The literary output of Marian Pankowski (1919–2011) is rich in all literary genres. Nevertheless, relatively little has been written about his poetry, which is the subject of this study. Shaped by his personal experience, both as a human being and as a reader, Pankowski’s poems reflect the clash he faces every day, trying to master French and become part of the French-speaking world. In his carefully thought-out lyric form (alliterations, metaphors, similes), which is an explicit reference to the avant-garde and to the Skamander group, a group of experimental Polish poets, there is no place for the verbosity present in his prose. The analysis of some of Pankowski’s lesser-known or even unknown poems undertaken in this study proposes an alternative way of reading his poetic texts. The author of the article points out certain poetic images built upon a sensuous yet controlled perception of the world, based mainly on the senses of hearing and sight. The sense of touch, however, is completely suppressed, as if suggested by the heightened sense of sight. For the poet, his own corporeality is a taboo. He therefore seems to transpose it to the presented world. Pankowski’s poetry, wrongly associated only with his early works, is worth knowing. It is interesting, educational as well as visually and verbally intriguing. Artykuł Doroty Walczak-Delanois Marian Pankowski’s Poetic Art: Between the Polish and the Francophone Elements w języku polskim dostępny w: „Prace Polonistyczne” 2015, seria LXX, s. 233–259 (Dorota Walczak-Delanois, Sztuka poetycka Mariana Pankowskiego – między żywiołem polskim i frankofońskim).
玛丽安·潘科夫斯基(Marian Pankowski, 1919-2011)的文学作品涵盖了各种文学类型。然而，关于他的诗歌的记载相对较少，这也是本研究的主题。潘科夫斯基的诗歌受到他个人经历的影响，无论是作为一个人还是作为一个读者，他的诗歌反映了他每天面临的冲突，他试图掌握法语并成为法语世界的一部分。在他精心构思的抒情形式(头韵，隐喻，明喻)中，这是对先锋派和斯卡曼德集团的明确参考，一群波兰实验诗人，在他的散文中没有冗长的地方。本研究对潘考斯基的一些不太为人所知甚至不为人所知的诗歌进行了分析，提出了另一种阅读他诗歌文本的方式。本文作者指出，某些诗意意象是建立在一种感性而又受控的对世界的感知之上的，这种感知主要基于听觉和视觉。然而，触觉却完全被抑制了，就好像是由高度的视觉所暗示的。对诗人来说，他自己的肉体是一个禁忌。因此，他似乎把它转移到了现实世界。潘科夫斯基的诗歌，错误地只与他的早期作品联系在一起，是值得了解的。它很有趣，有教育意义，在视觉上和口头上都很吸引人。阿蒂库佐夫·多洛蒂·瓦尔扎克-德拉诺瓦斯·玛丽安·潘科夫斯基的诗歌艺术:在波兰和法语元素之间w języku polskim dostępny w:“波兰文学”2015年，第xx卷，第233-259页(Dorota Walczak-Delanois, Sztuka poetycka Mariana Pankowskiego - między żywiołem polskim i frankofońskim)。
{"title":"Marian Pankowski’s poetic art: between the Polish and the Francophone elements","authors":"","doi":"10.26485/pp/2023/78/12","DOIUrl":"https://doi.org/10.26485/pp/2023/78/12","url":null,"abstract":"The literary output of Marian Pankowski (1919–2011) is rich in all literary genres. Nevertheless, relatively little has been written about his poetry, which is the subject of this study. Shaped by his personal experience, both as a human being and as a reader, Pankowski’s poems reflect the clash he faces every day, trying to master French and become part of the French-speaking world. In his carefully thought-out lyric form (alliterations, metaphors, similes), which is an explicit reference to the avant-garde and to the Skamander group, a group of experimental Polish poets, there is no place for the verbosity present in his prose. The analysis of some of Pankowski’s lesser-known or even unknown poems undertaken in this study proposes an alternative way of reading his poetic texts. The author of the article points out certain poetic images built upon a sensuous yet controlled perception of the world, based mainly on the senses of hearing and sight. The sense of touch, however, is completely suppressed, as if suggested by the heightened sense of sight. For the poet, his own corporeality is a taboo. He therefore seems to transpose it to the presented world. Pankowski’s poetry, wrongly associated only with his early works, is worth knowing. It is interesting, educational as well as visually and verbally intriguing. Artykuł Doroty Walczak-Delanois Marian Pankowski’s Poetic Art: Between the Polish and the Francophone Elements w języku polskim dostępny w: „Prace Polonistyczne” 2015, seria LXX, s. 233–259 (Dorota Walczak-Delanois, Sztuka poetycka Mariana Pankowskiego – między żywiołem polskim i frankofońskim).","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135559787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Posąg Hermesa (The Statue of Hermes), a poem by Kazimierz Przerwa-Tetmajer, features a myriad of references to the act of sculpting, the statue itself, the myth of Hermes, the myth of Pygmalion, images of fertility, female libido, and, last but not least, the possibility that the reader, the poet, and the girl in the text are ticked by Hermes. The symbols incorporated in the poem illuminate each other and, as a result, the myth is reenacted in the very act of reading the sonnet. At the same time, it is not possible to put forward a single interpretation of the text. The myth can only be actualized if all the interpretations or the poem are simultaneously combined.
{"title":"A Girl and Hermes. Kazimierz Przerwa-Tetmajer’s \"Posąg Hermesa\" (\"The Statue of Hermes\")","authors":"","doi":"10.26485/pp/2023/78/5","DOIUrl":"https://doi.org/10.26485/pp/2023/78/5","url":null,"abstract":"Posąg Hermesa (The Statue of Hermes), a poem by Kazimierz Przerwa-Tetmajer, features a myriad of references to the act of sculpting, the statue itself, the myth of Hermes, the myth of Pygmalion, images of fertility, female libido, and, last but not least, the possibility that the reader, the poet, and the girl in the text are ticked by Hermes. The symbols incorporated in the poem illuminate each other and, as a result, the myth is reenacted in the very act of reading the sonnet. At the same time, it is not possible to put forward a single interpretation of the text. The myth can only be actualized if all the interpretations or the poem are simultaneously combined.","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135559797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gaston Bachelard (1884–1962), a French anthropologist of the imagination, seems to be somewhat forgotten and significantly underresearched in Polish literary studies, even though his major works on poetic imagination – La Psychanalyse du feu (1938), L’Eau et les reves (1942), L’Air et les songes (1943), La Terre et les reveries de la volonté (1947), La Terre et les reveries du repos (1948), La Poétique de l’espace (1957), La Poétique de la reverie (1960), and La Flamme d’une chandelle (1961) – have exerted a major impact on the perception of the literary text. Not only did Bachelard propose a new poetics (the poetics of the elements), but he also redefined the category of the author and introduced the following concepts to the humanities: the Dreaming Cogito (or the Dreamer’s Cogito), which describes a creative subjectivity, and dreamy consciousness (Fr. conscience reveuse), or, in other words, poetic imagination. Bachelard’s poetics of the elements is founded upon his notion of symbols-images, which include principal images (Fr. imago princeps), imaginative compounds that organize the Dreamer’s Cogito. The article discusses the theoretical concepts that Bachelard explains in his monograph on the Earth element, entitled La Terre et les reveries de la volonté. Essais sur les imagination de la matiere (Corti, Paris 1947). Karwowska focuses on the reinterpretation of the mythical figure of Atlas. It is examined in the context of the imaginary relationship between anthropos and kosmos, which serves as the thematic core of Bachelard’s anthropology. Following Bachelard, Karwowska interprets the mythical Atlas as an archetypal image that can be expressed on the level of langage. What serves as its main feature is redundancy which remains open to various interpretative contexts. Bachelard’s work on myth in literary studies was most fully developed by myth-criticism. Scholars who research this field, similarly to Bachelard, investigate the human mundus imaginalis. They look for semantic basins (imaginary chreods), formed around a common meaning, the dominant myth. The article attempts to reconstruct the images generated by the Dreamer’s Cogito, which are the imagination’s response to the human encounter with material nature. It examines the mythical figure of Atlas against the wide spectrum of Bachelard’s figures of the imagination (the Antaeus complex, the Pluto-Proserpine complex, the mythical figure of Vulcan, the muscular anthropos, crystal imagination). Bachelard thoroughly investigates how humans use their imagination to colonize nature, studies the mechanisms of imagination that function on the level of the relationship between anthropos and kosmos, and finds universal anthropological antagonistic strategies of fight and domination in the human relationship with matter.
加斯东·巴舍拉(1884-1962)，一位研究想象的法国人类学家，在波兰文学研究中似乎有点被遗忘了，而且研究不足，尽管他关于诗歌想象的主要作品——《人的精神分析》(1938)、《水与梦境》(1942)、《空气与歌曲》(1943)、《大地与幻想》(1947)、《大地与幻想》(1948)、《空间与幻想》(1957)、《幻想与幻想》(1960)、和La Flamme d 'une chandelle(1961) -对文学文本的感知产生了重大影响。巴舍拉不仅提出了一种新的诗学(元素的诗学)，而且他还重新定义了作者的范畴，并将以下概念引入人文学科:梦的我思(或梦者的我思)，它描述了一种创造性的主体性，以及梦的意识(frc . conscience reveuse)，或者换句话说，诗意的想象。巴舍拉的元素诗学是建立在他的象征意象的概念之上的，其中包括主要意象(法语:imago princeps)，以及组织做梦者的“我思”的富有想象力的化合物。本文讨论了巴舍拉在他的专著《地球元素》(La Terre et les reveries de La volont)中解释的理论概念。《论物质的想象力》(科尔蒂，巴黎，1947)。卡沃斯卡专注于对神话人物阿特拉斯的重新诠释。它是在人类与宇宙之间的想象关系的背景下进行研究的，这是巴舍拉人类学的主题核心。继巴舍拉之后，卡沃斯卡将神话中的阿特拉斯解释为一种可以在语言层面上表达的原型形象。它的主要特点是冗余性，这对各种解释背景都是开放的。巴舍拉在文学研究中对神话的研究在神话批评中得到了最充分的发展。研究这一领域的学者，与巴舍拉一样，研究人类的想象世界。他们寻找语义盆地(假想的信条)，围绕一个共同的意义，即占主导地位的神话而形成。本文试图重构梦者的“我思”所产生的图像，这是想象对人类与物质自然相遇的反应。它将阿特拉斯的神话形象与巴舍拉的广泛的想象形象(安泰乌斯综合体，普鲁托-珀耳塞福涅综合体，火神的神话形象，肌肉发达的人类，水晶般的想象力)进行了对比。巴舍拉深入研究了人类如何利用想象力来殖民自然，研究了在人与宇宙关系层面上发挥作用的想象力机制，并在人与物质的关系中发现了普遍的人类学对抗策略，即斗争和统治。
{"title":"A reinterpretation of the mythical figure of Atlas in Gaston Bachelard’s anthropology","authors":"","doi":"10.26485/pp/2023/78/4","DOIUrl":"https://doi.org/10.26485/pp/2023/78/4","url":null,"abstract":"Gaston Bachelard (1884–1962), a French anthropologist of the imagination, seems to be somewhat forgotten and significantly underresearched in Polish literary studies, even though his major works on poetic imagination – La Psychanalyse du feu (1938), L’Eau et les reves (1942), L’Air et les songes (1943), La Terre et les reveries de la volonté (1947), La Terre et les reveries du repos (1948), La Poétique de l’espace (1957), La Poétique de la reverie (1960), and La Flamme d’une chandelle (1961) – have exerted a major impact on the perception of the literary text. Not only did Bachelard propose a new poetics (the poetics of the elements), but he also redefined the category of the author and introduced the following concepts to the humanities: the Dreaming Cogito (or the Dreamer’s Cogito), which describes a creative subjectivity, and dreamy consciousness (Fr. conscience reveuse), or, in other words, poetic imagination. Bachelard’s poetics of the elements is founded upon his notion of symbols-images, which include principal images (Fr. imago princeps), imaginative compounds that organize the Dreamer’s Cogito. The article discusses the theoretical concepts that Bachelard explains in his monograph on the Earth element, entitled La Terre et les reveries de la volonté. Essais sur les imagination de la matiere (Corti, Paris 1947). Karwowska focuses on the reinterpretation of the mythical figure of Atlas. It is examined in the context of the imaginary relationship between anthropos and kosmos, which serves as the thematic core of Bachelard’s anthropology. Following Bachelard, Karwowska interprets the mythical Atlas as an archetypal image that can be expressed on the level of langage. What serves as its main feature is redundancy which remains open to various interpretative contexts. Bachelard’s work on myth in literary studies was most fully developed by myth-criticism. Scholars who research this field, similarly to Bachelard, investigate the human mundus imaginalis. They look for semantic basins (imaginary chreods), formed around a common meaning, the dominant myth. The article attempts to reconstruct the images generated by the Dreamer’s Cogito, which are the imagination’s response to the human encounter with material nature. It examines the mythical figure of Atlas against the wide spectrum of Bachelard’s figures of the imagination (the Antaeus complex, the Pluto-Proserpine complex, the mythical figure of Vulcan, the muscular anthropos, crystal imagination). Bachelard thoroughly investigates how humans use their imagination to colonize nature, studies the mechanisms of imagination that function on the level of the relationship between anthropos and kosmos, and finds universal anthropological antagonistic strategies of fight and domination in the human relationship with matter.","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135560235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Using mythanalysis, Badowska interprets one of Leopold Staff’s mature poems Adam (1914), which presents a poetic monologue delivered by a corpse that rests in a grave. The corpse’s ontological situation is a consequence of breaking the prohibition mentioned in the myth of the fall in the Book of Genesis. Badowska notes that the images and symbols used by the poet belong, according to Durand’s classification, to the diurnal order. She also argues that in Adam, as in many other poems by Staff, the author’s imagination is organized according to the vertical model of space, which is based on the archetypal binary juxtaposition of the negatively valued bottom and the positively valued top. She concludes that Staff’s poem does not retell the Adamic myth, but serves as a version of the heroic myth, which features the rites of regression, symbolic death (katodos), and the subsequent rebirth (anodos).
{"title":"The mythical figure of the first man. Looking at \"Adam\" by Leopold Staff through the prism of myth analysis","authors":"","doi":"10.26485/pp/2023/78/6","DOIUrl":"https://doi.org/10.26485/pp/2023/78/6","url":null,"abstract":"Using mythanalysis, Badowska interprets one of Leopold Staff’s mature poems Adam (1914), which presents a poetic monologue delivered by a corpse that rests in a grave. The corpse’s ontological situation is a consequence of breaking the prohibition mentioned in the myth of the fall in the Book of Genesis. Badowska notes that the images and symbols used by the poet belong, according to Durand’s classification, to the diurnal order. She also argues that in Adam, as in many other poems by Staff, the author’s imagination is organized according to the vertical model of space, which is based on the archetypal binary juxtaposition of the negatively valued bottom and the positively valued top. She concludes that Staff’s poem does not retell the Adamic myth, but serves as a version of the heroic myth, which features the rites of regression, symbolic death (katodos), and the subsequent rebirth (anodos).","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135560470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article offers a list of validated and reconstructed “addresses” of places where Mickiewicz stayed in his youth (until 1829) and discusses them in specific contexts. The changing places of residence were the result of constant movement of variable genesis and course. These relocations affected the life of Mickiewicz as a high school student, a university student, and a displaced individual. They happened in different circumstances and involved taking various routes. Some of them were of Mickiewicz’s own accord: due to familial, sentimental, and collegial reasons, or as a result of official duties imposed by the tsar’s decrees. Most relocations took place in Lithuania. The less numerous, albeit significantly longer, official journeys of hundreds of kilometers were made by Mickiewicz in Russia. These relocations are presented in the form of calculations and location lists.
{"title":"Adam Mickiewicz’s youth under a foreign roof: in Novogrudok, Vilnius, Kaunas, in the Empire","authors":"","doi":"10.26485/pp/2023/78/13","DOIUrl":"https://doi.org/10.26485/pp/2023/78/13","url":null,"abstract":"The article offers a list of validated and reconstructed “addresses” of places where Mickiewicz stayed in his youth (until 1829) and discusses them in specific contexts. The changing places of residence were the result of constant movement of variable genesis and course. These relocations affected the life of Mickiewicz as a high school student, a university student, and a displaced individual. They happened in different circumstances and involved taking various routes. Some of them were of Mickiewicz’s own accord: due to familial, sentimental, and collegial reasons, or as a result of official duties imposed by the tsar’s decrees. Most relocations took place in Lithuania. The less numerous, albeit significantly longer, official journeys of hundreds of kilometers were made by Mickiewicz in Russia. These relocations are presented in the form of calculations and location lists.","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135507351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article interprets Czesław Miłosz’s novel The Issa Valley through the prism of mythcriticism, which was introduced to the humanities by Gilbert Durand. In particular, it focuses on the palingenesis of literary mythemes and the transposition of mythical structures that can be found in various aspects of the text, including the chronotope of the novel and the construction of its characters. Moreover, The Issa Valley features mythical models of space as well as paradigms of mythical time and individual mythemes transformed by Miłosz’s artistic imagination. The author of The Issa Valley semantically inverts and demythologizes the myths of Tellus Mater, Pammetor Ge, and the Arcadia, the mythologem of childhood, and the mythologem of family home, which are all deeply rooted in tradition. Miłosz addresses each problem in an antithetical manner, avoiding simple answers. Instead, he poses questions and thus opens the text to the individual hermeneutics of symbolic tropes. Miłosz perceived the imaginary that has symbolic and mythical foundations as endowed with a redemptive potential. In myth-criticism, the symbolic modelling that takes place in the artistic imagination is closely connected with the therapeutic role of an image. It helps restore internal balance which Gilbert Durand defines as anthropological balance. And, as Ernst Cassirer posits, this balance is a manifestation of human symbolic intelligence. Artykuł Marzeny Karwowskiej The Transposition of Mythical Structures in „The Issa Valley” by Czesław Miłosz w języku polskim dostępny w: „Prace Polonistyczne” 2019, seria LXXIV, s. 53–69 (Marzena Karwowska, Transpozycja struktur mitycznych w „Dolinie Issy” Czesława Miłosza).
本文通过吉尔伯特·杜兰德引入人文学科的神话批评的棱镜来解读Czesław Miłosz的小说《伊萨谷》。它特别关注文学主题的轮回和神话结构的转换，这些可以在文本的各个方面找到，包括小说的年表和人物的结构。此外，《伊萨山谷》以神话般的空间模型和神话般的时间范式为特色，并通过Miłosz的艺术想象转化为个人的mytheme。《伊萨山谷》的作者从语义上颠倒和去神话化了深深植根于传统的泰罗斯·马特、帕默特·格和阿卡迪亚的神话，童年的神话和家庭的神话。Miłosz以相反的方式解决每个问题，避免简单的答案。相反，他提出了问题，从而打开了文本的个人解释学的象征修辞。Miłosz认为具有象征和神话基础的想象被赋予了救赎的潜力。在神话批评中，发生在艺术想象中的象征性造型与图像的治疗作用密切相关。它有助于恢复内部平衡吉尔伯特·杜兰将其定义为人类学平衡。而且，正如恩斯特·卡西尔所假定的那样，这种平衡是人类符号智能的一种表现。《伊萨山谷》中神话结构的转换》，作者:Czesław Miłosz w języku polskim dostępny w:《Prace Polonistyczne》，2019,seria LXXIV, s. 53-69 (Marzena Karwowska, Transpozycja struktur mitycznych w《Dolinie Issy》Czesława Miłosza)
{"title":"The transposition of mythical structures in \"The Issa Valley\" by Czesław Miłosz","authors":"","doi":"10.26485/pp/2023/78/11","DOIUrl":"https://doi.org/10.26485/pp/2023/78/11","url":null,"abstract":"The article interprets Czesław Miłosz’s novel The Issa Valley through the prism of mythcriticism, which was introduced to the humanities by Gilbert Durand. In particular, it focuses on the palingenesis of literary mythemes and the transposition of mythical structures that can be found in various aspects of the text, including the chronotope of the novel and the construction of its characters. Moreover, The Issa Valley features mythical models of space as well as paradigms of mythical time and individual mythemes transformed by Miłosz’s artistic imagination. The author of The Issa Valley semantically inverts and demythologizes the myths of Tellus Mater, Pammetor Ge, and the Arcadia, the mythologem of childhood, and the mythologem of family home, which are all deeply rooted in tradition. Miłosz addresses each problem in an antithetical manner, avoiding simple answers. Instead, he poses questions and thus opens the text to the individual hermeneutics of symbolic tropes. Miłosz perceived the imaginary that has symbolic and mythical foundations as endowed with a redemptive potential. In myth-criticism, the symbolic modelling that takes place in the artistic imagination is closely connected with the therapeutic role of an image. It helps restore internal balance which Gilbert Durand defines as anthropological balance. And, as Ernst Cassirer posits, this balance is a manifestation of human symbolic intelligence. Artykuł Marzeny Karwowskiej The Transposition of Mythical Structures in „The Issa Valley” by Czesław Miłosz w języku polskim dostępny w: „Prace Polonistyczne” 2019, seria LXXIV, s. 53–69 (Marzena Karwowska, Transpozycja struktur mitycznych w „Dolinie Issy” Czesława Miłosza).","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135508763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of the article is to examine the status of myths in contemporary literature and in reflections on postmodernity. In the first part, Jasionowicz raises questions about the ontological and cognitive status of myth in literature and cultural studies. Although the very concept of myth remains controversial, he recognizes it as a source of “rich narratives”, rooted in the archetypal potential of the creative imagination and capable of having a long-lasting, cultural, intersubjective “life.” There are also narratives that are less durable, as they attempt to detach themselves from their anthropological foundations. Olga Tokarczuk’s works serve as examples of processes that can be considered manifestations of the “non-binary imagination” visible in world literature of the first decades of the twentyfirst century. On the discursive (ideological) level, Tokarczuk’s vision of the world and the interrelated concepts are extremely dichotomous, which relates to the “interventionist” character of most of her texts. However, on the imaginative level, her imagination is non-dichotomous (intimist); it is a type of imagination that Gilbert Durand described as belonging to “mystical structures.” The lack of imaginative coherence between the ideologemes of critical postmodernism (built on the rhetoric of a radical gender conflict or the insurmountable “us-them” opposition) and the mycelial imagination has yet to consider such ideas and discourses as a new form of myth. Perhaps they could become myths if only they were able to create productive tension between these two systems of imagination and thus generate new meanings.
{"title":"He death of myths or a crisis of imagination? “Mythical thinking”, the phantasms of imagination, and a few remarks on Olga Tokarczuk’s works","authors":"","doi":"10.26485/pp/2023/78/1","DOIUrl":"https://doi.org/10.26485/pp/2023/78/1","url":null,"abstract":"The aim of the article is to examine the status of myths in contemporary literature and in reflections on postmodernity. In the first part, Jasionowicz raises questions about the ontological and cognitive status of myth in literature and cultural studies. Although the very concept of myth remains controversial, he recognizes it as a source of “rich narratives”, rooted in the archetypal potential of the creative imagination and capable of having a long-lasting, cultural, intersubjective “life.” There are also narratives that are less durable, as they attempt to detach themselves from their anthropological foundations. Olga Tokarczuk’s works serve as examples of processes that can be considered manifestations of the “non-binary imagination” visible in world literature of the first decades of the twentyfirst century. On the discursive (ideological) level, Tokarczuk’s vision of the world and the interrelated concepts are extremely dichotomous, which relates to the “interventionist” character of most of her texts. However, on the imaginative level, her imagination is non-dichotomous (intimist); it is a type of imagination that Gilbert Durand described as belonging to “mystical structures.” The lack of imaginative coherence between the ideologemes of critical postmodernism (built on the rhetoric of a radical gender conflict or the insurmountable “us-them” opposition) and the mycelial imagination has yet to consider such ideas and discourses as a new form of myth. Perhaps they could become myths if only they were able to create productive tension between these two systems of imagination and thus generate new meanings.","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135560458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What serves as a starting point for the article are theses regarding the analogy in legal acts and regulations – the rule analogy and the precedent analogy. What in turn serves as its point of reference are theses concerning cultural schematization, which include narrative patterns of myth, general (universal) history, and individual history. The legal rule and precedent analogies may be considered as argumentative and narrative strategies. The precedent analogy plays an important role in contemporary, modernist, individualized biographical and autobiographical micronarratives. In fact, the anecdote and the episode may be examined as examples of the precedent analogy. In the contemporary humanities, as well as in the social sciences, the presence of “travelling concepts” has been observed (Mieke Bal). The “episode” and the “anecdote” can be seen as examples of this inter- and trans-disciplinary concept. With this in mind, the article poses questions regarding the argumentation that refers the anecdotal and the episodic in microhistories, especially in particular, individual histories, and, above all, in subjective (auto)biographies. The terms “episode” and “anecdote” pertain to two different modes of describing that which is instant, short-lived, and seemingly included in the allegedly coherent historical whole. The former refers to an extraordinary event that constitutes a breach and disrupts the much sought-after temporal and semantic coherence which helps givemeaning to events. The anecdote, by contrast, confirms this coherence (which includes alleged historical purposefulness and necessity) along with a revealed sense. What serves as a crucial context for the reflections presented in the article is the theory put forward by Max van Manen in Phenomenology of Practice. Meaning-Giving Methods in Phenomenological Research and Writing. In his applied phenomenology, van Manen proposes an argumentative reference to the history of an individual subject – to biography, which he recognizes not only as a documentary testimony to individual existence, but also as an “anecdote” – an example of a general subjective attitude.
{"title":"The anecdote and the episode as examples of the precedent analogy","authors":"","doi":"10.26485/pp/2023/78/2","DOIUrl":"https://doi.org/10.26485/pp/2023/78/2","url":null,"abstract":"What serves as a starting point for the article are theses regarding the analogy in legal acts and regulations – the rule analogy and the precedent analogy. What in turn serves as its point of reference are theses concerning cultural schematization, which include narrative patterns of myth, general (universal) history, and individual history. The legal rule and precedent analogies may be considered as argumentative and narrative strategies. The precedent analogy plays an important role in contemporary, modernist, individualized biographical and autobiographical micronarratives. In fact, the anecdote and the episode may be examined as examples of the precedent analogy. In the contemporary humanities, as well as in the social sciences, the presence of “travelling concepts” has been observed (Mieke Bal). The “episode” and the “anecdote” can be seen as examples of this inter- and trans-disciplinary concept. With this in mind, the article poses questions regarding the argumentation that refers the anecdotal and the episodic in microhistories, especially in particular, individual histories, and, above all, in subjective (auto)biographies. The terms “episode” and “anecdote” pertain to two different modes of describing that which is instant, short-lived, and seemingly included in the allegedly coherent historical whole. The former refers to an extraordinary event that constitutes a breach and disrupts the much sought-after temporal and semantic coherence which helps givemeaning to events. The anecdote, by contrast, confirms this coherence (which includes alleged historical purposefulness and necessity) along with a revealed sense. What serves as a crucial context for the reflections presented in the article is the theory put forward by Max van Manen in Phenomenology of Practice. Meaning-Giving Methods in Phenomenological Research and Writing. In his applied phenomenology, van Manen proposes an argumentative reference to the history of an individual subject – to biography, which he recognizes not only as a documentary testimony to individual existence, but also as an “anecdote” – an example of a general subjective attitude.","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135560669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article aims to fill in a research gap – the lack of a sufficiently comprehensive description of the transposition of myth in the works of Zbigniew Herbert. The pair of gods selected by Hejniak primarily serves as a symbolic representation of Herbert’s own attitude to reality. A chronological analysis of his works leads to a conclusion that the poet is more tender towards Dionysus. By contrast, Apollo is the god in whom Herbert placed the greatest hopes, and, paradoxically, it was through this mythical figure that he expressed his strong faith in modernity.
{"title":"The significance of the mythical figures of Apollo and Dionysus in Zbigniew Herbert’s oeuvre","authors":"","doi":"10.26485/pp/2023/78/9","DOIUrl":"https://doi.org/10.26485/pp/2023/78/9","url":null,"abstract":"The article aims to fill in a research gap – the lack of a sufficiently comprehensive description of the transposition of myth in the works of Zbigniew Herbert. The pair of gods selected by Hejniak primarily serves as a symbolic representation of Herbert’s own attitude to reality. A chronological analysis of his works leads to a conclusion that the poet is more tender towards Dionysus. By contrast, Apollo is the god in whom Herbert placed the greatest hopes, and, paradoxically, it was through this mythical figure that he expressed his strong faith in modernity.","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135509078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article focuses on Family Myths, a forgotten novel by Adam Ważyk, a member of the Kraków Avant-Garde. Zdunik analyzes “family myths” in the context of social changes that resulted from the First World War, as depicted in the novel. He discusses the reception of the work in relation to the historical and literary categories of a memoir and bildungsroman. This helps recognize the “family myth” as a cognitive category, which organizes the way the characters perceive reality, especially everyday family life. In Ważyk’s novel, the “family myth” has a similar function to its psychological counterpart, well known in the family systems therapy. In both cases, it helps come to terms with a difficult and neurotic reality. In other words, these conservative, traditional beliefs, or the eponymous “myths”, help one adapt to the ever-changing world. Paradoxically, however, the family myth plays a role in creating that very neurosis, as it traps the characters in their formulaic ways of perceiving the world, hampering individual development which is necessary to keep up with changing social mores. To address this problem, Zdunik examines the story of two characters in Ważyk’s novel, Ewa Karcz and Karol Karcz. He calls the first myth “the myth of resistance to puberty”, as it shows how the female protagonist, despite her emancipatory gestures (running away from her family home, getting married young, getting pregnant), is unable to become an independent individual. In the case of Karol Karcz, the “myth of pseudoinitiation” is conspicuous in his becoming romantically involved with a maid, Zenobia Ożarowska. Karcz, however, does not opt for a mature relationship; he takes advantage of Zenobia, thus legitimizing male power
{"title":"A pseudo-change to avoid change. Some remarks on \"Family myths\" in Adam Ważyk’s novel","authors":"","doi":"10.26485/pp/2023/78/7","DOIUrl":"https://doi.org/10.26485/pp/2023/78/7","url":null,"abstract":"The article focuses on Family Myths, a forgotten novel by Adam Ważyk, a member of the Kraków Avant-Garde. Zdunik analyzes “family myths” in the context of social changes that resulted from the First World War, as depicted in the novel. He discusses the reception of the work in relation to the historical and literary categories of a memoir and bildungsroman. This helps recognize the “family myth” as a cognitive category, which organizes the way the characters perceive reality, especially everyday family life. In Ważyk’s novel, the “family myth” has a similar function to its psychological counterpart, well known in the family systems therapy. In both cases, it helps come to terms with a difficult and neurotic reality. In other words, these conservative, traditional beliefs, or the eponymous “myths”, help one adapt to the ever-changing world. Paradoxically, however, the family myth plays a role in creating that very neurosis, as it traps the characters in their formulaic ways of perceiving the world, hampering individual development which is necessary to keep up with changing social mores. To address this problem, Zdunik examines the story of two characters in Ważyk’s novel, Ewa Karcz and Karol Karcz. He calls the first myth “the myth of resistance to puberty”, as it shows how the female protagonist, despite her emancipatory gestures (running away from her family home, getting married young, getting pregnant), is unable to become an independent individual. In the case of Karol Karcz, the “myth of pseudoinitiation” is conspicuous in his becoming romantically involved with a maid, Zenobia Ożarowska. Karcz, however, does not opt for a mature relationship; he takes advantage of Zenobia, thus legitimizing male power","PeriodicalId":128140,"journal":{"name":"Prace Polonistyczne","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135560242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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