so that “pure” nature could stand on one side and equally “pure” culture on the other? Butterfly wings, with their “natural harmony and beauty” (unintentionally oxymoronic phrase taken from Roger Caillois) seem to be a borderline case to me. And this is what makes them so intriguing. Butterfly wings (and perhaps the butterfly itself in its airiness?) boldly defy the “obvious” division into the natural, cultural, biological and aesthetic. The eponymous “butterfly effect” does not then refer to the theory of chaos, but, rather, signifies the disturbance experienced by the subject of cognition faced with the intoxicating beauty of butterfly wings.
7

Nieznane arcydzieło. "Obrazy Włoch" jako antyprzewodnik

100%
Czaja D.
Prace Kulturoznawcze
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2015
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vol. 17
159 - 170
EN
One could maintain that Obrazy Włoch (Images of Italy), the eminent work by Paweł Muratow, has been perfectly recognized in our country (Polish edition: 1972). But it is not true. In popular reception, this legendary book was perceived primarily as a refined guide to Italian culture and art. To be honest, there were few convincing reasons to do that. Hovewer, I argue that regarding this work as the sort of a sophisticated Baedeker is a total misreading. In fact, the two volumes of Obrazy Włoch remind the reader the literary essay filled with historiosophical content, rather than a popular guide for common readers. The work of a great Russian historian of art is based on three elements: sensuality, generalization, and mythologization. For these reasons the aforementioned book cannot be regarded as a naive realistic work (a kind of report) or reliable “photography” of Italian reality. In the author’s intention this book should function as a kind of spiritual testimony for the coming generations in Europe.
8

Antropologia jako ćwiczenie duchowe

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Czaja D.
Prace Kulturoznawcze
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2011
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vol. 12
31-43
EN
The very title of the article contains a clear reference to the concept of Pierre Hadot, for whom the category of exercices spirituels was best suited to the description of philosophy in Antiquity, though even he regarded it as something of more than just historical significance. A diagnosis of modern reflection on human nature, presented e.g. by Lindsay Waters, suggests that “spiritual exercises” in their existential dimension, “exercises” not limited to thinking drills but requiring wholesale commitment and having such consequences, provide perhaps the best description of what the humanities are and should be. Augustine’s Tolle, lege interpreted in this manner is used with reference to Pavel Muratov’s Images of Italy.
9

Miłosza lekcja biologii

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Czaja D.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2011
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issue 25
59-80
EN
Over the years A View of San Francisco Bay (1969) has proven itself essential both to Miłosz’s life and to his writings. It was here that he formulated, for the fi rst time with such a force, the theses that would later regularly reappear in his essays and poetry. One vital aspect of the intellectual construction outlined in A View of San Francisco Bay was the concept of Nature. Miłosz proposed a “presentistic” approach arguing for the concept of Nature, which he expounded, as an indispensible element of contemporary thought. His refl ections are restricted to selected motifs closely linked with his theses about Nature: Nature and beauty, human/animal relations, and the theory of evolution.
10
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Isola del Giglio. Pejzaż z katastrofą w tle

100%
Czaja D.
Konteksty - Polska Sztuka Ludowa
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2023
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vol. 342
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issue 3
147-154
EN
On Friday, 13 February 2012, a luxury cruise ship crashed along the shore of the island of Isola del Giglio (Tuscany). 32 persons perished and 64 were wounded. First, the author reconstrues in detail fundamental media discourses dealing with the Tyrrhenian Sea shipwreck. In the second part of the text he ponders on the consequences of the tragedy for the local landscape. The ship’s wreckage was left in the shore waters for two and a half years and only then was hauled away to the port of Genoa. Two questions remain: will the landscape remember? Will the catastrophe, despite the fact that its consequences are no longer invisible, still stay as an indelible fragment of the landscape?
PL
W piątek, trzynastego stycznia 2012 roku, luksusowy statek wycieczkowy rozbił się u wybrzeży toskańskiej wyspy Isola del Giglio, 32 osoby zginęły, 64 zostały ranne. W pierwszej części tekstu autor rekonstruuje detalicznie zasadnicze dyskursy medialne oplatające tę katastrofę na Morzu Tyrreńskim. W drugiej, zastanawia się nad konsekwencjami tej katastrofy dla miejscowego pejzażu. Wrak statku zalegał wody przybrzeżne przez dwa i pół roku, po czym został odholowany do portu w Genui. Pozostaje pytanie: czy pejzaż pamięta? Czy ta katastrofa, mimo że skutki jej są już niewidoczne, pozostanie nadal jako nieusuwalna część miejscowego pejzażu.
11
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Podróż włoska, dzisiaj

63%
Barbaruk M., Czaja D.
Konteksty - Polska Sztuka Ludowa
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2023
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vol. 342
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issue 3
7-16
EN
Transcript of an interview conducted by Magdalena Barbaruk with Dariusz Czaja in 2013. Its direct cause was the publication of the book "Somewhere Further, Where Else" published by an anthropologist in 2010, which was devoted to Puglia, the Italian South. The conversation concerns, among others: the image of Italy (contemporary and historical), the specificity of the anthropological view of the Italian province (but also the center), the features of the "Italian journey" and the search for a language to talk about the Italian experience.
PL
Zapis wywiadu przeprowadzonego przez Magdalenę Barbaruk z Dariuszem Czają w 2013 roku. Jego bezpośrednią przyczyną była publikacja książki "Gdzieś dalej, gdzie indziej" wydanej przez krakowskiego antropologa w 2010 roku, która poświęcona zostałą Apulii, włoskiemu Południu. Rozmowa dotyczy m.in. obrazu Włoch (współczesnego i historycznego), specyfiki antropologicznego spojrzenia na włoską prowincję (ale i centrum), cech "podróży włoskiej" i poszukiwaniach języka opowiadania o doświadczeniu Włoch.
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