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1

Przezroczysta lekkość bytu – od Calvina do Bieńczyka

100%

Błaszczak M.

Przestrzenie Teorii

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2016

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issue 25

170-210

EN

Transparency is one of physical esthetic categories that are used to describe literature and other arts. The main aim of this paper is to show how those esthetic categories are used on three levels: esthetic, performatively dramatic and philosophical in modern literature, theater, film and fine arts. The starting point for those considerations are methods of Italo Calvino (“American lectures”) and Marek Bieńczyk (his collection of essays titled “Transparency”) . Calvino’s category of “transparency” (in his attempt to go beyond anthropocentric cognition with the author’s main question: “Is imagination an instrument of cognition?”) is contrasted with Marek Bieńczyk’s term of “transparency”, who has pointed out the positive aspects of paintings (which are not only giving a feeling of emptiness but also provide certainty of clarity and obviousness). In addition to these categories, lucidity and glassiness are featured and a crystal structure is summoned in the context of mistiness as its opposition.

PL

Transparency is one of physical esthetic categories that are used to describe literature and other arts. The main aim of this paper is to show how those esthetic categories are used on three levels: esthetic, performatively dramatic and philosophical in modern literature, theater, film and fine arts. The starting point for those considerations are methods of Italo Calvino (“American lectures”) and Marek Bieńczyk (his collection of essays titled “Transparency”) . Calvino’s category of “transparency” (in his attempt to go beyond anthropocentric cognition with the author’s main question: “Is imagination an instrument of cognition?”) is contrasted with Marek Bieńczyk’s term of “transparency”, who has pointed out the positive aspects of paintings (which are not only giving a feeling of emptiness but also provide certainty of clarity and obviousness). In addition to these categories, lucidity and glassiness are featured and a crystal structure is summoned in the context of mistiness as its opposition.

2

Płynność – od Heraklita do Baumana

100%

Błaszczak M.

Przestrzenie Teorii

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2019

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issue 31

109-134

EN

The text concerns liquidity understood as an extremely extensive category containing the aspect of changeability and blurring boundaries. It covers an extremely wide spectrum of phenomena. Liquidity is a physical category that refers to the element of water and the senses of touch and taste. It became extremely popular in sociology as an epistemological category thanks to Zygmunt Bauman. This category should be applied much more widely in analyzing phenomena in the field of literature, art, theater, performance, but also going beyond practical analytical use and transferring this concept to the level of theory. The term „liquid” refers to many associations, which in turn allow us to recall different orders and perspectives, at the same time incorporating the current argument into a broader discourse on the moving, fluid nature of the concepts of „wandering” between disciplines. These considerations are also part of the author’s concept of amorphous aesthetic categories, which include liquidity.

3

„Prochem jesteś...”

100%

Błaszczak M.

Przestrzenie Teorii

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2012

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issue 18

135-152

EN

Dust, powder, ash – the categories of description of everything associated with passing and evanescence, forgetfulness, finitude, of elimination of time, new, contemporary, but also a reference to a rebirth, purification, reminders. Although dust is the most important, powder dominates. Rebirth is usually only an attempt, ending in failure. Playwrights, poets, writers are trying to put into words the eternal correctness and inalienable truth that says, from dust you are and to dust you shall return. Destruction, decay and old age, destruction and plunge into nothingness is best described as a man as a “miserable dust.” The heroes try to fight the burning of which begins at birth, but the course of this river cannot be reversed

4

„Zdychanie” czy „umieranie”? – estetyczny i etyczny wymiar śmierci we współczesnej twórczości dramaturgicznej

100%

Błaszczak M.

Zoophilologica. Polish Journal of Animal Studies

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2019

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issue 5

237-252

PL

Niezwykle interesującym zagadnieniem na polu literatury okazują się estetyczne i etyczne wymiary śmierci zwierząt. Czy śmierć spokojna, we śnie, w przyjaznym otoczeniu, bez lejącej się krwi, przez to, że jest estetycznie „ładniejsza”, to jest też bardziej etyczna? Jak te dwie kategorie mają się do siebie w perspektywie śmierci zwierząt? Mówi się, że zwierzę „zdycha”, a człowiek „umiera”. Czy mamy poczucie wspólnoty losu ludzkiego i zwierzęcego w obliczu śmierci? Próby odpowiedzi na postawione pytania można znaleźć we współczesnych dramatach, wśród których jednym z najciekawszych z punktu widzenia poruszanego tutaj problemu jest Pawi tren Iwony Korszańskiej. W tekście autorki zwierzęta i ludzie ulegają zrównaniu we wspólnym losie, a ich śmierć nie ulega waloryzacji na zdychanie i umieranie, tylko jest równoważna i równoprawna. W przedstawionych w dramacie performansach społecznych nieodłączna para Eros i Thanatos naznacza życie człowieka i zwierzęcia w tym samym stopniu.

EN

An extremely interesting issue in the field of literature is the question of aesthetic and ethical dimensions of animal death. Is a calm death while being asleep, in a friendly environment, with no streaming blood involved,more ethical,because it is aesthetically “nicer”? How do these two categories relate to one another when it comes to animal death? In the Polish language, the verb used to refer to an animal that stops to be alive is “zdychać” (die), whereas to a human– “umierać” (pass away). Is there a sense of community betweenthe animal and human fate in the face of death? Attempts to find the answers to these questions may be found in modern dramas, withPawitren by Iwona Korszańska as one of the most interesting ones in terms of the discussed problem. In the text written by this author, animals and humans are equalized sharing the common fate, and their death is not differentiated between“zdychanie” (dying of animals) and“umieranie” (passing away of humans), but rather equivalent and equal. In the social performances presented in the drama, the inseparable couple, Eros and Thanatos,marks the life of a human and an animal to the same degree.

5

Kolażowa tożsamość medialna

100%

Błaszczak M.

Przestrzenie Teorii

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2008

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issue 10

75-103

EN

Mirrors and screens have affected the specific of knowing, especially of dramatical characters' selfknowing. The personages are trying to walk through selfknowing, they are searching their identity asking themselves where is their "ego". They want to see their real image in the mirrorreflections. The process of growing the identity up which has taken place in the confrontation with the mirror reflection that calls Lacan's interpretation, who tells about Mirror Phase as an indispensable stage of "me" moulding. But the anagnorisis can't take place anymore. The character in mirror screened space faces the problem of creating his own "ego" not only from the fragment of the reality given to him directly in the dialogue and relations with other characters but also in the face of his mirror's reflection and copies in video projections. Besides selfknowing - inspiration, the problem of selfreflection in its works also appears. The memory is also the sort of mirror where the written pictures sometimes blur. In the contexts of contemporary "screened" dramas, the identity of character reaches the stage which we can call multicomplications. The character is shown as a dynamic dramatical space - the battle between the subject sphere and the object sphere. Breakdown and the lack of cohesion become the leading rule of character's creating, where in the end looks like collage. New dramatical identity has arisen - the collage media identity.

6

Szorstki i chropowaty dotyk – o dramaturgii zmysłów

100%

Błaszczak M.

Przestrzenie Teorii

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2021

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issue 36

227-253

EN

Today, the concept of dramaturgy refers primarily to the space of theater or, more broadly, to performative arts. But as the concept of drama has passed into the scientific discourse of sociology, anthropology or literary studies, so is it with dramaturgy. The understanding that appears here refers to its meaning as a special tension on the level of sensually experienced and perceived artistic events. The subject of interest here is the dramatic aesthetics of experience in the field of performing and visual arts. The aesthetic categories related to the senses are often of a physical origin and amorphous in nature. The roughness and harshness of the title in their origin are physical categories that can be experienced primarily through the sense of touch. In this intertwining of senses, we are talking about their dramaturgy, because they cannot usually be separated from each other and various works appeal to touch and other senses at the same time. The process of creating a work and its reception is an action, process, meeting, the playwright of which is both the creator / creator and the recipient. The considerations concern changes in the perception of the senses, from the glorification of the sense of sight to the ennoblement of the “lower” senses, the place and function of the classical and interactive museum and haptic art, as well as the polysensory and immersive reception designed in performance and theater.

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5 Przestrzenie Teorii

1 Zoophilologica. Polish Journal of Animal Studies

6 Błaszczak M.

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2 2019

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Przezroczysta lekkość bytu – od Calvina do Bieńczyka

Płynność – od Heraklita do Baumana

„Prochem jesteś...”

„Zdychanie” czy „umieranie”? – estetyczny i etyczny wymiar śmierci we współczesnej twórczości dramaturgicznej

Kolażowa tożsamość medialna

Szorstki i chropowaty dotyk – o dramaturgii zmysłów