http://hdl.handle.net/11089/145 Sat, 05 Sep 2026 01:44:56 GMT 2026-09-05T01:44:56Z http://hdl.handle.net/11089/59264 Philosophical Perspectives on Tove Jansson’s "Moominsummer Madness" through Walter Benjamin’s Ideas of Play Suvilehto, Pirjo; Płuciennik, Jarosław Czerska, Tatiana; Płuciennik, Jarosław; Zatora, Anna This study examines philosophical perspectives in Tove Jansson’s Moomin novel Moominsummer Madness (MM, 2010 [1954]), with particular attention to the theatrical performance embedded in the narrative. These perspectives are informed by Walter Benjamin’s ideas of play as metaphor. Methodologically, the article combines close reading with a bibliotherapeutic approach and literary reflection grounded in philosophy, also opening a path toward self-reflexive reading: What if life itself is a continuously unfolding act of play? In the novel, the Moomin characters — non-human beings acting in distinctly human ways — stage a theatrical performance amid a sudden flood, rendering the story metaphorical and inviting reflection on humanity and collaboration. Our interpretation moves toward the idea that theatrical performance becomes a means of survival in the midst of catastrophe. Jansson’s Moomin stories resonate with Benjamin’s ideas of play and theatre as a world, while also suggesting how literature may offer comfort and coping strategies, thus carrying bibliotherapeutic value. The catastrophes in Jansson’s stories may also lead readers toward ethical reflection and toward literary education that includes non-human beings. Thu, 01 Jan 2026 00:00:00 GMT http://hdl.handle.net/11089/59264 2026-01-01T00:00:00Z http://hdl.handle.net/11089/59263 W regionie niepodobieństwa. Gatunkowy obraz świata nowoczesnego wiersza hymnicznego (preliminaria teoretyczne) Mazurek, Wojciech Czerska, Tatiana; Płuciennik, Jarosław; Zatora, Anna The paper reconstructs the generic worldview of modern hymnal verse. The hymn is an epistemic, axiological, aesthetic and ideological mode of feeling, a performative subjectivized practice that locates the self in natural and social realities. An analysis of theoretical statements (from the letters of St. Paul of Tarsus to the treatises of Georg Wilhelm Friedrich Hegel) and modern conceptions of the sublime and fury, reveal that the hymn distributed a Platonic-Plotinian-Augustinian vision of being as a dynamic structure of annihilation and repair, separation and unification, unlikeness and likeness. The movement of the hymnic self is structured by the logic of the rite of passage: separation from the initial state (the region of unlikeness), liminal suspension and inclusion in the new state (the region of likeness). The work reconstructs the anthropological, social and communicative determinants of the identity of the hymnic self, and the prosodic and referential properties of its speech, which make present the ontic structure (the generic worldview) that is oppositional to the initial one. Thu, 01 Jan 2026 00:00:00 GMT http://hdl.handle.net/11089/59263 2026-01-01T00:00:00Z http://hdl.handle.net/11089/59234 Dziedzictwo wojny secesyjnej w antywesternach Clinta Eastwooda na przykładzie filmów „Mściciel” i „Wyjęty spod prawa Josey Wales” Kujawski, Maciej Czerska, Tatiana; Płuciennik, Jarosław; Zatora, Anna The article examines the motif of Civil War trauma as an element of the cultural heritage of the United States in Clint Eastwood’s work, combining formal and narratological approaches. It explores how the director employs the poetics of the anti western to reinterpret historical discourse and how memory of the past functions within the structure of his films. Through a deconstruction of classical genre conventions, Eastwood exposes repressed aspects of American collective trauma and challenges idealized narratives surrounding national identity. The study investigates his use of the avenger hero figure as a vehicle for unprocessed violence and considers how his films confront viewers with the consequences of historical myths. The analysis focuses on High Plains Drifter (1973) and The Outlaw Josey Wales (1976), examining character construction, thematic development, and visual strategies. Together with Hang ’Em High (1968), Pale Rider (1985), and Unforgiven (1992), these films form an informal revenge cycle that foregrounds motifs emblematic of Eastwood’s authorship and interrogates the moral and ethical losses of the postwar period. The article argues that both works participate in the broader tradition of the revisionist western while offering a nuanced reflection on the moral legacy of the Civil War. The analysis demonstrates that Eastwood not only reconstructs frontier mythology but also uses it as a framework for critical reflection on violence, guilt, and collective responsibility. His work emerges as a significant voice in discussions about the representation of traumatic events in American culture and their relevance to contemporary understandings of history. Thu, 01 Jan 2026 00:00:00 GMT http://hdl.handle.net/11089/59234 2026-01-01T00:00:00Z http://hdl.handle.net/11089/59233 Odkrywanie tożsamości i motyw powrotu do korzeni w powieści „Issa” Mirrianne Mahn Braszka, Justyna Czerska, Tatiana; Płuciennik, Jarosław; Zatora, Anna The issues presented in this article draw on the themes of the novel Issa (2024) by Cameroonian- German writer Mirrianne Mahn. The plot centers on Issa’s journey back to her native Cameroon. She grew up in Germany, and therefore her journey to the land of her ancestors is connected to the process of discovering her own origins and redefining her identity. The research questions address how Mirrianne Mahn draws connections between the colonial period in Cameroon (violence, primarily the sexual exploitation of indigenous women) and contemporary racism, including the structural racism affecting African migrants in modern Germany. The interpretation is guided by a closer look at female figures (these heroines are both universal in terms of their experiences and characteristic of each of the periods presented), due to the fact that the network of historical, social and cultural connections is based on female characters and their fates (confrontations with men, existence in a patriarchal system or issues related to emancipation and education). The methodological instruments are texts from the field of postcolonial studies (the analysis is based, among others, on the observations of Frantz Fanon). The theoretical part of the text briefly presents the literary background of Issa, which consists of other novels dealing with the Cameroonian thread and the works of Afro-German women writers. Thu, 01 Jan 2026 00:00:00 GMT http://hdl.handle.net/11089/59233 2026-01-01T00:00:00Z