http://hdl.handle.net/11089/8526 2026-04-29T07:50:45Z 2026-04-29T07:50:45Z Miszczak, Magdalena http://hdl.handle.net/11089/8588 2018-02-01T11:18:05Z 2001-01-01T00:00:00Z

Kicz i parodia w prozie Manueli Gretkowskiej : czym jest; jak jest; po co jest? Miszczak, Magdalena The article is an attempt to outline a long-neglected issue and relate a general category, usually placed outside the achievements of “traditional” art, to stricte literary phenomena. The first chapter, Na tropach kiczu (On the trail o f trash), concentrates on establishing the range of meaning of the term discussed. It is not aimed at constructing an unambiguous definition but at producing a brief outline of the complex character of the issue. The author does not limit herself to a negative understanding of the phenomenon, but also emphasizes its multi-aspect presence in widely termed culture. The second chapter, О kiczu literaturze (On trash in literature), deals with the general ways in which the phenomenon functions and the ways of revealing the phenomenon in literary works and discusses various manifestations of the problem in particular texts. It presents instances of plain trash as well as pieces of writing where trash appears at the level of the world presented and where it is often subjecl to all sorts of tricks and many kinds of mystification. Chapter third, entitled Kicz opisany i sparodiowany: proza Manueli Gretkowskiej (Trash described and parodied: the prose by Manuela Gretkowska), is directly connected with the issues raised in the title of the article. The subjecl of this part of the publication is the literary output of this contemporary Polish writer, particularly her first three novels: My zdies' emigranty [1992], Tarot paryski (The Paris Tarot) [1993] and Kabaret Metafizyczny (Metaphysical Cabaret) [1994]. However, the aim of this chapter is not to characterize the novels but to comprehensively present the issue of trash in actual practice; that is, to give examples of the problems briefly discussed above. In the prose trash manifests itself at various levels of meaning and is subject to parody, the aim of which is not only to discredit or mock the phenomenon, but also to reach its essence and reveal its unique mechanisms. In the texts discussed here trash seems to lead to parody and parody to trash, which means that both the categories are closely and inseparably linked with each other. This is especially visible at the level of the strategy of reception, which is part ol the novels. The issue is discussed in the fourth chapter, entitled Gdzie jest czytelnik, gdy go nie ma? Strategia odbioru według Manuell Gretkowskiej (Where is the reader when there is no reader? The strategy o f reception by Manuela Gretkowska). The last chapter, with the title Wokół postmodernizmu (On postmodernism), is an attempt to summarize the above issues and place them in a wider context. It presents the three novels against a background of the achievements of contemporary literature and art, which are usually regarded as postmodernist, makes them part of aesthetics, using a specific sort of style called camp-art by Susan Sontag, which consists in deliberate staggering on the borderland between bad and good tastes, an apotheosis of exaggeration as well as exhibiting trash perceived as a cultural element, a symptom of “new sensitivity” and an absolutely ambiguous phenomenon.

2001-01-01T00:00:00Z Matuszyński, Witold http://hdl.handle.net/11089/8553 2018-02-01T11:18:05Z 2001-01-01T00:00:00Z

Mirona Białoszewskiego "czekanie w powietrzu" Matuszyński, Witold The aim ol' the article is to draw attention to an important, though frequently left out, aspect of Miron Białoszewskim works, namely their spiritual quality. The expression duch (the spirit), dech - tchu (the spirit o f breath) and oddech - oddychać (a breath - breathe) frequently or, at least, sporadically appear in the works by the Warsaw poet. After checking the contexts of those words, it turned out that they could be associated with the term spirit found in the Old Testament. A more detailed analysis consists of the following components: 1) the gale, which “lata nad mostami / nad wodami z odnogami (“ blows / over bridges / waters with arms”), like in the first words of the Book oj Genesis, 2) breath - being the essence of existence, 3) the spirit of a man - God’s breath; Białoszewski is faithful to Hebraic tradition, which using the word basar, does not differentiate between the body and the soul but considers them a whole (Christian tradition, by contrast, does not know this sort of unity); 4) the spirits in a man. In Miron Bialoszewski’s works air is often the centre of space vibrations, the breath of the universe. Besides, the poet himself stands on the borderland between this and that worlds. The fact that the author of Obroty rzeczy (The Motions o f Things) refers to the revelations of Erich von Däniken in this context may be considered a joke or an attempt to mislead the reader.

2001-01-01T00:00:00Z Łuczkowski, Tomasz http://hdl.handle.net/11089/8545 2018-02-01T11:18:02Z 2001-01-01T00:00:00Z

"Mój kraj to szczyt gotyckich wież". Romantyczne portrety katedr w epistolografii Zygmunta Krasińskiego. Łuczkowski, Tomasz Sights of gothic cathedrals in Zygmunt Krasiński’s letters are proves of his great and deep fascination of medieval times. Following the examples of Goethe, Chateaubriand, and Friedrich he defines beauty of gothics churches. Such conact with a monumental architecture seems to be a pretext to estetic and philosophical reflections. Not only did he touch a matter of light in order to show the organic style of architecture, but also emphazised the importance of this case in creating a special style. View of the church remains have got also some kind of a metaforic meaning Гог the times that passed by and a symbol of previous generations. It makes us think about the significance of our life.

2001-01-01T00:00:00Z Cieślak, Tomasz http://hdl.handle.net/11089/8544 2021-06-21T09:48:30Z 2001-01-01T00:00:00Z

Bóg w utworach lirycznych Juliana Tuwima Cieślak, Tomasz This article is a short presentation of God existance in Julian Tuwim’s works. In the early period of Julian Tuwim literal output, in juveniles and Czyhanie na Boga (Wailing fo r God), Sokrates tańczący (Dancing Socrates), Siódma jesień (Seventh Autumn), Slowa we krwi (Words in Blood), God is shown with a passion and nostalgia. But afterwords its position changed and was usually depicted as Jesus Christ. God became a sinonime of lost love, order, consolation in the article of awe existance, justice which lack of them is visible for Tuwim. God is a creation power and women become deified by him. It is hard to talk about transcendental experience in Tuwim’s poetry. There is no way out to the history, society and culture.

2001-01-01T00:00:00Z