Nauki Humanistyczne i Społeczne

Ruch Literacki

Zawartość

Ruch Literacki | 2023 | No 3 (378)

Abstrakt

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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Autorzy i Afiliacje

Michał Paweł Markowski
1

  1. University of Illinois, Chicago i Uniwersytet Jagielloński

Abstrakt

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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Autorzy i Afiliacje

Mateusz Antoniuk
1
ORCID: ORCID

  1. Mateusz Antoniuk – Wydział Polonistyki UJ

Abstrakt

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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Autorzy i Afiliacje

Lidia Kamińska
1
ORCID: ORCID

  1. Szkoła Doktorska Nauk Humanistycznych, Uniwersytet Jagielloński

Abstrakt

The Heptachor (Гептахор) studio was a leading early 20 th-century Russian modern dance school committed to a revival of the art of dance and the development of new forms of musical movement and new concepts of artistic creation. In the years 1914–1934, it was the centre of the Musical Movement dance school, experimenting with a wide range of artistic, educational and therapeutic practices. The aim of the article is, first, to present the history of the Heptachor studio on the basis of the recollections and memoirs of its co-founder Stephanida Rudneva, contemporary documents and archive materials, and, second, to analyze the typical creative process narratives included in those sources.
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Autorzy i Afiliacje

Anastasia Nabokina
1
ORCID: ORCID

  1. Katedra Antropologii Literatury i Badań Kulturowych UJ

Abstrakt

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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Autorzy i Afiliacje

Kamil Kaczmarek
1
ORCID: ORCID

  1. doktorant, Szkoła Doktorska Nauk Humanistycznych UJ

Abstrakt

This article deals with the issues of the creative process explored by Adam Zagajewski in his writings, especially in his poems forming the cycle of Autoportraits. Indeed, he revisited the subject on numerous occasions, pointing to the importance of inspiration, which, he regretted, received too little attention in today’s world. Be it as it may, in the end it all comes down to the question about how he actually wrote his poems. This article is the first attempt to reconstruct the methods of Zagajewski’s creative work; it also retraces the process of writing a single poem from a poetic note to its final version.
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Autorzy i Afiliacje

Anna Czabanowska-Wróbel
1
ORCID: ORCID

  1. Wydział Polonistyki Uniwersytetu Jagiellońskiego

Abstrakt

The general view of Tadeusz Rittner, a highly successful playwright of the early 20th century, as an uncommitted realist and author of ‘well-made plays’ has, no doubt, been formed and fixed by Zbigniew Raszewski, renowned historian of the theatre who wrote the introductions to the postwar editions of Rittner's plays. This article shows a rather different picture of Rittner, based on his journalism, autobiographical novels and lesser-known dramas in which he pursued his innovatory theatrical visions. The complete Rittner is, in fact, made up of metatheatricality, the grotesque, the aes-thetics of Viennese modernism and a fair share of commercialism.
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Autorzy i Afiliacje

Sabina Brzozowska
1
ORCID: ORCID

  1. Uniwersytet Opolski

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