Poetics Research Papers - Academia.edu (original) (raw)

The subject of semiotics is not to answer the questions such as what does the text says, who says the text, or what are the possible external— societal, individual, and historical—effects on the text. Instead, it is mainly interested in... more

The subject of semiotics is not to answer the questions such as what does the text says, who says the text, or what are the possible external— societal, individual, and historical—effects on the text. Instead, it is mainly interested in how signs are created, how they are articulated with each other to create the meaning in the text, and in what ways the meaning is created in different semantic layers within its system. The study necessitates focusing on the relations of the formative elements in the text which leads us to reach the narrative syntax that makes it possible to observe the underlying structures in different semantic strata of the text. Moreover, the approach helps us to analyze the meaning production process, as well as to observe the ways of the articulation process of meaningful items with each other to create the whole text. The main purpose of this study is to figure out the semantic organization of George Orwell’s Nineteen Eighty-Four narrative within the scope of Greimas's semiotic trajectory.

Based on the author's artistic research on migration, contemporary urban experience, and sonic alienation, The Nomadic Listener is composed of a series of texts stemming from psychogeographic explorations of contemporary cities, including... more

Based on the author's artistic research on migration, contemporary urban experience, and sonic alienation, The Nomadic Listener is composed of a series of texts stemming from psychogeographic explorations of contemporary cities, including Copenhagen, Berlin, Kolkata, Vienna, Delhi, Hong Kong, Mumbai, and New York, among others.
Each text is an act of listening, where the author records his surrounding environment and attunes to the sonic fluctuations of movement and the passing of events. What surfaces is a collection of meditations on the occurrences of life movingly interwoven with memories, associations, desires, and reflections. Readers are brought into a tender map of contemporary urban experience and the often lonely, surprising, and random interactions found in traveling. The Nomadic Listener includes parallel drawings based on the original audio recordings and appears as ghostly renderings of the corresponding experiences. The recordings are published by Gruenrekorder and accessed through a QR code in the book.

Re-framing the concepts of utopia and allegory in the twenty-first century.

The Review article discusses four new scholarly volumes focused on various problematic issues related to Russian Modernism. The essay debates major points of methodology and research topicality with respect to Russian Symbolism and the... more

The Review article discusses four new scholarly volumes focused on various problematic issues related to Russian Modernism. The essay debates major points of methodology and research topicality with respect to Russian Symbolism and the Avant-Garde.
- Martha M.F. Kelly, Unorthodox Beauty. Russian Modernism and Its New
Religious Aesthetic. Evanston, 2016.
- Jonathan Stone, The Institutions of Russian Modernism. Conceptualizing, Publishing, and Reading Symbolism. Evanston, 2017.
- Katherine Lahti, The Russian Revival of the Dithyramb. A Modernist Use of Antiquity. Evanston, 2018.
- Reframing Russian Modernism. Edited by Irina Shevelenko. Madison, 2018.

W.H. Auden’s “New Year Letter” (or The Double Man as it was titled in the U.S.) was published in 1941 to generally negative reviews. Reviewers judged the poem’s neoclassical form to be too abstract and even a “renunciation of modernism”.... more

W.H. Auden’s “New Year Letter” (or The Double Man as it was titled in the U.S.) was published in 1941 to generally negative reviews. Reviewers judged the poem’s neoclassical form to be too abstract and even a “renunciation of modernism”. But the poem’s conceptual ambition, its subtleties of poetic voice, constant shifting of styles and tonal registers, and the texture of the world mapped by the poem all seem to belie its neoclassical formal surface. “New Year Letter” is most striking in its dialectical flow of ideas and the relationship this flow forges with its potential readers. With the dialectical complexity, tonal variation, and stylistic discontinuities in “New Year Letter”, Auden imposes on his readers a new reading regime. The demanding new reading regime and the challenging stylistic features of his poem represent Auden’s bequest to contemporary poets in the face of modern catastrophe.

SOMMARIO CARLO TIRINANZI DE MEDICI, Breve/lungo. Declinazioni letterarie di due radicali cognitivi 7 I. ESPLORAZIONI STORICO-TEORICHE IRÈNE KRISTEVA, Le fragment: l'opus hoc tenue par excellence 49 ADALGISA MINGATI, Forma breve e... more

SOMMARIO CARLO TIRINANZI DE MEDICI, Breve/lungo. Declinazioni letterarie di due radicali cognitivi 7 I. ESPLORAZIONI STORICO-TEORICHE IRÈNE KRISTEVA, Le fragment: l'opus hoc tenue par excellence 49 ADALGISA MINGATI, Forma breve e narrazione a cornice: le 'serate' o 'veglie' nella prosa russa (1770-1840) 67 MARTA AGUDO, El poema en prosa y su presunta brevedad 87 INJAZETTE BOURAOUI MABROUK, S'écrire dans l'intranquillité et le trouble du fragment: le cas de Jacques Dupin 101 II. LE FORME BREVI DELLA POESIA GIULIANA CALABRESE, Breves poemas sin poeta: el haiku en la poesía española contemporánea 117 ENRICO RICCARDO ORLANDO, I Frammenti di Giovanni Boine 135 ERIK PESENTI ROSSI, La poesia di Mario Novaro: una filosofia breve? 161 JASMINE BLASIOTTI, «Gusci» di poesia nell'Harmonium di Wallace Stevens 181 JACOPO GALAVOTTI, La costanza del dolore nel libro di una vita: Casa e campagna di Umberto Saba 197 JORDI DOCE, Contra la muerte. La escritura breve en Elias Canetti 215 STEFANO PRADEL, Léxico de la ruina: Al dios del lugar de

Perché il teatro occupa una posizione centrale nella civiltà letteraria inglese? Come nasce il romanzo e quali forme specifiche assume nell’isola? Come evolve la poesia inglese da quando gli elisabettiani importano il sonetto dall’Italia?... more

Perché il teatro occupa una posizione centrale nella civiltà letteraria inglese? Come nasce il romanzo e quali forme specifiche assume nell’isola? Come evolve la poesia inglese da quando gli elisabettiani importano il sonetto dall’Italia? Il volume fornisce una risposta a queste e altre domande, proponendosi come utile avviamento all’analisi del testo letterario inglese e offrendo una panoramica dello sviluppo dei principali generi: poesia, romanzo e teatro. Ogni capitolo è corredato di numerosi esempi distribuiti su un arco temporale che va dal Cinquecento al secondo Novecento. Insieme al tradizionale manuale di storia letteraria, questa guida presenta gli strumenti critico-metodologici indispensabili e le coordinate essenziali per lo studio della letteratura inglese.

Eighteenth-century Britain saw the emergence of a new poetic genre, the “work” poem which took various forms of labor as its subject and was often written by laborers themselves. Several of these working class poets found their lives... more

Eighteenth-century Britain saw the emergence of a new poetic genre, the “work” poem which took various forms of labor as its subject and was often written by laborers themselves. Several of these working class poets found their lives transformed due to the success of their verse (Stephen Duck most famously), but most faded into literary obscurity. However, a substantial body of “work” poems was produced by a diverse group of poets throughout the century, each manifesting divergent concerns and attitudes about the experience of work. This chapter assesses the formal connections uniting this poetic genre, particularly the frequent use of such literary devices as ironic distancing, litotes, and mock-georgic description. Instead of solely classifying “work” poems on the basis of their subject matter, this chapter demonstrates that such poetry (indeed the genre itself) lends itself to sophisticated literary techniques often associated with other poetic genres. In this fashion the full measure of eighteenth-century working class poetry can be evaluated more fairly, particularly by analyzing the formation of a new genre designed expressly by the poets themselves. The chapter ultimately seeks to demonstrate the connectedness, rather than the alienation, of working class poetry to the eighteenth-century British poetic tradition.

Accelerationism, in its Landian formulation, has always mobilised a diachronic coupling of techonomic velocity and occult methodology as its propulsive dynamo. Land's declaration that 'poetry is invasion and not expression' invites the... more

3e édition revue et augmentée de l'anthologie de la poésie ukrainienne regroupant une cinquantaine de poètes à commencer par le fondateur de la littérature moderne Taras Chevtchenko jusque dans les années 2010. Présenté, taduit en... more

3e édition revue et augmentée de l'anthologie de la poésie ukrainienne regroupant une cinquantaine de poètes à commencer par le fondateur de la littérature moderne Taras Chevtchenko jusque dans les années 2010. Présenté, taduit en français et annoté par le Prof.Dmytro Tchystiak.

À partir de la lecture que la cinéaste fait de La Terre et les rêveries du repos (1948) de Bachelard dans le film Les Plages d’Agnès (2008), ce texte explique dans quelle mesure le paysage des plages dans le cinéma d’Agnès Varda constitue... more

À partir de la lecture que la cinéaste fait de La Terre et les rêveries du repos (1948) de Bachelard dans le film Les Plages d’Agnès (2008), ce texte explique dans quelle mesure le paysage des plages dans le cinéma d’Agnès Varda constitue un espace cinématographique que la cinéaste habite et qui habite en retour la cinéaste. Que ce soit la cinéaste elle-même ou les personnages de ses films qui les empreignent, les plages figurent le travail de son imaginaire qui poétise les images littéraires dont les personnages incarnent les métamorphoses.

On altıncı yüzyıl, Klasik Türk Edebiyatımızın sanat anlayışı, şiir zevki ve biçim güzelliği bakımından doruk noktasına ulaştığı dönemdir. Klasik Türk Edebiyatının on altıncı yüzyılda yaşamış en önemli şairi kabul edilen ve devrinin... more

On altıncı yüzyıl, Klasik Türk Edebiyatımızın sanat anlayışı, şiir zevki ve biçim güzelliği bakımından doruk noktasına ulaştığı dönemdir. Klasik Türk Edebiyatının on altıncı yüzyılda yaşamış en önemli şairi kabul edilen ve devrinin Sultanüş'şuâra'sı (şairler sultanı) olarak anılan Baki, gazellerinde ideal sevgilinin öngörülen güzellik unsurlarını en iyi biçimde yansıtmıştır. Bu dönemde yaşamış devrinin şairler sultanı Baki, ideal sevgilinin tüm özelliklerini içinde barındıran gazelleriyle ününü günümüze kadar taşımış ve adından söz ettirmiştir. Bilindiği üzere bu dönemde mazmun adı verilen kalıplaşmış söz ve anlatımlar şairler tarafından sıkça kullanılarak şiir zevkinin en üst seviyeye ulaştığı şiirler yazılmıştır. Mazmunun edebiyatımızdaki terim anlamı "bir şeyin, özelliklerini çağrıştıracak kelime grupları içinde gizlemek" tir. Öyle ki şairler, şiirlerinde sıkça mazmun kullanmışlar ve şiirlerinin anlamlarını mümkün olduğunca kapalı ve sanatlı kılmaya çalışmışlardır. Baki de, on altıncı yüzyıl Klasik Türk Edebiyatımızda mazmunları kendisine has üslubuyla kullanmıştır. Kapalı anlam içeren beyitlerinde bütün güzelliğinden çok, parça güzelliğine önem vererek Klasik Türk Edebiyatımızın şiir anlayışını sürdürmüştür. Klasik Türk Edebiyatımızda ideal sevgili çeşitli isimler ve sıfatlarla adlandırılır. Sevgili; zalim oluşu, vefa göstermemesi, acımasızlığı ve taş gönüllü olmasıyla dile getirilir. Âşık, yine de bir gün olsun onu sevmekten vazgeçmez ve her fırsatta bu acımasızlığın devam etmesini ister. Bakinin beyitlerinde en çok kullandığı mazmunlardan biri olan zülf, sevgilinin en önemli güzellik unsurlarından biri olan saç için kullanılmıştır. Saç, âşığı sevgiliye bağlayan ve onu çok fazla etkileyen bir özelliğe sahiptir. Saçlar, âşığı cezbeden aynı zamanda da eziyet eden özellikleriyle karşımıza çıkar. Âşıklar için saçlar yakalanmaktan, bağlanmaktan kaçılamayacak bir güzelliktedir. Âşıkların hem saça bağlanmak istedikleri hem de bağlanmaktan dolayı şikâyet ettikleri görülür. Klasik Türk Edebiyatımızda saç, şekli itibariyle çembere, çevgâna, zincire, uzunluğu ve parlaklığı dolayısıyla yılana ve kemende, siyah rengiyle de geceye, karanlığa ve gölgeye benzetilmiştir. Bu yazımda Baki'nin gazellerindeki beyitlerde geçen zülf mazmununun şeklini, uzunluğunu, parlaklığını ve rengini benzetilme bakımından inceleyeceğim.

شهر آکنده از دلالت‌های معنایی است که هم به‌واسطه‌ طراحان آن و هم شهروندان رمزگذاری و توسط شهروندان، رمزگشایی می‌شود. بنابراین شهر را می‌توان به‌عنوان یک «متن» خواند. ازاین‌رو نشانه‌شناسی شهری روشی است برای بررسی زبان‌شناسانه‌ فضای شهری که... more

شهر آکنده از دلالت‌های معنایی است که هم به‌واسطه‌ طراحان آن و هم شهروندان رمزگذاری و توسط شهروندان، رمزگشایی می‌شود. بنابراین شهر را می‌توان به‌عنوان یک «متن» خواند. ازاین‌رو نشانه‌شناسی شهری روشی است برای بررسی زبان‌شناسانه‌ فضای شهری که به واکاوی معنای فضای شهر می‌پردازد. این پژوهش در پی یافتن فنون و روش‌هایی است که می‌تواند منجر به فضاهای شاعرانه در شهر شود. ازاین‌رو با روش نشانه‌شناسی به واکاوی یک نمونه فضای شهری که دارای این ویژگی بوده پرداخته‌شده است. درنهایت پژوهش به بررسی مفاهیم نشانه‌شناختی مانند برجسته‌سازی ادبی، هنجار‌گریزی، خودکارشدگی و قاعده افزایی در یک نمونه موردی فضای شهری، باغ بلند شیراز، اثر مهرداد ایروانیان پرداخته است. در پایان پژوهش به روش‌هایی که وی برای ایجاد فضای شاعرانه به کار بسته است مانند
آشنایی‌زدایی به‌واسطه‌ انحراف از زبان معیار، ایجاد تعلیق و ایهام از طریق تصرف در محور هم‌نشینی دست‌یافته است.
According to Aristotle, poetics and art, were considered an imitation of reality but according to Bachelard, they were phenomenology of the imagination. Bachelard showed how houses are receptive to human characteristics and complexities, a house and its occupants usually match the architectural space, and residential space gives excellence to geometric space. House, in his opinion is a sheltered nest of dreams and imagination. Poetic imagination is always "text" and thus be interpreted and in reading the meaning of architecture and the city, both are studied as text. Thus poetics of urban space and architecture can be investigated from phenomenological, ethnographic and semiotics (Semio-logical) methods. Urban spaces in a semiotics approach, usually emphasize on the aspects of semantic systems. The city is filled with semantic significations which is encoded by both designers and citizens and then is decoded by the citizens. The city can be understood as a text by considering varying semiotics natures of the urban space. The question is, How to create a poetic urban space.
The aim of this research is to find techniques that can lead to poetical features in urban spaces. The urban semiology is a method to linguistic analysis meaning of urban space. The article analysed a case study of urban space that has this features by semiology approach. The case study is Bagh-e Boland (Chamran Park) in Shiraz city, designed by Mehrdad Iravanian (b. 1957). Bagh-e Boland is an urban space which allows its audience to interpret and explore the meanings. After an introduction to urban and architectural semiotics, a sociosemiotic analysis is carried out to uncover the meaning system of this built environment. In this case, the park is viewed as structured by poetical characteristics and as a text. The park has been investigated by syntagmatic and paradigmatic, synchronic analysis.
At the level of the design strategy, Iravanian has used three strategies to create a poetic space: intertextuality, defamiliarization, and metaphor. For intertextuality he linked his text with non-architectural texts such as sculptures or history of site. He has deviated from the standard language, has changed automatized meaning of the space and thereby has defamiliarized space. He has done this by increasing the scale forms, creating synchronicity spatial elements, and change in composition of the constructions. In addition, multiple meanings have been added to the space by using the architectural metaphor, amphiboly and metonymy. He suspended architectural elements and applied familiar construction and building materials in another way. He has provided metaphor by naming spaces, captured in the axis of the syntagmatic of spaces and usage of dual oppositions. Urban spaces are highlighted by exaggerating the textures used in floor, walls and furniture. It should be noted at the end that this spaces can be analyzed with other approaches, however looking at the language of this article is merely an urban space. Also intertextuality vision to text can disclose techniques of createing new meaning in space. Thus, an urban space, can help in motivation of thought, the audience, and the pleasure of discovery.

Il principio unificante rilevato a più livelli del testo, prende forma nelle ri-occorrenze significative, nella concordanza degli elementi e nella disposizione dei tratti pertinenti. Tale sistema diviene quasi "refuso della comunicazione"... more

Il principio unificante rilevato a più livelli del testo, prende forma nelle ri-occorrenze significative, nella concordanza degli elementi e nella disposizione dei tratti pertinenti. Tale sistema diviene quasi "refuso della comunicazione" nell'interruzione delle linee di contorno della figura del narratore, nell'assenza di balloon come punto di rottura della manifestazione del flusso di coscienza del soggetto, nelle vignette interamente inchiostrate o lasciata in bianco, che rinviano all'ordine del poter vedere. In questo processo, il corpo diventa luogo di rinegoziazione continua degli stati passionali e delle valorizzazioni individuali e collettive. Il soggetto-testimone si racconta attraverso il corpo, convocando il lettore in qualità di soggetto partecipe di un atto di presa di coscienza e di trasformazione emotiva. Il silenzio, come perdita e omissione delle parti, assume un significato positivo, diventando meta della tensione conoscitiva del soggetto. Attraverso una raffigurazione inconsueta del corpo del narratore/testimone, un cambiamento costante e alternato del piano dell'espressione, e un'organizzazione originale degli elementi che costituiscono il fumetto, Garduno svela un meccanismo complesso. Il metadiscorso sull'arte del fumetto e i toni del saggio politico, si fondono a una conclusione autobiografica, che è testimonianza del percorso di ricerca compiuto dal soggetto.

This article proposes a framework for studying material culture, such as fashionable clothing, based on an analysis of the processes that lead to the creation and attribution of symbolic value. Five types of analyses are outlined: (1)... more

This article proposes a framework for studying material culture, such as fashionable clothing, based on an analysis of the processes that lead to the creation and attribution of symbolic value. Five types of analyses are outlined: (1) analyses of material culture as a type of text that expresses symbols and contributes to discourses and to cultural repertoires; (2) analyses of systems of cultural production in which symbolic values are attributed to material culture through the collective activities of members of culture worlds; (3) analyses of the communication of symbolic values associated with items of material culture and the processes whereby these meanings are disseminated to consumers through the media; (4) analyses of the attribution of symbolic values to material culture by consumers and of their responses to symbolic values attributed to material culture by producers of material culture or in other ways; (5) cross-national studies of symbolic values expressed in material goods and of the systems that produce them in order to reveal differences in the types of symbolic values attributed to material culture in different countries and regions. An analysis of cultural, social, and organizational influences on the production of fashionable clothing in Italy introduces three articles in this issue on this theme.

What are cultures of circulation, and how can they be understood in ways that inform critical scholarship and relationships between academic work and public engagement in globalized settings? This introductory article discusses the... more

What are cultures of circulation, and how can they be understood in ways that inform critical scholarship and relationships between academic work and public engagement in globalized settings? This introductory article discusses the initial formulation of the phrase in 2002 and describes how the seven articles in this special issue extend its implications 10 years later. We begin by charting some of the key contexts in which the concept has flourished, noting some of the problems and limitations of its use in different disciplines. We then provide an overview of how each article in this issue takes up the dialectics of circulation and the programmatic of culture as practice. We conclude by proposing avenues for further research as well as opportunities for self-reflexive uses of the concept within academic debates and via wider public engagement. #

The author presents ars criteria (the art of criteria) poems as a re-entry into the dialogue about rigor and quality in qualitative research using arts-based research, and poetry in particular. This piece uses found poetry to address... more

The author presents ars criteria (the art of criteria) poems as a re-entry into the dialogue about rigor and quality in
qualitative research using arts-based research, and poetry in particular. This piece uses found poetry to address questions
of critical rigor and vigorous application of criteria in qualitative research. She argues that we need to continue to dialogue
about applying criteria with rigor or adopting vigorous criteria and believes that “flexible criteria” exist and should be used
when evaluating poetic inquiry.

The purpose of this brief note is to present a discussion of the first two sessions of a poetry group conducted with moderately to severely cognitively impaired adults in a nursing home. Exercises and techniques used with this population... more

The purpose of this brief note is to present a discussion of the first two sessions of a poetry group conducted with moderately to severely cognitively impaired adults in a nursing home. Exercises and techniques used with this population are discussed. Poetry groups such as this may provide joy those who suffer, a chance to re-experience memories, to connect to others, and the creation of moments of increased value and meaning.

generally. Other genres that could also be examined in light of scripting and the semiotic ideology of inner reference include public apologies, sentencing pleas, and political asylum hearings, all of which entail consequential outcomes... more

generally. Other genres that could also be examined in light of scripting and the semiotic ideology of inner reference include public apologies, sentencing pleas, and political asylum hearings, all of which entail consequential outcomes in the lives of those involved. Overall, Scripting Addiction breaks new ground in the field of therapeutic discourse by giving sustained attention to how political acts are afforded and constrained by the interrelationship of clinical and semiotic ideologies.

Статья посвящена лингвостилистическому анализу первой книги романа-тетралогии русского советского писателя Василия Александровича Смирнова (1905–1979) «Открытие мира». Рассмотрены различные формы субъективации повествования и... more

Статья посвящена лингвостилистическому анализу первой книги романа-тетралогии русского советского писателя Василия Александровича Смирнова (1905–1979) «Открытие мира». Рассмотрены различные формы субъективации повествования и лингвостилистические средства формирования речевых портретов персонажей, отражающих определенный спектр проявлений русской речи первых десятилетий XX в. Методологической основой анализа послужили разработки в области стилистики художественной прозы акад. В. В. Виноградова, В. В. Одинцова., А. И. Горшкова / The paper is devoted to the linguistic analysis of the novel-tetralogy of the Russian writer Vasily Aleksandrovich Smirnov (1905–1979) “The Discovery of the World”. Various forms of narrative subjectification and linguistic-stylistic means of forming speech portraits of characters reflecting a certain spectrum of manifestations of Russian speech of the first decades of the 20th century are considered. Methodologically the paper is based on the works of Russian scholars in stylistics. V. V. Vinogradova, V. V. Odintsov, A. I. Gorshkov

This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary... more

This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorizations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early-twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones, considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily reactivates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late-twentieth-century poetry of Denise Riley, who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon, who has collaborated with photographers and artists, as well as ventriloquizing nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.

This Foreword, about robots, written in both poetry as well as prose, introduces the edited collection _Androids, Cyborgs, and Robots in Contemporary Culture and Society_, edited by Steven J. Thompson (IGI Global, 2018). The link on the... more

This Foreword, about robots, written in both poetry as well as prose, introduces the edited collection _Androids, Cyborgs, and Robots in Contemporary Culture and Society_, edited by Steven J. Thompson (IGI Global, 2018). The link on the thumbnail cover at
https://www.igi-global.com/book/_/179222 will take you directly to the published Foreword, which is open access. The attached PDF, sent directly to me from IGI-Global to use here, is presented with written permission of the publisher.

Prezentowana praca stanowi próbę opisu poetyki opowiadań Gustawa Herlinga-Grudzińskiego. Istniejące w tym przedmiocie opracowania – w postaci artykułów, recenzji oraz fragmentów książek – mają charakter cząstkowy. W rozprawie tej poddaję... more

Prezentowana praca stanowi próbę opisu poetyki opowiadań Gustawa Herlinga-Grudzińskiego. Istniejące w tym przedmiocie opracowania – w postaci artykułów, recenzji oraz fragmentów książek – mają charakter cząstkowy. W rozprawie tej poddaję analizie całość dotychczasowego dorobku pisarza: utwory powstałe na przestrzeni ponad czterech dziesięcioleci, od opublikowanego w 1956 roku "Księcia Niezłomnego" po wydrukowany w roku 1999 "Odlot i powrót Gołubowa". Traktowanie licznych przecież opowiadań en gros znajduje usprawiedliwienie w często wyrażanej przez krytyków opinii stwierdzającej, iż utwory Herlinga są „jakby zbiorem rozmaitych redakcji tego samego opowiadania” (R.K. Przybylski), że pisarz „często powraca do wcześniej rozpoczętych tematów” (W. Bolecki), że „w swoich opowiadaniach pisze kolejne rozdziały wielkiego dzieła” (Z. Kudelski). Wszelako podkreśla się również, iż wraz z kolejnymi dokonaniami wzrasta stopień uniwersalności rozpoznań dotyczących ludzkiej kondycji, że poszczególne wątki tematyczne ujmowane są w nowej perspektywie i że dopiero odczytywane razem – opowiadania dopełniają się wzajemnie.
Książka niniejsza składa się z trzech części. W pierwszej z nich – na marginesie rozważań na temat publikacji utworów Herlinga, ich recepcji, a także podjętej przeze mnie krytycznej prezentacji ważniejszych ustaleń dotyczących opowiadań pisarza – zakreślam bliżej przedmiot pracy (poddawany analizie obszar twórczości Herlinga), dokonuję w jego zakresie wstępnych rozpoznań oraz formułuję niektóre założenia badawcze.
Dalsze, zasadnicze kwestie metodologiczne podejmuję w rozdziale pierwszym części drugiej, w którym staram się sprecyzować zawarty w temacie termin „opowiadanie” oraz sprawdzić, na ile okazuje się on adekwatny w stosunku do wyodrębnionego przeze mnie wstępnie korpusu tekstów pisarza. W rozdziale tym – poprzez wskazanie najistotniejszych gatunków współkonstytuujących uprawianą przez Herlinga formę, mianowicie reportażu, eseju i przypowieści – wyodrębniam, wyprowadzone z nich, kategorie porządkująco-interpretacyjne: autentyzm, dyskursywność i paraboliczność, służące wskazaniu najważniejszych cech konstrukcyjnych utworów. Zawartość semantyczna owych kategorii definiowana jest w wyznaczanych przez nie trzech kolejnych rozdziałach, stanowiących meritum sformułowanego w tytule pracy zagadnienia. Analiza konstrukcji opowiadań ujawnia jednocześnie zakres podejmowanej w nich przez pisarza problematyki, a także wpisany w nie filozoficzno-pisarski projekt.
W części trzeciej – na którą składają się interpretacje "Drugiego Przyjścia", "Gasnącego Antychrysta", "Gorącego oddechu pustyni" i "Błogosławionej, świętej" – proponuję bliższe przyjrzenie się ważniejszym z wątków problemowych podejmowanych w opowiadaniach. Oczywiście każdy wybór spośród kilkudziesięciu utworów wydawać się może arbitralny, niemniej starałem się kierować wymogiem reprezentatywności tekstów. Nie znajdziemy tu wprawdzie odczytania tak ważnej dla zrozumienia pisarstwa Herlinga dylogii "Skrzydła ołtarza", jednakże poświęcam jej sporo uwagi w części drugiej pracy. Tam też – podkreślę – zarysowana została problematyka wielu innych, istotnych w dorobku pisarza utworów. Ostatecznie więc w części trzeciej poddaję interpretacji teksty powstałe między rokiem 1961 a 1994, dwa z okresu emigracyjnego i dwa opublikowane po zniesieniu (nie tylko literackiego) podziału na kraj i emigrację. Przede wszystkim jednak w tekstach tych znajdujemy wątki faktycznie najistotniejsze, najczęściej podejmowane, kształtujące swoistą filozofię tego pisarstwa. Analizowane utwory eksponują też różnorodność aktualizowanej w opowiadaniach Herlinga problematyki. Ponadto poszczególne interpretacje stanowić mają – w moim zamyśle – ilustrację i ukonkretnienie ustaleń dotyczących konstrukcji opowiadań formułowanych w części drugiej, w szczególności zaś mają egzemplifikować przejawianie się w utworach pisarza, w różnej konfiguracji, kategorii autentyzmu, dyskursywności i paraboliczności.
Tak zatem praca niniejsza, skupiona zasadniczo na zagadnieniu konstrukcji opowiadań, podejmuje również kwestię „przystawalności” zastosowanej techniki pisarskiej do realizowanej w utworach szeroko pojętej problematyki światopoglądowej.

It travels in a different space and time, energy converting into matter, cells dividing at the speed of light. A televised event, high frequency resolving, it floats, weightless in the womb, drifting upside down across a gray vague... more

It travels in a different space and time, energy converting into matter, cells dividing at the speed of light. A televised event, high frequency resolving, it floats, weightless in the womb, drifting upside down across a gray vague screen, oblivious to gravity, independent, evolving. I have no control. It sucks its existential thumb decidedly, denying my responsibility. It pushes, kicks across the dark and flickering screen, alien on its way to birth and earthly acclaim, an incarnation of the cosmos in a human name.

This article attempts to reinstate the inherent rigor of “image” as a literary term by addressing the theoretical issues related to the image that W. J. T. Mitchell discusses in his encyclopedia entry and his articles on the concept. The... more

This article attempts to reinstate the inherent rigor of “image” as a literary
term by addressing the theoretical issues related to the image that W. J. T. Mitchell discusses
in his encyclopedia entry and his articles on the concept. The image is usually
considered an overly psychological concept that lacks the rigor of rhetorical devices such
as metaphor. This article clarifies the relationship between the image and metaphor by
arguing that, while an image may not be immediately considered a metaphor, a metaphor
may be thought of as a composite and relational proposition-image. It underscores
the futility of insisting on the concrete sensual (or visual) aspect of the image, arguing
that, before any sensual attribution, the image must primarily be thought of as a reference
or picture, which may at times be obscure, indefinite, or even empty. It also raises
some objections to the conceptualization of the mental picture as private by arguing that
the word on which the mental image is based cannot be less private or “mental.”
Keywords: image, W. J. T. Mitchell, metaphor, figure, rhetoric, privacy, sensuality

Curated colloquy with an initial cluster of contributions by Jason Crawford, Walter Melion and Bart M. Ramakers, Michael Silk, and Nicolette Zeeman. // "What has allegory to do with personification, and personification with allegory? Are... more

Curated colloquy with an initial cluster of contributions by Jason Crawford, Walter Melion and Bart M. Ramakers, Michael Silk, and Nicolette Zeeman. // "What has allegory to do with personification, and personification with allegory? Are we justified in speaking, as we often do, of 'allegorical personifications' and 'personification allegory,' or does such usage, however widespread, obscure fundamental differences between the two? Why is it that the notion of allegory emerges already with some of the earliest known readers of Greek mythological poetry in the sixth century BCE, whereas full-scale personification narrative does not seem to appear until Prudentius' _Psychomachia_ in the fifth century CE? Can the histories of these concepts be brought into meaningful alignment? Can the premise of their close interrelatedness withstand rigorous theoretical scrutiny? In revisiting such questions, this colloquy hopes to spark fresh debate on what is not merely an unresolved terminological issue, but a fundamental conceptual problem with immense implications for our understanding of Western art and literature from classical antiquity to the present day."

The present article investigates the poetics and politics of the new canon feminist critical dystopia and addresses its potential for creating a space for activism and rebellion in The Water Cure and Before She Sleeps. Accordingly, the... more

The present article investigates the poetics and politics of the new canon feminist critical dystopia and addresses its potential for creating a space for activism and rebellion in The Water Cure and Before She Sleeps. Accordingly, the works sheds light on the issue of female oppression in enclosed patriarchal societies and highlights the possibility of escape from the dystopian nightmare. Thus,the paper relies on feminist criticism to analyze the various methods of female objectification as depicted in the novels under study, namely: confinement, surveillance, and sexual dominion. The article hypothesises that the dystopian atmosphere assists writers in creating an authentic image of the genderbiased attitudes and their impact on women, as well as, it proves that women writers of dystopia contribute, positively, in fighting against female oppression begot by patriarchal norms.

Пятнадцать лет жизни С. Т. Аксакова были отданы службе на разных постах и в разных ведомствах. Несколько раз за время своей служебной деятельности у него возникали в конфликты с руководством, которые во многом были следствием... more

Передмова до видання книги архиєпископа Мелетія Смотрицького "Apologia" (1627) з паралельним перекладом українською мовою розглядає твір як зламний етап у творчій еволюції полеміста, простежуючи передумови цього зламу та його вияви на... more

Передмова до видання книги архиєпископа Мелетія Смотрицького "Apologia" (1627) з паралельним перекладом українською мовою розглядає твір як зламний етап у творчій еволюції полеміста, простежуючи передумови цього зламу та його вияви на рівні трансформації образної мови.

Logofagias. Los trazos del silencio] PEDRO SERRA UM Silence can be a plan rigorously executed The blueprint to a life It is a presence It has a history a form Do not confuse it with any kind of absence Adrienne Rich (1)

These poems, composed in Somali and in English, provide a poetic reflection of the recently emerged debate on the theme of Caddaan Studies which means "White Studies". The criticism and counter-criticism contained in the debate dug so... more

These poems, composed in Somali and in English, provide a poetic reflection of the recently emerged debate on the theme of Caddaan Studies which means "White Studies". The criticism and counter-criticism contained in the debate dug so deep into life nerve of Somali Studies that over a thousand people participated. The poems, under the title "Inaugurating Caddaan Studies" were composed with a critical observation of the debate.

The Italian edition of the work by Eleazar M. Meletinsky on the historical poetics of the novella – recently edited and translated by M. Bonafin and L. Sestri ‒ gives us the opportunity to revise the theoretical model by which the Russian... more

The Italian edition of the work by Eleazar M. Meletinsky on the historical poetics of the novella – recently edited and translated by M. Bonafin and L. Sestri ‒ gives us the opportunity to revise the theoretical model by which the Russian scholar explained the origins of this narrative genre in Europe and Asia from various folkloric forms, i.e. myth, fairy and realistic tale, anecdote: in particular the analysis is carried out through the comparison with the similar reflections on novel and epic available in other Meletinsky’s books and with the theory of the “converging streams” developed by A.N. Veselovsky. Some corrections to the model of historical poetics are proposed, in order to conciliate typology and contingent elements, poetics and philology.

On m'a dit qu'il faut faire connaître les personnages, et que la Chartreuse ressemble à des Mémoires, les personnages paraissant à mesure qu'on en a besoin 1 . » « Il est des genres où la fonctionnalité des éléments composant un texte est... more

On m'a dit qu'il faut faire connaître les personnages, et que la Chartreuse ressemble à des Mémoires, les personnages paraissant à mesure qu'on en a besoin 1 . » « Il est des genres où la fonctionnalité des éléments composant un texte est plus forte que dans d'autres 2 . ». Michel Charles oppose à cet égard la tragédie classique ou la poésie strophique au roman : dans ce dernier genre, il ne s'exerce guère de « contraintes plus ou moins admises que nous aurait exposées quelque d'Aubignac du roman », et « le plus souvent, le découpage n'est pas donné 3 ». Ce serait donc là que « l'élaboration de la composition présent[e]le plus de difficultés 4 » pour le lecteur ; et c'est à ce titre que Michel Charles a fait des textes romanesques un objet privilégié pour une « mise à l'épreuve un peu forte 5 » de ses réflexions sur la composition.