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szukaj np. “cognitive architectures” AND 1993-200 NOT Urban
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np. 1234-6789
np. 10.4467/16890027AP.16.022.6009
np. Uniwersytet Jagielloński

Numer 2 (32) 2017

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2017 Następne

Data publikacji: 2017

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Teresa Walas

Sekretarz redakcji Tomasz Kunz

Redakcja zeszytu Teresa Walas

Zawartość numeru

Rozprawy i szkice

Piotr Bogaleckixw

Wielogłos, Numer 2 (32) 2017, 2017, s. 1 - 27

https://doi.org/10.4467/2084395XWI.17.009.7767

The article is focused on the score-poems – experimental poetic texts which use a musical
score as the interpretant (in M. Riffaterre’s understanding of the notion), whether
as the idea or in one of its historically developed forms. The first section of the article
situates the avant-garde and post-avant-garde specimens of such texts against the backdrop
of the avant-garde dialectics of tradition and experiment. In the second and more
substantial part, having observed the low representation of score-poems in the Polish
poetry of the interwar period, the author attempts to introduce an ordered perspective into
the field of Polish post-1945 score-poems with regard to their authors’ relation to the tradition
of avant-garde experiment they came in contact with. The proposed typology
of interpretative styles within this tradition identifies five approaches, or models: research
(M. Białoszewski, M. Grześczak, S. Czycz), continuation (S. Themerson, J. Bujnowski), access
(W. Wirpsza), critique (A. Partum) and selection (R. Nowakowski, A. Sosnowski).
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Aleksandra Byrskaxw

Wielogłos, Numer 2 (32) 2017, 2017, s. 29 - 40

https://doi.org/10.4467/2084395XWI.17.010.7768
The article asks about the adequacy of the theory of feminine language and| the practice
of women writing. It considers the notion of hysteria as not only a feminine phenomenon.
It pays attention to examples of women texts, which are not conditioned by
gender, and compares examples of women and men prose to show that the characteristics
of poetics are still not enough to apprehend the idiosyncrasy of femininity.
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Gabriela Matuszek-Stecxw

Wielogłos, Numer 2 (32) 2017, 2017, s. 41 - 51

https://doi.org/10.4467/2084395XWI.17.011.7769
The article addresses a topic not researched before, that is, the presence of irony in Maria
Komornicka’s poem Biesy. The author shows that, in the nooks and crannies of the text,
which is imbued with autobiographical frankness and untamed directness, there may
lurk irony, and its “cracked” subject, full of ambivalence and disharmony, sometimes
adopts a pose which after Kierkegaard may be described as an “infinite absolute negativity.”
A subtle network of ironic tensions is analyzed: between the Self and the world;
the speaking subject and the subject spoken of; the Self and Non-Self; and the Prototype
(Prototyp) and the Not-Fully-Born (Niedorodzona). The author emphasizes the
fact that – contrary to Kierkegaard’s ironic subject – Komornicka’s heroine remains
alienated not only in her worldly existence: even the transcendent being appears as an
unfinished supplementation of a defective spirit. Thus, the existential irony extends to
metaphysical irony. Komornicka’s poem reveals not only the core of a traumatic existential
experience, but also the ironic face of nothingness which underlies the world.
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Karolina Górniak-Prasnalxw

Wielogłos, Numer 2 (32) 2017, 2017, s. 53 - 67

https://doi.org/10.4467/2084395XWI.17.012.7770
The article is focused on the early poetry of Krystyna Miłobędzka viewed from
the perspective of the so-called turn towards the things context known from the literary
and anthropological studies. The prose poems from Miłobędzka’s debut called
Anaglify are chosen for analysis and interpretation. The author discusses the most crucial
elements of the background of the texts: the circumstances of Miłobędzka’s debut,
consequences of the events of 1956 and the turn towards ordinary things and daily
life in the Polish poetry of 1960s. Miłobędzka’s attitude to the material world is presented
in the light of the beginnings of modernism (C.K. Norwid) and the postwar poetry
concerned with the “life” of objects (M. Białoszewski, Z. Herbert, T. Różewicz).
The poetic contemplation of the world of things in Anaglify is confronted with the late
philosophy of Martin Heidegger, especially his considerations about the Tool-Being
and Thing. Miłobędzka explores the relations between humans and objects, taking
the non-anthropocentric perspective and trying to capture the essence of their and our
being-in-the-world. In her poetic vision, the thing seems to be released from the obligation
to be ready-to-hand and reveals its individual dimension of “being.”
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Arkadiusz Sylwester Mastalskixw

Wielogłos, Numer 2 (32) 2017, 2017, s. 69 - 87

https://doi.org/10.4467/2084395XWI.17.013.7771
This paper presents a study on the use of prosodic forms in Marcin Świetlicki’s last
book Drobna zmiana (A Small Change), which is structured as a kind of set of poetic notations
written in prose (prose poems). As a matter of fact, this, as the poet says, “small
change” becomes a kind of the poet’s manifesto against the cultural and political deflation
of the present social and cultural life; it becomes the very sign of poetry. By using
the tools developed within the theory of versification, this paper shows how the versestructures
break through the surface of the prosaic syntax, evoke alternative reading
strategies and create some additional meanings typical for the poetry written in verse.
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Tomasz Kunzxw

Wielogłos, Numer 2 (32) 2017, 2017, s. 89 - 102

https://doi.org/10.4467/2084395XWI.17.014.7772

This article is a review of Anna Kałuża’s book Pod grą. Jak dziś znaczą wiersze, poetki i poeci. Kałuża observes that the processes of transformation of art associated with global cultural, social and economic changes have stripped poetry of its autonomy and made the traditional aesthetic criteria no longer useful for the evaluation and description of poetic works. The book tries to go beyond the alternative of either sheer continuation or annihilation of the aesthetic concept of modern poetry and discusses new possibilities for poems to participate in the globalised world of social communication. In a set of brilliant interpretations Kałuża shows how the poems of some contemporary Polish poets manage to break the social isolation and effectively take part in the processes of social distribution and circulation of signs. 

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Recenzje i omówienia

Katarzyna Szopaxw

Wielogłos, Numer 2 (32) 2017, 2017, s. 103 - 113

https://doi.org/10.4467/2084395XWI.17.015.7773
The article is a review essay of the book Sporne postaci polskiej krytyki feministycznej
po 1989 roku edited by Monika Świerkosz and it discusses some crucial issues concerning
the feminist literary criticism in Poland after 1989. By focusing on the methodological
concept of “disputability,” the question of its both productive and possible
reactionary implications is taken into consideration.
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Iwona Boruszkowskaxw

Wielogłos, Numer 2 (32) 2017, 2017, s. 115 - 125

https://doi.org/10.4467/2084395XWI.17.022.7917

In the book Depression: A Public Feeling Ann Cvetkovich uses her own memoir of depression as a research material and organizes around it some scientific ideas presented in a critical essay. Cvetkovich’s voice on the matter of depression, whose task was to (re-)introduce private feelings into the public sphere, can be read as an autopathographic analysis of the illness discourse. However, the critical task of her writing is to depathologize depression (to stop describing it as bad or unproductive) and emphasize that it can be valuable in society as a cause of change. Cvetkovich describes and analyzes her own affective and somatic experiences of depression from the very beginning of her academic career. In this article I analyze Cvetkovich’s book as an interesting affective fusion of the depression journal and speculative (critical) essay. The aim of the article is also to point to the link between late capitalism and depression, especially in the sphere of social moods, made by Lauren Berlant and Ann Cvetkovich.

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