Pub Date : 2023-08-30DOI: 10.7311/pjas.11/1/2017.04
Edyta Frelik
Despite the fact that Georgia O’Keefe is one of the most biographized, analyzed and interpreted modern American artists, her writings, which include voluminous correspondence, numerous artist statements and an autobiographical narrative, remain underrated. Taking at face value the painter’s disclaimers about her intellectual interests and ambitions and her insistence that she was “quite illiterate,” art historians and critics all too often fail to note that even when, as the only prominent female member of the Stieglitz circle, she seemed to accept the role assigned to her by “the men,” she retained her intellectual integrity. Even though she sometimes seemed to confirm such a perception, a closer look at her texts reveals that, well-educated and well-informed, she possessed literary skills on par with her plastic sensibility and imagination. Her use of verbal language, even more than her paintings, testifies to her unique intuition, intelligence and aesthetic sensibility as a quintessential American modernist.
{"title":"She Did Know a Few Things: Georgia O’Keefe as an Intellectual","authors":"Edyta Frelik","doi":"10.7311/pjas.11/1/2017.04","DOIUrl":"https://doi.org/10.7311/pjas.11/1/2017.04","url":null,"abstract":"Despite the fact that Georgia O’Keefe is one of the most biographized, analyzed and interpreted modern American artists, her writings, which include voluminous correspondence, numerous artist statements and an autobiographical narrative, remain underrated. Taking at face value the painter’s disclaimers about her intellectual interests and ambitions and her insistence that she was “quite illiterate,” art historians and critics all too often fail to note that even when, as the only prominent female member of the Stieglitz circle, she seemed to accept the role assigned to her by “the men,” she retained her intellectual integrity. Even though she sometimes seemed to confirm such a perception, a closer look at her texts reveals that, well-educated and well-informed, she possessed literary skills on par with her plastic sensibility and imagination. Her use of verbal language, even more than her paintings, testifies to her unique intuition, intelligence and aesthetic sensibility as a quintessential American modernist.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132111008","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}
Pub Date : 2023-08-30DOI: 10.7311/pjas.11/1/2017.03
Alicja Piechucka
The article explores the ways in which Hart Crane, Stéphane Mallarmé and Mina Loy pay homage to Edgar Allan Poe in their respective poems. A comparative exegesis of the tributes in question reveals the connections as well as the differences between the ways the two American modernist poets and the French symbolist approach the legacy of their eminent American predecessor. A critical juxtaposition of Crane’s, Mallarmé’s and Loy’s poetic texts seems particularly worthwhile in view of the fact that Poe is regarded as one of the fathers of both French symbolism and American modernist poetry, which, in turn, are strongly interconnected. Consequently, the analysis undertaken in the present article results in broader conclusions concerning what, in the context of American and French literature, may be referred to as the symbolist-modernist continuum.
{"title":"Possessed by Poe: Hart Crane’s Tribute to il Miglior Fabbro in a Symbolist-Modernist Context","authors":"Alicja Piechucka","doi":"10.7311/pjas.11/1/2017.03","DOIUrl":"https://doi.org/10.7311/pjas.11/1/2017.03","url":null,"abstract":"The article explores the ways in which Hart Crane, Stéphane Mallarmé and Mina Loy pay homage to Edgar Allan Poe in their respective poems. A comparative exegesis of the tributes in question reveals the connections as well as the differences between the ways the two American modernist poets and the French symbolist approach the legacy of their eminent American predecessor. A critical juxtaposition of Crane’s, Mallarmé’s and Loy’s poetic texts seems particularly worthwhile in view of the fact that Poe is regarded as one of the fathers of both French symbolism and American modernist poetry, which, in turn, are strongly interconnected. Consequently, the analysis undertaken in the present article results in broader conclusions concerning what, in the context of American and French literature, may be referred to as the symbolist-modernist continuum.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115815770","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}
Pub Date : 2023-08-30DOI: 10.7311/pjas.11/1/2017.02
M. Wilczyński
The idea of the sublime, borrowed by the painter Washington Allston from Jousha Reynolds and – through S.T. Coleridge – possibly also from Kant, at the beginning of the nineteenth century in the United States still had mostly European connotations. Both as a theorist of art and a poet, Allston explicitly pledged his cultural allegiance to Great Britain. It was paradoxically Thomas Cole, a British-born immigrant, who was the first to associate a much less strictly defined concept of the sublime with the American landscape of the Catskills, thus initiating the discourse of the US cultural nationalism both in his diary and essays related to painting, and poetry.
{"title":"The Americanization of the Sublime: Washington Allston and Thomas Cole as Theorists of Art","authors":"M. Wilczyński","doi":"10.7311/pjas.11/1/2017.02","DOIUrl":"https://doi.org/10.7311/pjas.11/1/2017.02","url":null,"abstract":"The idea of the sublime, borrowed by the painter Washington Allston from Jousha Reynolds and – through S.T. Coleridge – possibly also from Kant, at the beginning of the nineteenth century in the United States still had mostly European connotations. Both as a theorist of art and a poet, Allston explicitly pledged his cultural allegiance to Great Britain. It was paradoxically Thomas Cole, a British-born immigrant, who was the first to associate a much less strictly defined concept of the sublime with the American landscape of the Catskills, thus initiating the discourse of the US cultural nationalism both in his diary and essays related to painting, and poetry.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"48 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121108200","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}
Pub Date : 2023-08-30DOI: 10.7311/pjas.11/1/2017.01
Julia Fiedorczuk
Brenda Hillman has published chapbooks with Penumbra Press, a+bend press, and EmPress; she is the author of nine full-length collections from Wesleyan University Press, the most recent of which are Practical Water (2009), winner of the Los Angeles Times Book Award, and Seasonal Works with Letters on Fire (2013), which received the International Griffin Poetry Prize for 2014. With Patricia Dienstfrey, she edited The Grand Permission: New Writings on Poetics and Motherhood (Wesleyan, 2003), and has co-translated Poems from Above the Hill by Ashur Etwebi and Instances by Jeongrye Choi. Hillman teaches at St. Mary’s College where she is the Olivia C. Filippi Professor of Poetry; she is an activist for social and environmental justice. Hillman’s poems that draw on elements of found texts and document, personal meditation, observation, and literary theory. Often described as “sensuous” and “luminescent,” her work investigates and pushes at the possibilities of form and voice, while remaining grounded in topics such as geology, the environment, politics, family, and spirituality.
{"title":"“All of the Bees in a Hive Are Having Imagination”: An Interview with Brenda Hillman","authors":"Julia Fiedorczuk","doi":"10.7311/pjas.11/1/2017.01","DOIUrl":"https://doi.org/10.7311/pjas.11/1/2017.01","url":null,"abstract":"Brenda Hillman has published chapbooks with Penumbra Press, a+bend press, and EmPress; she is the author of nine full-length collections from Wesleyan University Press, the most recent of which are Practical Water (2009), winner of the Los Angeles Times Book Award, and Seasonal Works with Letters on Fire (2013), which received the International Griffin Poetry Prize for 2014. With Patricia Dienstfrey, she edited The Grand Permission: New Writings on Poetics and Motherhood (Wesleyan, 2003), and has co-translated Poems from Above the Hill by Ashur Etwebi and Instances by Jeongrye Choi. Hillman teaches at St. Mary’s College where she is the Olivia C. Filippi Professor of Poetry; she is an activist for social and environmental justice. Hillman’s poems that draw on elements of found texts and document, personal meditation, observation, and literary theory. Often described as “sensuous” and “luminescent,” her work investigates and pushes at the possibilities of form and voice, while remaining grounded in topics such as geology, the environment, politics, family, and spirituality.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"35 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120917600","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}
Pub Date : 2023-08-30DOI: 10.7311/pjas.11/1/2017.05
E. Ścibior
This paper is a comparative analysis of two novels—John Rechy’s City of Night and Hubert Selby Jr.’s Last Exit to Brooklyn—in terms of their presentation of drag queen characters. The analysis focuses on the novels’ revolutionary potential and argues that since the authors present their characters as sympathetic and genuine despite the hardships they have to endure, the two novels could be seen as examples of early forms of gay rights activism. Such an assumption questions the approach of many scholars who treat pre-Stonewall literature as purely an expression of homosexual people’s trouble with accepting their sexual orientation.
{"title":"The Representations of Drag Queen Characters in Pre-Stonewall Literature: John Rechy’s City of Night and Hubert Selby Jr.’s Last Exit to Brooklyn","authors":"E. Ścibior","doi":"10.7311/pjas.11/1/2017.05","DOIUrl":"https://doi.org/10.7311/pjas.11/1/2017.05","url":null,"abstract":"This paper is a comparative analysis of two novels—John Rechy’s City of Night and Hubert Selby Jr.’s Last Exit to Brooklyn—in terms of their presentation of drag queen characters. The analysis focuses on the novels’ revolutionary potential and argues that since the authors present their characters as sympathetic and genuine despite the hardships they\u0000have to endure, the two novels could be seen as examples of early forms of gay rights activism. Such an assumption questions the approach of many scholars who treat pre-Stonewall literature as purely an expression of homosexual people’s trouble with accepting their sexual orientation.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115320138","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 explores the deconstructive use of the pastoral in Sam Peckinpah’s film The Ballad of Cable Hogue (1970). The film is singular in how closely it recreates the pastoral configuration of space as described in Leo Marx’s “Pastoralism in America.” However, Peckinpah evokes pastoral images and sentiments in order to raise questions about the validity of the pastoral as an entrenched American symbolic narrative in the face of specific contextual factors, especially possessive individualism as an important manifestation of transactional relations in capitalism. By constructing a metaphor of the exploitation of nature by man, Peckinpah addresses, even if by way of implication, the issue of ecological consciousness.
本文探讨了Sam Peckinpah的电影《Cable Hogue的歌谣》(1970)中对田园风格的解构运用。这部电影的独特之处在于，它如此接近地再现了里奥·马克思(Leo Marx)在《美国的田园主义》(Pastoralism in America)中所描述的田园空间格局。然而，Peckinpah唤起了田园形象和情感，以提出关于田园作为一种根深蒂固的美国象征性叙事的有效性的问题，面对特定的语境因素，特别是占有性个人主义作为资本主义交易关系的重要表现。通过构建人类剥削自然的隐喻，佩金帕提出了生态意识的问题，即使是通过暗示的方式。
{"title":"Regeneration Through Acquisition: Undoing the Pastoral in Sam Peckinpah’s The Ballad of Cable Hogue","authors":"Marek Paryż","doi":"10.7311/pjas.10/2016.05","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.05","url":null,"abstract":"The article explores the deconstructive use of the pastoral in Sam Peckinpah’s film The Ballad of Cable Hogue (1970). The film is singular in how closely it recreates the pastoral configuration of space as described in Leo Marx’s “Pastoralism in America.” However, Peckinpah evokes pastoral images and sentiments in order to raise questions about the validity of the pastoral as an entrenched American symbolic narrative in the face of specific contextual factors, especially possessive individualism as an important manifestation of transactional relations in capitalism. By constructing a metaphor of the exploitation of nature by man, Peckinpah addresses, even if by way of implication, the issue of ecological consciousness.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"2012 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125659368","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 certain aspects of the Internet (interface design, user behavior, advertising, codes of conduct) as new incarnations of the American pastoralism, defined in terms derived from literary criticism and history of American literature. The rationale of this procedure is provided in terms of “dialectic images,” which are old pieces of imagery that seem to anticipate subsequent technological and social developments. Of particular importance is the set of dialectical images derived from Ralph Waldo Emerson’s writings, and the pastoral descriptions of nature derived from various American poets and fiction writers. Arguably, dialectic images of the Internet offer an opportunity for a better understanding of contemporary development of the Internet, and its possible future.
{"title":"Anticipation and Divination of Technological Culture: Dialectic Images of the Internet in Emerson’s Nature","authors":"P. Stachura","doi":"10.7311/pjas.10/2016.09","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.09","url":null,"abstract":"The article presents certain aspects of the Internet (interface design, user behavior, advertising, codes of conduct) as new incarnations of the American pastoralism, defined in terms derived from literary criticism and history of American literature. The rationale of this procedure is provided in terms of “dialectic images,” which are old pieces of imagery that seem to anticipate subsequent technological and social developments. Of particular importance is the set of dialectical images derived from Ralph Waldo Emerson’s writings, and the pastoral descriptions of nature derived from various American poets and fiction writers. Arguably, dialectic images of the Internet offer an opportunity for a better understanding of contemporary development of the Internet, and its possible future.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134052675","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}
{"title":"“A Dog’s Life”: Pet-Keeping in Canadian and American Animal Autobiographies at the Turn of the Twentieth Century","authors":"M. Rutkowska","doi":"10.7311/pjas.10/2016.03","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.03","url":null,"abstract":"","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129032899","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}
Allen Iverson can be characterized as an event, because listed at 6 feet and weighing just 165 pounds, he won four scoring titles in his NBA career, and was one of the best shooting guards in the history of the league. Small, quick and explosive, he was an exceptional talent with a complicated personality. Iverson was a trendsetter, as important off as he was on the court. He was a villain, but one that was “cool” enough to root for. His basketball career is best summed up by two events, which occurred just a year apart. One was his memorable crossover and shot in overtime of Game One of the 2001 Finals, the other was Iverson’s press conference a year later, known now as “The Practice Rant.” This article will analyze both of these events with the aid of various critical texts, most notably by Slavoj Žižek. It will explain their significance to the modern shape of the NBA, how they influenced players that joined the league after Iverson. In doing so, it will establish AI as an important, truly revolutionary event – a force that influenced not only basketball culture, but modern America.
{"title":"Allen Iverson: Celebrity and the Event","authors":"Łukasz Muniowski","doi":"10.7311/pjas.10/2016.11","DOIUrl":"https://doi.org/10.7311/pjas.10/2016.11","url":null,"abstract":"Allen Iverson can be characterized as an event, because listed at 6 feet and weighing just 165 pounds, he won four scoring titles in his NBA career, and was one of the best shooting guards in the history of the league. Small, quick and explosive, he was an exceptional talent with a complicated personality. Iverson was a trendsetter, as important off as he was on the court. He was a villain, but one that was “cool” enough to root for. His basketball career is best summed up by two events, which occurred just a year apart. One was his memorable crossover and shot in overtime of Game One of the 2001 Finals, the other was Iverson’s press conference a year later, known now as “The Practice Rant.” This article will analyze both of these events with the aid of various critical texts, most notably by Slavoj Žižek. It will explain their significance to the modern shape of the NBA, how they influenced players that joined the league after Iverson. In doing so, it will establish AI as an important, truly revolutionary event – a force that influenced not only basketball culture, but modern America.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114894662","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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