The article is an introduction to the dramaturgies in contemporary humanities and focuses on the problem of the dramaturgy of concepts. Using Olga Tokarczuk’s example of the “tender narrator” and Wisława Szymborska’s poem Night, it shows different ways of creating attitudes towards the disintegration of the vision of the world based on the topos of the Book.
{"title":"Dramaturgia pojęć","authors":"A. Krajewska","doi":"10.14746/pt.2021.36.0","DOIUrl":"https://doi.org/10.14746/pt.2021.36.0","url":null,"abstract":"The article is an introduction to the dramaturgies in contemporary humanities and focuses on the problem of the dramaturgy of concepts. Using Olga Tokarczuk’s example of the “tender narrator” and Wisława Szymborska’s poem Night, it shows different ways of creating attitudes towards the disintegration of the vision of the world based on the topos of the Book.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45900782","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 essay presents an overview of the possible meanings and applications of the newly-coined term ‘ludotopia’, i.e. a “dialectical entanglement of game and space” – which challenges the boundaries of two neighbouring worlds: storyworld and gameworld. Seeking to trace the limitations of a thus defined gaming space, the author proceeds by reflecting upon the end of the game, or, more precisely, the endgame, in order to reconcile it with a notion of horismós (ὁρισμός) popular in more hermeneutically aligned video game studies. While doing so, the paper delivers an analysis of Assassin’s Creed: Odyssey showing three distinct stages in which a ludotopia can be opened towards more advanced world-building: (1) exploration and map reveal; (2) synchronisation of intelligible tags; and (3) renewal of narrative motivation. Thanks to a world-centered approach to the interpreted video game, the essay addresses how players inhabit, traverse, explore, and understand the surrounding ludic reality, rather than focusing on video game mechanics or procedures that affect their gameplay. In the end, a precise distinction between the storyworld and gameworld is introduced in order to reevaluate the ways both terms overlap with the aforementioned interpretation of ludotopia.
{"title":"Ludotopia. O granicy świata gry","authors":"Krzysztof M. Maj","doi":"10.14746/pt.2021.35.17","DOIUrl":"https://doi.org/10.14746/pt.2021.35.17","url":null,"abstract":"The essay presents an overview of the possible meanings and applications of the newly-coined term ‘ludotopia’, i.e. a “dialectical entanglement of game and space” – which challenges the boundaries of two neighbouring worlds: storyworld and gameworld. Seeking to trace the limitations of a thus defined gaming space, the author proceeds by reflecting upon the end of the game, or, more precisely, the endgame, in order to reconcile it with a notion of horismós (ὁρισμός) popular in more hermeneutically aligned video game studies. While doing so, the paper delivers an analysis of Assassin’s Creed: Odyssey showing three distinct stages in which a ludotopia can be opened towards more advanced world-building: (1) exploration and map reveal; (2) synchronisation of intelligible tags; and (3) renewal of narrative motivation. Thanks to a world-centered approach to the interpreted video game, the essay addresses how players inhabit, traverse, explore, and understand the surrounding ludic reality, rather than focusing on video game mechanics or procedures that affect their gameplay. In the end, a precise distinction between the storyworld and gameworld is introduced in order to reevaluate the ways both terms overlap with the aforementioned interpretation of ludotopia.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45274954","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}
This research paper considers the avant-garde manifestos and programmatic statements of poets, in the light of the debate on the emancipatory potential of neoavant-garde art. The author shows the need to redefine the notion of artistic autonomy that new art programmes involve. In the first part of the article, the point of origin of the modern understanding of artistic autonomy is reflected on in its two basic formulas: Kantian and Hegelian. The second part evolves an analysis of three examples of contemporary metapoetic statements by Polish poets (Piotr Sommer, Andrzej Sosnowski, Kacper Bartczak). Their neoavant-garde premises of the performative character of the theoretical discussions, and of the artistic elements that connect their theoretical ideas to the actual works of these poets lead us to the conclusion that engaged, activistic poetic practice, concerning he rules directed by the questions of autonomy of art, cannot be judged from the point of view of the Kantian definition of this autonomy, especially if we take the poetical matter of avant-garde provenance into consideration.
本文从关于新前卫艺术的解放潜力的争论出发，考察了先锋派诗人的宣言和纲领性陈述。作者表明需要重新定义新的艺术项目所涉及的艺术自治的概念。本文第一部分以康德式和黑格尔式两个基本公式来考察现代艺术自主性认识的起源。第二部分对当代波兰诗人(Piotr Sommer, Andrzej Sosnowski, Kacper Bartczak)的三个元诗语句进行分析。他们的新先锋派前提是理论讨论的表演特征，以及将他们的理论思想与这些诗人的实际作品联系起来的艺术元素，这使我们得出这样的结论:从事的、积极的诗歌实践，涉及由艺术自治问题指导的规则，不能从康德对这种自治的定义的观点来判断，特别是如果我们考虑到先锋派起源的诗歌问题。
{"title":"Teorie poetów. Manifesty późnoawangardowe i poetyckie programy","authors":"Joanna Orska","doi":"10.14746/pt.2021.35.1","DOIUrl":"https://doi.org/10.14746/pt.2021.35.1","url":null,"abstract":"This research paper considers the avant-garde manifestos and programmatic statements of poets, in the light of the debate on the emancipatory potential of neoavant-garde art. The author shows the need to redefine the notion of artistic autonomy that new art programmes involve. In the first part of the article, the point of origin of the modern understanding of artistic autonomy is reflected on in its two basic formulas: Kantian and Hegelian. The second part evolves an analysis of three examples of contemporary metapoetic statements by Polish poets (Piotr Sommer, Andrzej Sosnowski, Kacper Bartczak). Their neoavant-garde premises of the performative character of the theoretical discussions, and of the artistic elements that connect their theoretical ideas to the actual works of these poets lead us to the conclusion that engaged, activistic poetic practice, concerning he rules directed by the questions of autonomy of art, cannot be judged from the point of view of the Kantian definition of this autonomy, especially if we take the poetical matter of avant-garde provenance into consideration.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43443995","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 discusses Roland Barthes’ experience of photography and presents its distinctive dramaturgy, which emerges from the reflections of the author of The Light of Image. It is played out between attempts at a theoretical grasp of the essence of photography and a personal, intimate experience of being photographed, but also of being a spectator looking at various photographs. Barthes places this experience in two basic perspectives. The first is connected with the process of taking photographs and the second with the experience of the spectator. This also includes the experience of photography with one’s own image, which according to the author, is always an experience of oneself as someone else, and the experience of searching for “the truth of photography”, especially important in the context of the photographs of his deceased mother. It is significant in Barthes’s concept that he is talking about traditional photography which had a completely different character and performed different functions to digital images do today. Moreover, as the author notes, Barthes’s theoretical findings would be untenable in relation to digital photography.
{"title":"Dramaturgia fotografii. Między teorią a osobistym doświadczeniem (przypadek Rolanda Barthes’a)","authors":"I. Górska","doi":"10.14746/pt.2021.36.5","DOIUrl":"https://doi.org/10.14746/pt.2021.36.5","url":null,"abstract":"The article discusses Roland Barthes’ experience of photography and presents its distinctive dramaturgy, which emerges from the reflections of the author of The Light of Image. It is played out between attempts at a theoretical grasp of the essence of photography and a personal, intimate experience of being photographed, but also of being a spectator looking at various photographs. Barthes places this experience in two basic perspectives. The first is connected with the process of taking photographs and the second with the experience of the spectator. This also includes the experience of photography with one’s own image, which according to the author, is always an experience of oneself as someone else, and the experience of searching for “the truth of photography”, especially important in the context of the photographs of his deceased mother. It is significant in Barthes’s concept that he is talking about traditional photography which had a completely different character and performed different functions to digital images do today. Moreover, as the author notes, Barthes’s theoretical findings would be untenable in relation to digital photography.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49258866","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}
This article is an attempt to investigate contemporary film theory highlighting the inseparable connection between cinema and the human body and seeing, in which sense this theory complements academic recognition about neomodernism. The author expands on the philosophical concept of experience, showing problems posed by its conceptualization, and also points to the connection of this term with the body and sensuality. In the next part, the main distinguishing features characterizing the dramaturgy of cinematic neomodernism are given. The author argues that the dramaturgy of this movement creates a different kind of cinema experience in general. The final part presents an analysis of two films which are examples of the theory of cinema as senses, as well as exemplifying the dramaturgy characteristic for neomodernism, and thus creating a specific type of experience in the viewer.
{"title":"Doświadczanie kina a dramaturgia neomodernizmu filmowego","authors":"Jan Biedny","doi":"10.14746/pt.2021.36.12","DOIUrl":"https://doi.org/10.14746/pt.2021.36.12","url":null,"abstract":"This article is an attempt to investigate contemporary film theory highlighting the inseparable connection between cinema and the human body and seeing, in which sense this theory complements academic recognition about neomodernism. The author expands on the philosophical concept of experience, showing problems posed by its conceptualization, and also points to the connection of this term with the body and sensuality. In the next part, the main distinguishing features characterizing the dramaturgy of cinematic neomodernism are given. The author argues that the dramaturgy of this movement creates a different kind of cinema experience in general. The final part presents an analysis of two films which are examples of the theory of cinema as senses, as well as exemplifying the dramaturgy characteristic for neomodernism, and thus creating a specific type of experience in the viewer.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44511952","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}
Tkaczyszyn-Dycki’s poetry invariably tempts one to identify the “external” poet (author) with a textual subject, who, thanks to various literary tricks, can be called an “internal” poet. This “internal” poet does not have a purely literary or linguistic character, as he seems to be endowed with a body, biography or agency. However, these categories cannot be convincingly described using only structural tools. The paper proposes to look at the possible performativity of Tkaczyszyn-Dycki’s poetry, designed in the text itself, starting with examining the concept of trauma, which facilitates a different view of the relationship between text and “reality”, then reinterpreting the problem of subjectivity and the crucial literary “strategy”. Therefore, it is a performative reading in the sense that it will focus on what (faith, empathy, trust – and, on the contrary, distrust) Tkaczyszyn-Dycki’s work tries to convince readers to, but also on what the main intention stands for.
{"title":"Dwa ciała poety. Eugeniusza Tkaczyszyna-Dyckiego lektura performatywna","authors":"Agnieszka Waligóra","doi":"10.14746/pt.2021.35.8","DOIUrl":"https://doi.org/10.14746/pt.2021.35.8","url":null,"abstract":"Tkaczyszyn-Dycki’s poetry invariably tempts one to identify the “external” poet (author) with a textual subject, who, thanks to various literary tricks, can be called an “internal” poet. This “internal” poet does not have a purely literary or linguistic character, as he seems to be endowed with a body, biography or agency. However, these categories cannot be convincingly described using only structural tools. The paper proposes to look at the possible performativity of Tkaczyszyn-Dycki’s poetry, designed in the text itself, starting with examining the concept of trauma, which facilitates a different view of the relationship between text and “reality”, then reinterpreting the problem of subjectivity and the crucial literary “strategy”. Therefore, it is a performative reading in the sense that it will focus on what (faith, empathy, trust – and, on the contrary, distrust) Tkaczyszyn-Dycki’s work tries to convince readers to, but also on what the main intention stands for.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66619194","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 present human issues in the context of the face and the mask as its negative. This is to bring us closer to a better diagnosis of the human condition today and the changes that can be articulated on its basis. Both the face and the mask are multi-context, and any attempt to define them encounters a number of difficulties. In Józef Tischner’s philosophy of drama, the face is a condition for the essence of the meeting. On the other hand, the mask, as an appearance and falsification of the truth of the face, is placed in the ambiguous perspective of hiding, concealing, mystifying or obscuring or obscuring the image of the face. Thanks to the face, man is somehow “at home”, and in the bonds of the mask he is somewhat “out of place”, he is lying. The face is relational and the mask is reactionary. Inquiries about whether the face brings closer and reveals the naked being of a human intensified questions about the nature of the face itself and whether it is possible to reach the pure phenomenon of the face as such. Both the face and the mask reveal important moments in the characteristics of a human being as a dramatic being, in which questions about meaning, identity, freedom and responsibility, as well as what is “between” I and You, gain in intensity and imply new attempts to reveal who is a human.
{"title":"Epifania twarzy czy iluzja maski? O zmaganiu się człowieka w ujęciu filozofii dramatu Józefa Tischnera","authors":"Inga Mizdrak","doi":"10.14746/pt.2021.36.15","DOIUrl":"https://doi.org/10.14746/pt.2021.36.15","url":null,"abstract":"The aim of the article is to present human issues in the context of the face and the mask as its negative. This is to bring us closer to a better diagnosis of the human condition today and the changes that can be articulated on its basis. Both the face and the mask are multi-context, and any attempt to define them encounters a number of difficulties. In Józef Tischner’s philosophy of drama, the face is a condition for the essence of the meeting. On the other hand, the mask, as an appearance and falsification of the truth of the face, is placed in the ambiguous perspective of hiding, concealing, mystifying or obscuring or obscuring the image of the face. Thanks to the face, man is somehow “at home”, and in the bonds of the mask he is somewhat “out of place”, he is lying. The face is relational and the mask is reactionary. Inquiries about whether the face brings closer and reveals the naked being of a human intensified questions about the nature of the face itself and whether it is possible to reach the pure phenomenon of the face as such. Both the face and the mask reveal important moments in the characteristics of a human being as a dramatic being, in which questions about meaning, identity, freedom and responsibility, as well as what is “between” I and You, gain in intensity and imply new attempts to reveal who is a human.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44769452","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 starting point for the discussion presented in the article is the question whether it is possible and reasonable to distinguish the non-anthropocentric essay. The author refers to the latest genological findings, indicates why the assumed descriptive categories make it difficult to recognise that genre, and then formulates a range of counter-arguments (with a particular focus on subjectivity) and defines certain requirements for the non-anthropocentric essay. The later part of the article is devoted to the work of Michał Cichy as an example of a non-representative embodiment of that form. His essays, related to the concepts by Tim Ingold and Tadeusz Sławek, are examined from the angle of the practice of intertwining the open world, which abolishes the hitherto dominating position of the human subject and creates space for non-anthropocentric expression.
{"title":"„Na dwu i na czterech łapach”. Eseistyka nieantropocentryczna i pisarstwo Michała Cichego","authors":"Anita Jarzyna","doi":"10.14746/pt.2021.35.14","DOIUrl":"https://doi.org/10.14746/pt.2021.35.14","url":null,"abstract":"The starting point for the discussion presented in the article is the question whether it is possible and reasonable to distinguish the non-anthropocentric essay. The author refers to the latest genological findings, indicates why the assumed descriptive categories make it difficult to recognise that genre, and then formulates a range of counter-arguments (with a particular focus on subjectivity) and defines certain requirements for the non-anthropocentric essay. The later part of the article is devoted to the work of Michał Cichy as an example of a non-representative embodiment of that form. His essays, related to the concepts by Tim Ingold and Tadeusz Sławek, are examined from the angle of the practice of intertwining the open world, which abolishes the hitherto dominating position of the human subject and creates space for non-anthropocentric expression.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44484049","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 paper presents the concept of fundamentally new direction in the field of narratological studies – historical narratology. The author suggests turning to the research experience accumulated in Russian historical poetics by A. Veselovsky, P. Ricoeur’s and W. Schmid works. Narratology is seen as a theory of forming, storing and transmitting the event experience of the presence of the human self in the world. In particular, the work deals with diegetic picture of the world, with the historical dynamics of the most important types of narrative intrigue, and with the ethos of narrative. The most important characteristics of narrative are integrated into the concept of narrative strategy of a particular discourse. The emergence, spread and coexistence of narrative strategies in the diachronic dimension of the culture of storytelling as a form of human communication is at the core of research interest in historical narratology.
{"title":"W drodze do narratologii historycznej","authors":"Walerij Igoriewicz Tiupa","doi":"10.14746/pt.2021.35.18","DOIUrl":"https://doi.org/10.14746/pt.2021.35.18","url":null,"abstract":"The paper presents the concept of fundamentally new direction in the field of narratological studies – historical narratology. The author suggests turning to the research experience accumulated in Russian historical poetics by A. Veselovsky, P. Ricoeur’s and W. Schmid works. Narratology is seen as a theory of forming, storing and transmitting the event experience of the presence of the human self in the world. In particular, the work deals with diegetic picture of the world, with the historical dynamics of the most important types of narrative intrigue, and with the ethos of narrative. The most important characteristics of narrative are integrated into the concept of narrative strategy of a particular discourse. The emergence, spread and coexistence of narrative strategies in the diachronic dimension of the culture of storytelling as a form of human communication is at the core of research interest in historical narratology.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43111043","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 presents the phenomenon of clearance in both the poetry of Bolesław Leśmian and the philosophy of Martin Heidegger. The author indicates the common points in both these thinkers’ investigations. In addition to a review of the previous discussions of this problem, the article postulates including the clearance in the group of aesthetic categories, because of its dynamic character. It also proposes a modified definition of clearance as a contrast of light with predominant albeit secondary darkness.
{"title":"W prześwitach poezji i filozofii, czyli tam, gdzie spotykają się Leśmian i Heidegger","authors":"M. Kłosowski","doi":"10.14746/pt.2021.35.9","DOIUrl":"https://doi.org/10.14746/pt.2021.35.9","url":null,"abstract":"The article presents the phenomenon of clearance in both the poetry of Bolesław Leśmian and the philosophy of Martin Heidegger. The author indicates the common points in both these thinkers’ investigations. In addition to a review of the previous discussions of this problem, the article postulates including the clearance in the group of aesthetic categories, because of its dynamic character. It also proposes a modified definition of clearance as a contrast of light with predominant albeit secondary darkness.","PeriodicalId":37837,"journal":{"name":"Przestrzenie Teorii","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42917912","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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