{"id":4288,"date":"2024-10-09T17:49:46","date_gmt":"2024-10-09T15:49:46","guid":{"rendered":"https:\/\/www.fabrica.us.edu.pl\/?p=4288"},"modified":"2025-01-24T22:48:44","modified_gmt":"2025-01-24T21:48:44","slug":"abstracts-nr-1-7-2024","status":"publish","type":"post","link":"https:\/\/www.fabrica.us.edu.pl\/?p=4288&lang=en","title":{"rendered":"Abstracts, nr 2 (8) 2024"},"content":{"rendered":"
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Jakub Momro<\/h2>\n

\"\" <\/em>Saturn and Eros. Joy as a Form of Self-knowledge<\/strong><\/p>\n

The text attempts to show joy in the modern dialectic of knowledge and reification. Both components of this dialectic lead deeper into current problems with the legitimization of science. Melancholic knowledge, personified by such figures as Walter Benjamin or Theodor W. Adorno, is an extension of this primary tension in the instrumentalization of joy as an autarkic affect on the one hand, and a\u00a0nominalist utopia and fetishism of immediacy on the other.\u00a0In the article, \u201cmelancholic knowledge\u201d is accompanied by two other types of joy: Kant\u2019s ethics of the heart and Nietzsche\u2019s \u201cjoyful knowledge\u201d, both seemingly phenomenological, reaching the edge of joy as a\u00a0condition of possibility or impossibility of life and knowledge. In this way, one can understand the tension that truly radicalizes joyful modernity\u00a0\u2013 stretched between Saturn and Eros, between cognitive theory criticism and fairy tale.<\/p>\n

Ewa Graczyk<\/h2>\n

\"\" <\/em>Joy and Rebellion. About „Macierz\" by Maria Rodziewicz\u00f3wna<\/strong><\/p>\n

The writer tells the story of a protagonist named Pokotynka, who, from being a despised prostitute, becomes a woman worthy of (also social) trust. This process has a very unexpected course because it is accompanied by an extraordinary duel of moments of rebellion and joy with depression and conformism. The main protagonist\u2019s evolution is related to the transformations of other characters \u2013 her father and her lover, who also has a dark past. It is worth emphasizing the importance of nature in Rodziewicz\u00f3wna\u2019s text; her approach to nature is amazingly empathetic and close to us.<\/p>\n

Agnieszka Je\u017cyk<\/h2>\n

\"\" <\/em>In and Out of the Text: Polish 1920s Avant-garde Poetics of Pleasure<\/strong><\/p>\n

\u201cWe are related to enjoyment as something which intimately belongs to us, to our corporal existence and inner vitality, yet is separated from and independent from us, and thus can be surprising, bewildering, burdensome, disgusting, overwhelming, terrifying, thrilling, conflicted, uncanny, uncontrollable (and sometimes even pleasurable)\u201d\u00a0\u2013 claims Aaron Schuster (2016:\u00a044). According to the theorist, enjoyment can manifest as its opposite, especially in the context of its representations in literature. In this essay, I\u00a0would like to look at avant-garde erotic poems from the interwar period that address the fascinating entanglement of the bodily and the textual. The metaphors of reading and writing, lyrical dialogue between some of the poems, metatextual reflections on the nature of erotic poetry, and the problem of embodiment are some of the strategies that Bruno Jasie\u0144ski (Moja nie\u015bmiertelno\u015b\u0107\u00a0[My Immortality],\u00a0S\u0142owo o\u00a0s\u0142owie\u00a0[A\u00a0Word about a\u00a0Word],\u00a0Na bis\u00a0[An Encore]), Tadeusz Peiper (Naga\u00a0[Naked],\u00a0Ja, Ty\u00a0[Me, You]), and Mila Elin (Ksi\u0105\u017cka\u00a0[The Book],\u00a0G\u0142\u00f3d\u00a0[Hunger]) use to discuss the joys and challenges of trying to represent jouissance in the text. The starting point for my reflection is Alenka Zupan\u010di\u010d\u2019s diagnosis of a\u00a0similar type of satisfaction coming from sex and talking about sex and her insights on the procedures of intellectualizing sexuality.<\/p>\n

Krzysztof Rowi\u0144ski<\/h2>\n

\"\" <\/em>Memories of Joy for a Futureless World: Aesthetic and Political Commitment in Jasie\u0144ski and Pasolini<\/strong><\/p>\n

Discussions of cultural disappearance are often couched in terms of nostalgia and tragedy. Bruno Jasie\u0144ski in\u00a0Bal manekin\u00f3w\u00a0and Pier Paolo Pasolini in\u00a0Ragazzi di vita\u00a0offer an alternative form of remembering disappearance through memories of joy, understood as a\u00a0distinctly political practice. Acutely aware of the untenability of what they were celebrating (pockets of liberty from cultural uniformity, in local cultures and aesthetic experimentation, respectively), both writers maintained a\u00a0sense of political commitment, offering a\u00a0good broader model for thinking about a\u00a0world without a\u00a0future.<\/p>\n

Francesca Fornari<\/h2>\n

\"\" <\/em>The Anatomy of Joy \u2013 in the Archive<\/strong><\/p>\n

Joy as a destabilizing, unpredictable, and ephemeral emotion, laden with ethical dimensions, can also manifest itself as a consequence of intellectual engagement (Misrahi, L\u00e9noir). Pleasure, joy, happiness are recurrent themes in the literature of scholars delving into the intricate realm of \u201crecalcitrant\u201d manuscripts. Drawing upon examples from Agamben, Corti, Farge, Gr\u00e9sillon, and Zweig, this article delineates a phenomenology of joy within archival contexts. From the anticipation of receiving the \u201cliving material\u201d of a\u00a0manuscript to the \u201cslow and unprofitable\u201d process of transcribing the \u201cintimate signs\u201d of writing, and through the act of reading where \u201cpassion and reason\u201d intertwine, the experience of joy can astonish those who immerse themselves in the traces of others\u2019 words, within the perpetually unfolding vistas of archival papers, like a\u00a0universe in miniature.<\/p>\n

Pawe\u0142 Marcinkiewicz<\/h2>\n

\"\" <\/em>„In the Forrest, in the Wooden House\": About the Virtue of Joy and Happiness in Michael Kr\u00fcger\u2019s Latest Poetry Book<\/strong><\/p>\n

Michael Kr\u00fcger is one of the most important poets of contemporary Europe, combining in his works many traditions of the old continent\u2019s literature, from ancient Greece to twentieth-century Poland. In addition, strong American influences surface in his verse. While Kr\u00fcger\u2019s early work was a search for his own mode of expression through more or less faithful imitations of very different Polish and American poets, in his mature poems from the 2021 volume In the Forrest, in the Wooden House the Munich poet finds a highly original solution to the seemingly insoluble dilemma faced by all prominent artists since the beginning of the twentieth century: whether to depict the world realistically or, on the contrary, by means of aporia and abstraction? Kr\u00fcger skillfully combines the \u201cscenic mode\u201d rhetoric typical of post-symbolic literature and the \u201cpoetics of indeterminacy\u201d characteristic of postmodernism to create the autonomous poem. It is a realist work that resists interpretation because it contains elements that cannot be read in the realist plane. This peculiar Kr\u00fcger\u2019s late style is combined with his ostentatious predilection for Epicureanism, references to the poetry of Hesiod and his resort to a broad phrase, reminiscent of hexameter.<\/p>\n

Tamara Trojanowska<\/h2>\n

\"\" <\/em>The Death Knell for Joy?<\/strong><\/p>\n

The essay explores the puzzling relationship between joy and the problems of postmodern culture, which affect the quality of our being in the world. Reflection on the precarious status of joy and its uncertain position in contemporary culture allows for a\u00a0unique perspective on this relationship. The higher the political, economic and social stakes, the more the search for joy becomes a\u00a0search for meaning, an essential nourishment for cultural forms. Such joy, filtered through our struggles with life\u2019s challenges, compels us to examine the consequences of its absence (pain, suffering, joyless existence) and its manifestations in art (music), religion (Christianity), and philosophy (freedom). The power of joy lies in recognizing the inevitable imperfection of all solutions to our problems that do not include it as a\u00a0fundamental component of life.<\/p>\n

Mariusz Jochemczyk, Mi\u0142osz Piotrowiak<\/h2>\n

\"\" <\/em>Dis\/joy. A felicytological Reading of Franz Kafka\u2019s „Diaries\"<\/strong><\/p>\n

The article attempts to find states of joy in a writer whom no one suspects of such affects. In a contradictious way, the authors try to catch the \u201esad person from Prague\u201d in the act: expressing happiness, revealing states of excitement, or even joy. As a result of their research, the authors conclude that moments of well-being in life are shown in Kafka\u2019s diary entries not as experienced but as squandered. That\u2019s why the eponymous \u201edis\/joy\u201d has such a bitter meaning.<\/p>\n

Adriana Senatore<\/h2>\n

\"\" <\/em>The image of Turkish in Moldavian chronicles in the Slavic languages<\/strong><\/p>\n

The Moldavian chronicles in the Slavic languages of the\u00a015th\u201316th centuries expose the events of the country in a\u00a0time of grave difficulties for the survival of the Christian states of Europe, threatened by the expansionary policy of the Ottoman Empire. The authors closely follow the progressive expansion of the Sublime Porte and the fall of boroughs, citadels, and cities (Gallipoli, Sofia, Veliko T\u0103rnovo, Thessaloniki), as well as Chilia, Cetatea Alb\u0103, fortified Moldavian citadels. Naturally, the chroniclers rejoice for the rarest victories on the battlefield of the European sovereigns and the princes of Moldavia; they are saddened by the defeats suffered by Moldavian and, more generally, Christian arms. Above all, they fear that the new \u2018paganism\u2019 coming from the now subjugated Constantinople can suffocate the ancestral religion, although they do not neglect the dangerousness of other beliefs, such as the Lutheran, professed even by a\u00a0prince. In the final analysis, the chronicler considers himself a\u00a0scriba Dei\u00a0who must educate the reader and strengthen him in the true faith, orthodoxy.<\/p>\n

Stanley E. Gontarski<\/h2>\n

\"\" <\/em>On Fragments: A Piece of Art and the \u201cI\u201d \u2013 or Not<\/strong><\/p>\n

This essay explores the philosophical implications inherent in Samuel Beckett\u2019s most enigmatic and metonymic late theater work,\u00a0Not I, even as he frequently abjured any interest in philosophy, which he claimed neither to read nor to understand. The play is profoundly ontological, however, and its metonymic stage image engages the classical philosophical conundrum of the relationship of the part, a\u00a0piece or fragment, say, to the whole, an issue with which Beckett has at least been intrigued for most of his creative life.<\/p>\n

Anna Gwadera-Dec<\/h2>\n

\"\" <\/em>The Joy of Reading (Conrad) : Agnieszka Adamowicz-Po\u015bpiech: „Adaptacje biografii i tw\u00f3rczo\u015bci Josepha Conrada w kulturze wsp\u00f3\u0142czesnej\". Wydawnictwo Uniwersytetu \u015al\u0105skiego, Katowice 2022, 364 s.<\/strong><\/p>\n

The review surveys Agnieszka Adamowicz-Po\u015bpiech\u2019s monograph Adaptacje biografii i tw\u00f3rczo\u015bci Josepha Conrada w kulturze wsp\u00f3\u0142czesnej. The study is divided into three parts, which concern separate fields of art \u2013 graphic novels and comic books, literary transformations, and theatrical and film productions. The author, conducting a meticulous analysis of selected works, puts forward an innovative thesis that not only Conrad\u2019s works but also his biography are subject to adaptations. The publication is a valuable contribution to the field of Conrad studies, significantly supplementing the state of research.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n

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