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    Wyświetlanie 1-8 z 8
    Tytuł:
    Śmierć muchy. Jedna scena z „Odejścia Głodomora Tadeusza Różewicza
    Death of a Fly. On "The Hunger Artist Departs" by Tadeusz Różewicz
    Autorzy:
    Orzeszek, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/691983.pdf
    Data publikacji:
    2019
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    śmierć, mucha, tanatologia, Kafka, żałoba
    death, a fly, thanatology, Kafka, mourning
    Opis:
    Western imagination describes a fly as an abject. It causes disgust and, as such, belongs to the “other world” of condamned and unwanted beings that define the end of humanity. This is the concept, which Tadeusz Rozewicz seems to undermine in The Hunger Artist Departs (1976). In Scene Four the main character of the play mourns for the fly he accidentally crushed in his hand, and furthermore he makes his “last confession” over insect’s corpse. This essay tries to examine the play with thanatological context (death of a fly as phantasmatic experience of protagonist’s own death). It also highlights funeral aspects of the work, which – together with The Trap (1982) and a poem interrupted conversation (1991) – expresses Rozewicz’s lament on Franz Kafka.
    W wyobraźni Zachodu mucha jest pomiotem (abiektem). Budzi wstręt i jako taka przynależy do świata „zwymiotowanego, odrzuconego, upadłego”, który definiuje – na zasadzie różnicy – ramy ludzkiego istnienia. Zupełnie inne wartościowanie nadaje musze Tadeusz Różewicz w dramacie Odejście Głodomora z 1976 roku. W scenie czwartej tytułowy bohater opłakuje muchę, którą zgniótł w dłoni, a następnie dokonuje nad jej ciałem rachunku sumienia. Szkic jest próbą odczytania dramatu w kontekście tanatologii (śmierć muchy jako fantazmat śmierci własnej Głodomora). Zwraca także uwagę na żałobne aspekty utworu, który, razem z Pułapką i poematem przerwana rozmowa, stanowi osobiste pożegnanie Różewicza z Franzem Kafką.
    Źródło:
    Zoophilologica. Polish Journal of Animal Studies; 2019, 5
    2719-2687
    2451-3849
    Pojawia się w:
    Zoophilologica. Polish Journal of Animal Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Schulz i żałoba. O drugim ciele pisarza
    Schulz and Mourning. On the Writer’s Other Body
    Autorzy:
    Orzeszek, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/645474.pdf
    Data publikacji:
    2019-12-16
    Wydawca:
    Fundacja Terytoria Książki
    Opis:
    The paper addresses the problem of the mourning cult of Bruno Schulz. The presented approach is critical of its excess in the Schulzean biographical discourses as well as literary and artistic references to his life and work, but it is by no means provocative like that of Janusz Rudnicki, who in the 1990s mocked the “hagiographic” idiom of Jerzy Ficowski. Analyzing archive records and testimonies, the author attempts to reconstruct the circumstances of Schulz’s death in possibly the minutest details. Comparing contradictory pieces of information with the official version made popular by Ficowski, he shows how profoundly it has been marked by the unperformed work of mourning over Schulz and the Holocaust – both the failed work of Ficowski himself and of his postwar correspondents whose letters determined the form of The Regions of Great Heresy. Using the idiom of thanatology and taking the role of a necrographer rather than that of a Schulz specialist, the author supposes that the dynamic of loss in the case of Schulz reaches far beyond the act of the writer’s execution on the street to include also the posthumous annihilation of his corpse and grave. This particular kind of necroviolence, perhaps the most hateful from the vantage point of the Jewish tradition and the heritage of Western culture in general, which consists in removing the material remains of the deceased has been called by Holocaust scholars “necrocide.” The absence of material traces and the “mourning objects” that usually help to cure the semiotic crisis which is death makes writers and artists commemorate Schulz with lyrical and artistic epitaphs. Their function is to restore the bodily identity of the dead person by creating his other body, told about and imagined in effigie, existing not beside but instead of the missing “mourning object.” However, the expansion of those elegiac narratives, particularly those produced outside Poland, often results in unintended reductionism. As a human being, writer, and artist, Schulz has been reduced in them to an emblem of the Holocaust, while such obituaries ignore the history of his archive. The other, historical and material body of the writer consists of his manuscripts, drawings, graphic works, and official documents. It exists, drawn and quartered, in archives, to be put up for auction for tens of thousands of dollars, exposed in museums and art galleries, and hoarded by collectors as precious relics.
    Źródło:
    Schulz/Forum; 2019, 14
    2300-5823
    Pojawia się w:
    Schulz/Forum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Śmierć (3). Antyhasło do Słownika schulzowskiego
    Death (3) – A Non-entry for Schulz Dictionary
    Autorzy:
    Orzeszek, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/645921.pdf
    Data publikacji:
    2017-09-01
    Wydawca:
    Fundacja Terytoria Książki
    Opis:
    There is a strong tradition of reading Schulz as an author who constantly (and intentionally) expels death from his work. The author of this article, however, argues against such an opinion. On the contrary, his argument reveals those themes and figures, both in Schulz’s stories and drawings, that refer to the thanatic imagination, not literally though, but rather in a way described by the French philosopher and critic Michel Guiomar as an “obscure vicinity of death” evoked by the work of art. These are, for example, theelegiac-ironic convention of “Autumn” and “The Homecoming”, as well as the funeral mood and death symbols in “The Sanatorium Under the Sign of the Hourglass” or in highly transgressive parts of “Spring”. The author also addresses questions concerning Schulz’s personal outlook on death and afterlife, which seems to link together the need for consolation and fascination with death. Although the paper was originally intended to be an entry for the future Schulz Dictionary, the official style of the opening section soon gives way to more general considerations on the thanatological discourse itself and Schulz’s idiosyncratic literary idiom.
    Źródło:
    Schulz/Forum; 2017, 10
    2300-5823
    Pojawia się w:
    Schulz/Forum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Portret artysty (rocka) w wieku dojrzałym. Nick Cave na scenie
    Portrait of a (Rock) Artist as a Mature Man. Nick Cave on Stage
    Autorzy:
    Orzeszek, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/2097174.pdf
    Data publikacji:
    2021-12-30
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    Nick Cave
    biografia sceniczna
    kultura sławy
    voyeuryzm
    effigie
    fotografia
    stage biography
    fame culture
    voyeurism
    effigies
    photography
    Opis:
    Autor artykułu podejmuje próbę rekonstrukcji “przedstawialnego obrazu siebie” muzyka, pisarza i artysty scenicznego Nicka Cave’a. W centrum uwagi stawiam jego fotograficzne portrety, zwłaszcza te najbardziej emblematyczne i najczęściej multiplikowane, należące do ikonosfery rocka i kultury popularnej przełomu XX i XXI wieku – autorstwa holenderskiego fotografika Antona Corbijna. Namysł nad fotograficznymi reprezentacjami twarzy Cave’a rozszerzam jednak na jego najnowszą twórczość, obejmującą zarówno albumy muzyczne, jak i autobiograficzne filmy, takie jak 20 000 dni na Ziemi i One More Time with Feeling, oraz poemat Pieśń torby na pawia czy blog The Red Hand Files. Wszystkie te hiperteksty próbują dać publiczności poczucie uczestniczenia w metamorfozie, towarzyszenia artyście “za kulisami” scen i teatrów, w trasie, w pokojach i łazienkach hotelowych. Widzimy, jak ciało prywatne i biologiczne przeobraża się w ciało medialne, jak jest monumentalizowane na scenie i przed obiektywem, by w końcu stać się ciałem-znakiem i ciałem-towarem. I odwrotnie. Ta dialektyka intymności przybiera niekiedy formę ekshibicjonistyczno-voyeurystycznego paktu z publicznością w duchu selfie. Zarazem jednak Cave prowadzi tę grę tożsamościową bardzo świadomie i krytycznie. Zacierając granicę pomiędzy zmitologizowanym effigie scenicznym i biografią, aktualizuje Warholowską politykę “dawania twarzy” do warunków, jakie stwarza i jakich żąda synoptykalny system sławy i przemysł kultury XXI wieku.
    In this article, I try to reconstruct the “representable self-image” of musician, writer and stage artist Nick Cave. I focus on his photographic portraits, the most emblematic and frequently reproduced, that create an iconosphere of rock and popular culture at the edge of the 20th and 21st centuries – taken by a Dutch photographer Anton Corbijn. However, I take under consideration not only photographic representations of Cave but also his latest output: music albums and the autobiographical movies 20 000 Days on Earth and One More Time with Feeling, as well as his poetry book called Sick Bag Song or his blog The Red Hand Files. All these hypertexts have been directed to give the audience a sense of participation in a metamorphosis, as they accompany the artist backstage, on tour, and in his hotel room. They show us how the “private” and “biological” body of the artist transfers into the “public” body, how it is monumentalized on stage and with a camera and – finally – how it becomes a “sign,” “trademark,” and “product.” Sometimes, this dialectic intimacy makes an impression of an exhibitionist-voyeuristic pact between the artist and his public. However, Cave runs this identity game very consciously and with self-irony. By crossing the borders between his mythologized stage effigie and his biography, Cave seems to adapt a Warhol-like politics of “giving good face” into the synoptical culture industry and fame culture of the 21st century.
    Źródło:
    ER(R)GO: Teoria – Literatura – Kultura; 2021, 43; 133-148
    1508-6305
    2544-3186
    Pojawia się w:
    ER(R)GO: Teoria – Literatura – Kultura
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Niepokój, groza wieczności”. Taine czytany przez Schulza (próba lektury równoległej)
    “The Fear of Eternity.” Taine Read by Schulz (An Attempt at Simultaneous Reading)
    Autorzy:
    Orzeszek, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/645461.pdf
    Data publikacji:
    2015-09-07
    Wydawca:
    Fundacja Terytoria Książki
    Opis:
    There is only one published piece of evidence that Bruno Schulz read Taine: a note that he made in reference to Taine’s Philosophy of Art (pages 51-71 of volume II of the Polish 1911 Lviv edition). The note has been discovered almost miraculously and briefly commented on by Jerzy Jarzębski in 1995. In the present essay, the author approaches the note once more, reading it together with Taine’s book and treating Schulz’s text as an intellectual map to reconstruct the actual moment of the writer’s reading. It seems that there is some mental kinship between the French philosopher and the Polish writer: common fascination with ancient Greece and skepticism about the prospects of modern European civilization. Both compared the ancient and modern ideas of art and ways of everyday life, as well as pagan and post-Christian beliefs about death and afterlife.
    Źródło:
    Schulz/Forum; 2015, 6; 43-56
    2300-5823
    Pojawia się w:
    Schulz/Forum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ciało / części ciała / wydzieliny. Indeks do „Sklepów cynamonowych”
    Body / Body Parts / Excretions. Indexing Cinnamon Shops”
    Autorzy:
    Orzeszek, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/645526.pdf
    Data publikacji:
    2019-10-28
    Wydawca:
    Fundacja Terytoria Książki
    Opis:
    A literary index of body, body parts and exrcetions in Schulz's Cinnamon Shops.
    Źródło:
    Schulz/Forum; 2019, 13; 172-190
    2300-5823
    Pojawia się w:
    Schulz/Forum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Projekt księgi umarłych
    The Book of the Dead: A Project
    Autorzy:
    Orzeszek, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/645546.pdf
    Data publikacji:
    2018-12-03
    Wydawca:
    Fundacja Terytoria Książki
    Opis:
    The paper sheds light on the postwar reception of Schulz’s work and biography, usually underestimated by scholars. It reveals that at the very beginning of that period Jerzy Ficowski cooperated closely with the Jewish Society for the Encouragement of Fine Arts and later Jewish Historical Institute in Warsaw, although his collaboration was rather unofficial and relied on mutual information transfer. It also presents the results of research conducted in the Archives of the Jewish Historical Institute, particularly an analysis of the documents from the Ernestyna Podhorizer-Sandel and Józef Sandel files. These are mainly biographical notes on Bruno Schulz and other Polish-Jewish artists murdered by the Nazis during World War II that were to be included the monumental and unfinished Sandels’ Polish-Jewish Artists Lexicon. The main question is how the Holocaust narrative influenced Schulz’s mainstream reception in the future.
    Źródło:
    Schulz/Forum; 2018, 11; 143-152
    2300-5823
    Pojawia się w:
    Schulz/Forum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Schulz nasz bliźni
    Schulz, Our Neighbor
    Autorzy:
    Orzeszek, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/645703.pdf
    Data publikacji:
    2018-12-03
    Wydawca:
    Fundacja Terytoria Książki
    Opis:
    When in 1947 Pierre Klossowski called the Marquis de Sade his „neighbor,” in fact he did it on behalf of an entire generation of French intellectuals, writers, and artists, for whom the „divine Marquis” became emblematic both as a source of philosophical inspiration, and as an existential figure. Soon the author of 120 Days of Sodom would be taken into consideration by Bataille, Blanchot, Camus, and de Beauvoir, and then by Barthes, Ricoeur, Lacan, Deleuze, and Kristeva, to mention only the French. Now, after several decades, it is clear that the twentieth-century humanities made his writings one of their permanent points of reference, either negative, or positive. Therefore, Sade became a neighbor of every one of them. Still, Klossowski did not only mean rational and “structural” kinship when he called the author of Juliette his “neighbor.” His statement seems to have reached much deeper, at something most intimate and dark that remains beyond the pale of reason – Schulz called it the “basic capital of imagination,” the “roots of individual spirit,” the “mythic core.” Just like de Sade, Schulz has many devotees – commentators who also are his “neighbors.” Schulz Studies stem from a statement by Jerzy Ficowski, “I have found the Authentic.” He was then followed by many scholars who were similarly dazzled and seduced, ready to „engage in discoveries.” There are more and more of them nowadays, but Schulz, like the „divine Marquis” in the 20th century, has become for us, overwhelmed by the less and less intelligible and more and more grotesque reality of the 21st century, also a point of reference and an emblem of a certain intellectual and aesthetic identity. With his new materialism, non-anthropocentrism, and the ethic of care, Schulz seems now a harbinger of a new paradigm of Polish culture, which is emerging under our eyes. Perhaps soon enough someone will claim on behalf of a whole generation of post-humanists: Schulz, our neighbor. Will it be true? For now, we are in abeyance, relying only on ourselves. In a trembling voice, with a premonition of something intimate and dark in ourselves, each of us repeats in his or her own name: Schulz, my neighbor.
    Źródło:
    Schulz/Forum; 2018, 12
    2300-5823
    Pojawia się w:
    Schulz/Forum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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