Magdalena Popiel

The presence of autothematic narratives in the three basic models of culture – literary, audiovisual and digital – is a crucial factor influencing the diversity and dynamic evolution of the story on creating. The notion of autopoiesis introduced by the neurobiologists and sociologists widens the spectrum of research on creative process in literary texts, and more broadly in texts of culture. In the connection with these two functional aspects of autopoiesis: in the traditions of different medias and multiple research directions analysing the creative process, the author presents three models of modernist novel on creating. The interpretation of Testament by Witold Gombrowicz allows us to indicate, firstly, the process of narrative identity of writer constituting itself; secondly, the metaphor of theatre’s backstage providing autopoiesis with a performative dimension; and thirdly, the poetic rules of storytelling about creation, which build up its epiphanic aura.

In my reply to Professor Markiewicz I focus on my belief in the necessity of considering literary history as an important part of contemporary culture. I am deeply convinced, that literary history, far from abandoning its professional standards, should join the processes created by this culture and respect a new kind of sensibility and expectations typical for its participans. The crucial aim in this situation is to consolidate the value of the literature itself.

The article discusses the creative process as one of the main themes of Bruno Schulz’s prose. The author considers two aspects of Schulz’s creative aesthetics: the aesthetics of matter and the aesthetics of caprice. She describes the former, referring Schulz’s thought to Rainer Maria Rilke, and the latter, considering it in the context of Gaston Bachelard’s philosophy.