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On Polish structuralism

Michał Głowiński Grzegorz Wołowiec
Nauka | 2018 | No 3 | 27–50
Keywords structuralism semiotics literary theory history of literature poetics narratology
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Abstract

The object of our deliberations is structuralism in literary studies, whose beginnings in Poland can be traced back to the thirties of the 20th century. It was developing at two centres at the time: at the Stefan Batory University in Vilnius, around Professor Manfred Kridl, and at the University of Warsaw. Structuralism was reborn in Poland in the sixties and it impacted all of literary studies; its main centres were: the Institute of Literary Research of the Polish Academy of Sciences and the Adam Mickiewicz University in Poznań. Focusing on the analysis of literary systems, it combined them with theory of text and interpretation of individual works, emphasizing their broadly understood linguistic, discursive and rhetorical properties. In the culmination stage of its advancement, it tackled the fundamental problems of our discipline, including those that were only starting to emerge, such as reception of literary works as intended by its structural properties, or intertextuality. Structuralism had (and still has) a strong impact on the entirety of literary studies in Poland. It also became a sphere of reference for researchers of the younger generation, who prefer newer methodological tendencies.

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Authors and Affiliations

Michał Głowiński
Grzegorz Wołowiec

The notion of atiśaya in Sanskrit literary theory

Ariadna Matyszkiewicz
Rocznik Orientalistyczny/Yearbook of Oriental Studies | 2022 | vol. LXXV | No 1 | 99-116 | DOI: 10.24425/ro.2022.141416
Keywords Sanskrit ornate epic literary theory atiśaya mahākāvya hyperbole
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Abstract

The poetics of the Sanskrit ornate epic ( mahākāvya), recognized as the most prestigious genre of Sanskrit kāvya literature, significantly rely on literary devices creating the sense of grandeur. The aim of this study is investigate the notion of atiśaya discussed by early works on Sanskrit literary theory and to identify it as a focal term within a discourse explicating the poetics of grandeur characteristic of mahākāvya genre. The here introduced distinction between atiśaya and hyperbole enables to capture the specificity of literary grandeur in mahākāvya compositions and elucidates the broader matter of ‘excess’ in the Sanskrit literature.
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Authors and Affiliations

Ariadna Matyszkiewicz
1
ORCID: ORCID
  1. Jagiellonian University, Cracow, Poland

Philosophical and literary two-handedness: The case of Dobrosław Kot

Ilona Siwak
Ruch Literacki | 2021 | No 5 (368) | 679-700 | DOI: 10.24425/rl.2021.138750
Keywords literary theory literature and philosophy narratology relational subject philosophy of dialogue implied and thematized communication Dobrosław Kot (b. 1976)
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Abstract

The possibility and the ways of articulating subjectivity is the main theme of both the philosophical books and essays of Dobrosław Kot as well as his fiction, written under the pseudonym Wit Szostak. His approach is grounded in ‘the relational subject’, a notion which has been developed in numerous philosophical treaties and in literature. This article examines the ways and means of the constituting the textual subject in Kot's philosophical books, Subjectivity and Loss (2009), Dramatic Thinking (2016), and Odyssseus' Raft: An essay about migrants (2020) and tries to position his thought with regard to similar studies of the relational subject in contemporary humanities. The discussion ranges from second-person narration and the semantics of personal pronouns in the structure of literary works (i.e. points of contact between philosophy and literary discourse) to the functioning of implied and thematized information in literary narratives. Crucially, the tensions between these two forms of communication offer the textual subject an opportunity to articulate his position. Finally, all the analyses point to the conclusion that loss is indeed at the heart Dobrosław Kot’s work.
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Authors and Affiliations

Ilona Siwak
1
ORCID: ORCID
  1. mgr, Wydział Polonistyki Uniwersytetu Warszawskiego

“My hands are burning, my brain and head are seething”: The artist and the affects, or the creative process in the poetry of Kazimierz Przerwa-Tetmajer

Lidia Kamińska
Ruch Literacki | 2023 | No 3 (378) | 333-353 | DOI: 10.24425/rl.2023.146711
Keywords literary theory creative process theory of affect autothematic narration Young Poland movement Kazimierz Przerwa-Tetmajer (1865–1940)
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Abstract

The aim of this article is to show how Kazimierz Przerwa-Tetmajer depicts the creative process in his autothematic poems. The readings draw on the interpretative strategies of the theory of affect (primarily the work Ernst van Alphen, Teresa Brennan and Brian Massumi) and somatic criticism (e.g. Anna Łebkowska’s somatopoetics, Marta Smo-lińska’s ‘augmented haptics’). In the great majority of Przerwa-Tetmajer’s poems dealing with the process of poetic creation, we are told that it is triggered by an explosion of the affects or an overpowering divine inspiration, bordering on madness. The article ana-lyzes in turn the affective nature of the creative process and the affective perception of a work of art; the image of the artist as craftsman; and, finally, the image of the phantas-matic woman, a product of the act of creation.
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Authors and Affiliations

Lidia Kamińska
1
ORCID: ORCID
  1. Szkoła Doktorska Nauk Humanistycznych, Uniwersytet Jagielloński

‘Chiaroscuro of criticism’: Karol Irzykowski’s aesthetics of subtlety

Kamil Kaczmarek
Ruch Literacki | 2023 | No 3 (378) | 373-394 | DOI: 10.24425/rl.2023.146713
Keywords Literary theory and aesthetics Polish literary criticism of the interwar period creative process the concept of subtlety Karol Irzykowski (1873–1944)
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Abstract

This article is to attempt to explain the concept of subtlety, recommended by Karol Irzykowski, one of Poland’s great minds of the early 20th century, to his fellow literary critics as a supreme guide in their work, including the sorting out of a work's historical and cultural contexts. Irzykowskis ‘subtlety’ is a highly complex concept as it reaches out to the cognitive mechanisms of the brain to throw light on and account for the dynamic relationship of consciousness and unconsciousness in the creative process. Conse-quently, subtlety in that sense is not just another analytical tool of literary criticism. It is more like a sophisticated sensor tracing the interfaces of psychology and aesthetics (the ‘chiaroscuro of criticism’). In criticism, when used to its fullest capacity, subtlety would not only take into account the recipient but also the impact (creative impulse) of the critical text.
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Authors and Affiliations

Kamil Kaczmarek
1
ORCID: ORCID
  1. doktorant, Szkoła Doktorska Nauk Humanistycznych UJ

Autopoiesis, or modern histeria

Michał Paweł Markowski
Ruch Literacki | 2023 | No 3 (378) | 297-311 | DOI: 10.24425/rl.2023.146709
Keywords literary theory discourse and identity construction autopoiesis modernity Gustave Flaubert (1821–1880)
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Abstract

Contrary to the prevailing methodological consensus, this article defines autopoiesis as a synonym of autocreation, or, more precisely, discursive identity construction. The latter refers to a literary ‘existential project’ which assumes that the sense of the self, or sameness, is the product of multiple, mostly discursive, interactions. They are the tex-ture of complex cultural processes which result in the determination by an individual of what he/she would like to be or what he/she would like be perceived. This construction of the self is in a state of ongoing contextualization within two distinct identity dis-courses, the discourse of individual uniqueness (founded on the sense of one’s body) and the discourse of collective participation (as defined by politics). The article argues that the two-dimensional contextualization is essentially historical and defines a broadly understood modernity. By examining the work of Gustave Flaubert the article shows how the oscillation between these two poles shapes the image of the modern writer created by Flaubert himself.
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Authors and Affiliations

Michał Paweł Markowski
1
  1. University of Illinois, Chicago i Uniwersytet Jagielloński

Shaftesbury’s Dictionary of Terms of Art. = „Dictionary of Terms of Art” – Słownik pojęć teoretycznych-artystycznych Shaftesbury’ego

Ulrike Kern
Rocznik Historii Sztuki | 2020 | No XLV | 19-30 | DOI: 10.24425/rhs.2020.136890
Keywords art theory aesthetic theory literary theory 18th Century British aesthetics vocabulary of art theory and art history terms aesthetic experience
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Abstract

This article discusses Shaftesbury’s fragmentary ‘Dictionary of art terms’, an appendix to the unfinished Plastics, and its relevance in establishing an aesthetic and moral art theory in Britain. The article argues that, although the ‘Dictionary’ is rudimentary, it already reveals enough information to assess it as an important document of English art philosophy. Given that Shaftesbury’s dictionary project was the first English attempt to produce a theoretical art dictionary, it is discussed in the light of traditions of the art dictionary in this country. The study clarifies notions of the dictionary’s art terms through comparative analyses with the use of the words in the aesthetic discourses in the Plastics. It looks at Shaftesbury’s creation of novel words based on classical literature and his use of contemporary literary sources which was partly ambivalent, for fear that only words were transferred from their original context but no ideologies that the author disapproved of. With the help of exemplary discussions of Shaftesbury’s art vocabulary, the study illustrates the shaping of an aesthetic vocabulary in England.
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Authors and Affiliations

Ulrike Kern
1
  1. Goethe-Universität Frankfurt am Main

(Somo/Topo) Autopoietic narrations: The creative subject (as a body in a network of objects)

Mateusz Antoniuk
Ruch Literacki | 2023 | No 3 (378) | 313-331 | DOI: 10.24425/rl.2023.146710
Keywords literary theory autopoietic narration body image creative process community context Tadeusz Peiper (1891–1969) Józef Czechowicz (1903–1939)
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Abstract

This article is an attempt at a narrowly-focused application of a critical approach labelled ‘a history of the history of creativity’, formulated by Magdalena Popiel in her study The World of the Artist: Modernist Aesthetics of Creativity (2017). The article highlights the domain of autopoietic narratives – stories told by artists about their own creative performance, which involves projecting one’s own somatic identity and positioning one-self in a given socio-cultural context (community) – and examines the discursive dimen-sions of the creative process in the metanarrations of Tadeusz Peiper and Józef Czecho-wicz, two major poets of the Polish interwar avant-garde. The resulting model of the creative process is then set into the context of contemporary philosophical, anthropo-logical and psychological theories of creativity.
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Authors and Affiliations

Mateusz Antoniuk
1
ORCID: ORCID
  1. Mateusz Antoniuk – Wydział Polonistyki UJ

“The Judgment of Hercules”. Shaftesbury at the Crossroads of Art Theory. = „Sąd Herkulesa”. Shaftesbury na rozstajnych drogach historii sztuki

Jacek Jaźwierski
Rocznik Historii Sztuki | 2020 | No XLV | 31-40
Keywords art theory aesthetic theory literary theory 18th Century British aesthetics 18th Century French Art Theory 18th Century moral philosophy neoclassicism aesthetic experience
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Abstract

In the early 18th century, British art theory was an almost virgin field, open to inevitable influences from the continent. Anthony Ashley Cooper, the Third Lord of Shaftesbury, who devoted the last years of his life to various problems of art, made an attempt to create the first serious theory of art in England. In this article, I try to show that Shaftesbury was faced with the need to choose between two competing approaches to art widespread in France at the turn of the century: the traditional approach, based on the poetic understanding of painting, the essence of which was history and its moral meaning, and the new one, proposed by Roger de Piles, based on the action of color and light and shade, which create a comprehensive visual effect independent of the story presented in the picture. Shaftesbury took a traditional approach, driven by moral fears and rather reluctant to make sensual pleasure the goal of art. At the same time, he appropriated the key concepts of Roger de Piles: the pictorial unity and the whole picture, ignoring the ideas associated with them. This should be understood as a half-measure that allowed him to modernize the language of art without the danger of compromising the moral importance of painting.
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Authors and Affiliations

Jacek Jaźwierski
1
  1. Jan Kochanowski University

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