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Reading is an important step in the process of reception of literary text. This article is an attempt to illustrate reading as an interactive process in the reception of the dramatic text by the beginning students in FFL. Our activities are designed around S. Hinglais's play “The fatal word".
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Magdalena Tulli’s prose is read through the lens of Deleuzian affect theory. In Tulli’s prose affect initiates the construction of representation. It is what is virtual as blank tile at scrabble is. Tulli uses an affective syntax and her text is like a railroads with the switches controlling the changes of meanings. The turn of the switch results in the ‘movement’ of the meaning as the effect of being affected. In Tulli’s prose affects stem from the experience of the lack; the world at her novels is like Deleuzian ‘desiring machine’ and is stretched out in the triangle of lack, desire and pain.
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This article discusses the dominant approaches to the map as a metaphor, practice and concept in the interdisciplinary area of contemporary theories. The focus is on relationship between map and territory. In the first part the author describes three possibilities: the map as the experiment with territory, the map as the simulation without territory, and the map as the active production of territory, space, nation and knowledge (from the point of view of critical cartography). In the second part the article concentrates on the role of map and literary cartography in literature and literary studies.
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The starting point is the history of acquaintance between Stefan Themerson and Kurt Schwitters, who first met in unusual circumstances in London. The discourse’s core is an attempt at analysing and interpreting Stefan Themerson.s and his wife’s, Franciszka Themerson.s, original books on Kurt Schwitters. The book (as an object) becomes a multilevel text assuming the form of a collage, functioning within several sign-based systems and making the reader creatively active. As the Author believes, a text thus made combines autobiography, biographies, existential and artistic experience, the whole rich space of traces and signs. The books by the Themersons under discussions become a specific and unique case of interference of arts.
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This article discusses the work of various scholars in geopoetics, such as Elżbieta Rybicka, Kazimierz Brakoniecki, Edward Kasperski or Anna Kronenberg. Konończuk also outlines debates on the sources, theory and research methods of geopoetics, presenting the field’s founding texts by Michel Deguy and Kenneth White, and suggesting that research on geopoetics ought to be included within the remit of the theory of the poetic imagination.
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The article contains the reflection on four texts of Ewa Lipska, written in association with Zbigniew Preisner. The discussed works belong to a genre of a literary carol and as a result they have been included in the republication of the album W poszukiwaniu dróg [Searching for the paths] Therefore, a new area of poetics activity of Lipska appears. The authoress of Sefer makes use of stylization, deforming a specified pattern and thereby revaluating the tradition of a carol. The scrutinised texts were designed as being ready for the musical performance, emphasising Lipska’s interest in the song genre. The creation of a Cracovian poetess has been tilting towards popular culture since some longer time now.
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Być jednocześnie w Paryżu lub Londynie i ciskać gromy na emigracyjne spory, i walczyć z niedowładem myśli polskiej, i jednocześnie wędrować ze swoim bohaterem po ulicach Berdyczowa, Trembowli czy Stanisławowa, i tam wybaczać mu wszystkie wady i śmiesznostki, naiwność i bezradność. Być narratorem przygód nowego Beniowskiego, choć historia mierzy dziś surowiej każdy błąd, bezwzględnie karząc za każdy krok w stronę łudzących przyszłą szczęśliwością utopii.
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Temat Zagłady stale spotyka się w Japonii z uwagą i zainteresowaniem. Publikowane za granicą dzieła literackie, filmy czy studia naukowe są tłumaczone i przedstawiane bez większych opóźnień. Również japońscy badacze wydają książki i opracowania na temat nazizmu i Holokaustu z zakresu historii, socjologii, politologii, literatury, filozofii i innych dziedzin. Jeśli przyjrzymy się tytułom projektów, którym zostały przyznane granty przez organ podległy Ministerstwu Edukacji (granty na potrzeby projektów badawczych, tzw. Kakenhi), zobaczymy, że w obrębie nauk humanistycznych tematyka związana z Zagładą tworzy wyraźną grupę. Działają również niepaństwowe muzea (założone w 2000 r. Auschwitz Peace Museum, organizacja non profit w Shirakawie w prefekturze Fukushima, przeniesiona w 2003 r. z prefektury Tochigi) czy placówki edukacyjne skierowane do dzieci (Holocaust Education Center w Fukuyamie w prefekturze Hiroszima założone w 1995 r.
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Although a distinction between a Still life and a Vanitas painting could rest upon their respective mode of reception: iconographic for the former, iconological for the latter, the interpretation of Vanitas remains highly problematic. In direct opposition to its intended message of repudiation of earthly goods, the Vanitas runs always the risk to be perceived as an incitement to enjoy and rejoice. Tempus fugit? Therefore, carpe diem instead of memento mori.
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As a symbol of the passage of time, the hourglass is an important iconic element of vanitas paintings. It is also, in the 17th century, the object set on the pulpit of the Protestant preacher who, within the time limits of the hourglass, must exhort the faithful to make good use of their mortal life so they can expect eternal life. The theological and moral discourse of preachers is echoed in the aside sentences that recur in the texts about the little time left to the preacher to deliver his sermon, thus meaning that if human life is vanity, the very discourse conveying the idea must avoid it, banishing all hollow or swollen words, and remain within the limits of the hourglass.
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We will analyse the motives of vanity and of contempt of the world in Bossuet’s Carême du Louvre and Sermon pour la profession de La Vallière in both a topical and clearly enunciated perspective. The relationship between Louis XIV and La Vallière raises a religious and political issue: the motive of vanity is used by the preacher not only as a theological argument, but also as a political weapon. The motives of contempt of the world can’t do without the world itself: religious and political fields are constantly reflected on one other.
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This article examines the progressive secularization of vanity in the 17th and 18th centuries. Once removed from its theocentric origins, vanity will denote less the vacuity and transience of earthly life and will refer increasingly to socially indecorous behavior that is firmly anchored in the temporal. This shift from the sacred to the saeculum will also cause a shift in the way we imagine vanity’s connoted movements. Once the transient and fleeting, vanity in the 18th century will come to designate the unpliable and the rigid.
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Could vanities be the overlooked essence of so-called ‘libertine’ fiction? 18th century French erotic literature has observed and analysed the new human condition on the brink of modernity. There is no more God to fill up the void, no more eternity to hope for beyond human finitude; only humanity, the present moment and the truth of a sensation. The adventures of this fiction’s characters stage the wisdom of the homo bulla that would be, tacitly, a coping mechanism to that new reality. Nothing is vanity for these frivolous beings, as long as the vanity of pleasures manages to keep away the memory of the vanity of life. However, the irony of those narrations suggests, like in the classical model of vanitas, that these temporal delectations may not be enough to avoid angst. The reader is asked a question as he or she discovers in the libertine figure an anamorphosis of all humanity: knowing that you are mortal, what will you choose between anguishes and vanities?
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Chateaubriand’s work is a paradox: he was accused of being vain although he endlessly fought against vanity; he used all the meanings of the word vanity, this, contrary to contemporaneous writers or predecessors like Rousseau and Retz. Hence these questions: Should we reduce his work to a vain and egocentric rhetorical exercise full of brilliance and profusion, varietas, or should we consider its author as the heir of a moralist like Pascal and therefore an “incomprehensible monster” during his century.
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In the 1850es, the Second Empire settles in after five stormy decades that unveil the vanity of temporal power. The legitimist writers Sophie Rostoptchine, countess de Ségur, and Victorine Monniot, have left a deep imprint in the education of Second Empire young ladies. Their teaching, which taps on practical interpretation of Cahtolic catechism illustrate the Christian principles of renunciation taught by the memento mori while echoing the anguishes of the time. The article aims to study the presence of vanity as a pedagogical tool in Le Journal de Marguerite (1858) and the cycle of Sophie (1858-1859) and to highlight the links between these edifying novels and the fears expressed by Baudelaire and Edmond de Goncourt.
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Emile Zola’s journalistic work deals with every aspect of Parisian reality of his time, from “serious” political and social subjects to slight or frivolous ones. The existence of the Parisian upper classes under the reign of Napoleon III is considered by the author as trivial, based on appearances and an ostentatious display of one’s richness. Actually, vanity is the main default of the Parisian high society of the Second Empire, and showing off is their new religion. The everyday parade of wealthy and fashionable people takes place at the Bois of Boulogne, freshly reshaped into an English landscape park. The paper analyzes some elements of this “vanity parade” in relation to Zola’s hostile attitude towards the Second Empire.
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At its peak in the 17th century, Vanity, thanks to its codification, persists beyond that age favourable to its blossoming. Just as the religious and dogmatic dimension tends to fade in the 19th century, the symbols of vacuity and existential delusion are partly used again. Can we still talk about Vanity then, when the symbolic discourse is incomplete? From Baudelaire to Laforgue, the poetics of the 19th century bring about an axiological transfer which tends to annihilate the initial argumentative impact. Consequently, why revive a tradition which is apparently incompatible with the lyrical discourse? In fact, endowed with a metadiscursive dimension, Vanity seems to relate to the critical dynamic specific to the lyricism of the second half of the 19th century and contributes to renew it. Between seriousness and irony, the pictorial transposition of Vanity fosters an intersemiotic dialogue which makes room for another method of transmission of feelings.
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Vanity, in its most general representation, invites us to stop for a moment our race ahead, to set aside our various actions and to ask ourselves about our destiny. Literature, painting often focuses on the fragility of life. It is compared to a breath, a vapor that appears for a short time. Earthly goods, worldly pleasures seem vain and ephemeral and the incessant quest of man equally illusory. Raoul Danaho, in his novel Every hour hurts, published in 1968 evokes the story of a young man who seeks his own identity and his own place in the world. Albert, this man from Cayenne, ended up in Paris, but he did not find the desired tranquility. There is no attraction to life in his eyes. He must "strive to live". It feels empty, unable to merge with the surrounding world and the writing of Danaho becomes by the same fragmentary as to "reflect" the vanity of existence. Will Albert seek "vainly" to "continue his journey," "This groping in the dark, this blind march in the night," or is the rhetoric of vanity so distended to allow him to find a salutary way? The Rochefoucauld stated with some acuity the following words, referring the man to himself, to his fellows and to the reflecting prism: "What makes us the vanity of others unbearable is that it hurts ours " (1664, 390). We are entitled to ask ourselves whether the light will be able to reach and radiate the human heart.
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The theme of vanity occupies a prime place in Claude Simon's "Tramway". In this text, he has adopted a new conception of vanity. Certainly, the author has always evoked themes intimately associated with vanity, such as the theme of death, the theme of melancholy, the theme of war, etc., but the “finitude” has always been for him a crucial phase for the return to the primordial and the origin for the beginning of a new cycle of life. In "The Tramway", the vanity of the world is presented in a tragic way. No reference to the primordiality or the cyclical return of things. The author insists on updating in the memory of the time of death. A large number of metaphors and symbols highlight this theme of death; it is as if the author throws to the reader a memento mori from someone on the point of experiencing this fatal experience which is irremediable and definitive. This gives the text a tragic and undeniable human dimension.
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