https://pressto.amu.edu.pl/index.php/pt/issue/feed Przestrzenie Teorii 2019-12-06T14:58:13+00:00 Prof. zw. dr hab. Anna Krajewska akraj@amu.edu.pl Open Journal Systems <p class="oczasopismie"><strong>OPIS CZASOPISMA</strong><br /> „Przestrzenie Teorii" – czasopismo teoretycznoliterackie powstałe w 2002 roku na Wydziale Filologii Polskiej i Klasycznej UAM w Poznaniu jest redagowane i rozwijane we współpracy z Wydziałem Polonistyki Uniwersytetu Jagiellońskiego w Krakowie. "Przestrzenie Teorii" ukazywały się jako rocznik, a od 2007 są półrocznikiem wydawanym przez Wydawnictwo Naukowe UAM w Poznaniu. Pismo jest recenzowane, ma zasięg ogólnopolski, wzbudza również zainteresowanie w uniwersyteckich ośrodkach zagranicznych. Każdy artykuł poprzedza abstrakt w języku angielskim. Pismo skupia autorów z wielu uczelni polskich i zagranicznych, prezentuje też tłumaczenia wybitnych literaturoznawców obcych. Pismo podejmuje i przedstawia kluczowe problemy współczesnej teorii literatury. Stwarza płaszczyznę dialogu naukowego, w którym kontrowersje, spory i komplementarność głosów kształtują i odzwierciedlają świadomość naukową i artystyczną. Prezentuje teksty w różnorodnych metodologiach poruszające problemy zarówno estetyki, jak i poetyki, pokazujące obszary filozofii i przestrzeni fizyki, obejmujące pola teatru i filmu, a także dramatu, plastyki i muzyki, które oświetlają się wzajemnie, korespondują ze sobą lub ujawniają sprzeczności. Pismo ma charakter transdyscyplinarny, uczestniczy we współczesnych dyskusjach z zakresu filozofii nauki, realizuje w swoich założeniach model wielogłosowego, dramaturgicznego literaturoznawstwa. Dramaturgię pisma współtworzą artykuły ułożone w działy: rozprawy, interpretacje, prezentacje, przekłady, recenzje. "Przestrzenie Teorii" przedstawiając interesującą panoramę współczesnych sposobów myślenia, stają się wielowymiarową przestrzenią ponowoczesnej wypowiedzi naukowej, a teoria nie ogranicza się do samej tylko literatury, ale otwiera na rozległe obszary kultury i sztuki.</p><ul class="oczasopismie"><li><a href="/index.php/pt/about">POLITYKA FUNKCJONOWANIA CZASOPISMA</a></li><li><a href="/index.php/pt/issue/current">AKTUALNY NUMER</a></li><li><a href="/index.php/pt/issue/archive">ARCHIWUM</a></li></ul><div class="oczasopismie"><strong>INDEKSOWANE W:</strong><p>SCOPUS, DOAJ, ERIH; ERIH Plus; CEJSH; Index Copernicus; CEEOL; PKP Index; Google Scholar; WorldCat</p></div><div class="oczasopismie"><strong>WSKAŹNIKI OCENY CZASOPISMA: </strong><p><br /><strong>MNiSW</strong>: <strong>70 punktów</strong></p><p><strong>Index Copernicus Value: 97.96</strong></p><p><strong><strong>h5-index: 2 </strong></strong></p><p><br /><a title="SCImago Journal &amp; Country Rank" href="http://www.scimagojr.com/journalsearch.php?q=21100777205&amp;tip=sid&amp;exact=no"><img src="http://www.scimagojr.com/journal_img.php?id=21100777205" alt="SCImago Journal &amp; Country Rank" border="0" /></a></p></div><div class="oczasopismie"><strong>DOI: </strong>10.14746/pt</div><div class="oczasopismie"><strong>ISSN (Print): </strong>1644-6763 <strong>ISSN (Online): </strong>2450-5765</div><div class="oczasopismie"><strong>Prace publikowane w czasopiśmie od nr 24 2015 r. dostępne są na <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license">licencji Creative Commons Uznanie autorstwa - Użycie niekomercyjne - Bez utworów zależnych 4.0 </a></strong></div><div class="oczasopismie"><strong><img src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Creative Commons License" /></strong></div><div class="oczasopismie"><strong><br /></strong></div><div class="oczasopismie"> </div> https://pressto.amu.edu.pl/index.php/pt/article/view/20379 Spis treści 2019-12-06T13:14:03+00:00 . . pressto707@amu.edu.pl Spis treści 2019-12-06T13:14:03+00:00 Copyright (c) 2019 . . https://pressto.amu.edu.pl/index.php/pt/article/view/20342 Dramaturgia sztuki 2019-12-06T13:14:03+00:00 Anna Krajewska akraj@amu.edu.pl <p>In this Introduction, the author discusses the other articles contained in this volume and attempts to present the processess involved in art as stage preformance of both human and non-human actors. She not only examines the objects and persons but also aesthetic categories and the mechanisms involving categories in art. The author proposes a new language that allows for the description of art as a phenomenon of entangled objects, subjects, media, processes and events.</p> 2019-12-06T13:14:03+00:00 Copyright (c) 2019 Anna Krajewska https://pressto.amu.edu.pl/index.php/pt/article/view/20338 Literatura bez granic? Media digitalne i ich wpływ na status sztuki słowa 2019-12-06T13:14:04+00:00 Elżbieta Winiecka e.winiecka@wp.pl The article concerns electronic literature and its place at the interface of traditional literature, technology and visual arts. This new genre of literature, associated with the development of digital media, shows that the boundaries of classical arts and disciplines in scientific research are blurring. This new phenomena require a new, transdisciplinary approach, combining literary and humanist competences with programming knowledge. The author presents a new literary phenomenon and indicates that literariness is a category which is more functional than literature in the case of studying e-literary. Literariness applies not only to literary works but also to other arts and phenomena in which it is the dominant feature of the work. This is exactly what happens in the case of electronic literature. It remains in the field of creativity in which the role of the word is the most important. At the same time, programming skills are required from the artist and the researcher, which do not fall within the scope of classical humanities. The author indicates that e-literary creativity is an area that opens up new perspectives for literary studies. It also sets new requirements for literary researchers. 2019-12-06T13:14:04+00:00 Copyright (c) 2019 Elżbieta Winiecka https://pressto.amu.edu.pl/index.php/pt/article/view/20339 Gra w Orwella 2019-12-06T13:14:04+00:00 Michał Kłosiński klosin.m@gmail.com <p>The article presents an interpretation of Orwell video games in context of available analytical tropes in Orwellian research. The paper touches on various problems described by academic readers of Nineteen Eighty-Four and tries to answer the question whether games provide innovations in the way they problematize socio-political issues in comparison to Orwell’s classic novel. In the introductory part, the author discusses the possibility of utilizing the notion of critical dystopia in the analysis of Orwell video games. The following chapters touch on the subject of cultural references, realistic styles, biopolitics and class representations.</p> 2019-12-06T13:14:04+00:00 Copyright (c) 2019 Michał Kłosiński https://pressto.amu.edu.pl/index.php/pt/article/view/20340 (Prze)grać w kości. Franz Mon: granice poezji, granice interpretacji 2019-12-06T13:14:05+00:00 Dorota Kołodziej kolodziejdj@gmail.com <p>This article attempts to discuss borders of interpretation in the light of concrete poetry. The paper compares Franz Mon’s pieces to earlier works, especially A throw of the dice will never abolish chance by Stephane Mallarme. This research is conducted in the context of Mon’s and Mallarme’s metapoetic commentary, who both show interest in the categories of playing and musical scores. The article attempts to transfer this perspective into an interpretation of four texts by Mon.</p> 2019-12-06T13:14:05+00:00 Copyright (c) 2019 Dorota Kołodziej https://pressto.amu.edu.pl/index.php/pt/article/view/20341 Brudnopisy Tadeusza Kantora – od przestrzenności zapisków do czasowości archiwaliów 2019-12-06T13:14:05+00:00 Katarzyna Szalewska k.szalewska@ug.edu.pl <p>The article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enables discussion of Derrida’s archive fever, the problem of traces and the paradoxes of modern memorial discourse.</p> 2019-12-06T13:14:05+00:00 Copyright (c) 2019 Katarzyna Szalewska https://pressto.amu.edu.pl/index.php/pt/article/view/20343 Płynność – od Heraklita do Baumana 2019-12-06T13:14:06+00:00 Monika Błaszczak monblasz@amu.edu.pl <p>The text concerns liquidity understood as an extremely extensive category containing the aspect of changeability and blurring boundaries. It covers an extremely wide spectrum of phenomena. Liquidity is a physical category that refers to the element of water and the senses of touch and taste. It became extremely popular in sociology as an epistemological category thanks to Zygmunt Bauman. This category should be applied much more widely in analyzing phenomena in the field of literature, art, theater, performance, but also going beyond practical analytical use and transferring this concept to the level of theory. The term „liquid” refers to many associations, which in turn allow us to recall different orders and perspectives, at the same time incorporating the current argument into a broader discourse on the moving, fluid nature of the concepts of „wandering” between disciplines. These considerations are also part of the author’s concept of amorphous aesthetic categories, which include liquidity.</p> 2019-12-06T13:14:06+00:00 Copyright (c) 2019 Monika Błaszczak https://pressto.amu.edu.pl/index.php/pt/article/view/20353 Sztuka nie-ludzkich aktorów 2019-12-06T13:14:06+00:00 Diana Lelonek dianalelonek@gmail.com <p>The Center for the Living Things is a research institute founded in 2016 in order to examine, collect and popularise knowledge concerning new non-human forms: plants, lichen, fungi and insects. All exhibits gathered in the Institute’s collection are abandoned objects, used commodities and those no longer needed – the debris of human overproduction, which has become the natural environment for many living organisms. Specimens were found in an illegal waste dumping site, where man-derived objects and plant tissues mix. These hybrids of plants and artificial objects are difficult to classify, as they are simultaneously animate and inanimate. Exhibits collected in the Center for the Living Things cannot be classified conventionally. Recently, waste has taken over behaviours from living matter. In the process of overproduction, the incessant need to constantly update the goods we possess is the reason why most of these unnecessary products seem to be out of our control. The Center for the Living Things aims to describe mechanisms appearing in the sphere of rejection and uselessness. In this sphere, products are no longer tools used by people. Products participate in almost every process that occurs in the biosphere, hence we cannot definitively separate economic or social processes from so-called natural processes. The Center aims to draw attention to these processes, seek connections and possible alternatives. Specimens are stored and cultivated in an ever-expanding collection at Poznań’s Botanical Gardens. This institution also organises also houses temporary exhibitions, presentations and workshops. Work is underway on an edition of the ‚Atlas of Waste-plants’ to appear at the end of 2019. More information and a digital version of the Institute’s collection can be found at: www.centerforlivingthings.com.</p> 2019-12-06T13:14:06+00:00 Copyright (c) 2019 Diana Lelonek https://pressto.amu.edu.pl/index.php/pt/article/view/20354 Strategia nierozstrzygalności w wierszu jest taki pomnik Tadeusza Różewicza 2019-12-06T13:14:07+00:00 Małgorzata Mikołajczak M.Mikolajczak@ifp.uz.zgora.pl <p>The article deals with Tadeusz Rożewicz’s poem jest taki pomnik and puts forward a new interpretation concerning the mechanisms he uses to construct meanings. The author focuses on three issues: (1) the role of photography as an interpreter, (2) intertextual encryption of key contexts for the spiritual idea of the poem, (3) the allopathic function of laughter. She also indicates components of the strategy of undecidability, as a result of which a work containing what might seem an unambiguous ideological statement launches mechanisms guarding against one-way reading.</p> 2019-12-06T13:14:07+00:00 Copyright (c) 2019 Małgorzata Mikołajczak https://pressto.amu.edu.pl/index.php/pt/article/view/20355 Irlandzkość i busking – artystyczne habitusy Glena Hansarda 2019-12-06T13:14:08+00:00 Aleksandra E. Kumala aleksandraekumala@gmail.com <p>The article analyses how crucial the Irish origin and long-term busking experience were in shaping the artistic habitus of Glen Hansard. Using Pierre Bourdieu’s terminology and Benedict Anderson’s characteristic of “imagined communities”, the author presents the variety of ways in which Hansard’s “habitus of the Irish busker” reveals itself. Seen from the perspective of the sociology of art, the artist’s statements, lyrics, music videos, projects and social initiatives reflect the point of view of a niche artist, strongly dissociating himself from the “entertainment” sector. They also show how grounded Hansard’s position in the artistic field was before his unexpected 2007 Oscar win for Best Original Song.</p> 2019-12-06T13:14:08+00:00 Copyright (c) 2019 Aleksandra E. Kumala https://pressto.amu.edu.pl/index.php/pt/article/view/20356 „Kicz, kiczyzm” Justyny Bargielskiej 2019-12-06T13:14:08+00:00 Dobrawa Lisak-Gębala dobrawa.lisak-gebala@uwr.edu.pl <p>The article develops the analysis of recurrent kitschy motifs in poetry and prose by Justyna Bargielska. This authoress consciously and intensively takes advantage of pop-cultural kitsch, kitsch connected to maternity and femininity, sacrokitsch and consolatory kitsch used in mourning practices. She derives many fetishized objects from these areas and transforms them into private talismans; she also borrows many established pop-cultural visions that serve her heroines to create their identity, but sometimes these patterns become a costume for individual fears and phantasies. The term ‘kitschism’ was invented by Bargielska herself and it suggests intellectual distance towards the figures and requisites used. The writer’s attitude towards kitschy cliches is developed as a dialectical movement of attraction and repulsion, and is not meant to overthrow dominant stereotypes; this approach is often similar to camp strategies, yet it extends beyond ludic or ironic games. Bargielska is interested mainly in the anthropological aspect of kitsch, which is situated between the individual and the community. The writer tests the usefulness of cliches while confronting her heroines with the most serious subjects, like death, love or loss.</p> 2019-12-06T13:14:08+00:00 Copyright (c) 2019 Dobrawa Lisak-Gębala https://pressto.amu.edu.pl/index.php/pt/article/view/20360 Wokół metodologii nauk o sztuce 2019-12-06T13:14:09+00:00 Marek Hendrykowski marekhendrykowski@gmail.com <p>This article deals with the basic issues related to the evolution and methodology of research on art. The author highlights the close relationship between theory and practice of artistic activity and underlines the cognitive advantages stemming from the interdisciplinary approach of formulating and solving research questions in the domain of reflections on art.</p> 2019-12-06T13:14:09+00:00 Copyright (c) 2019 Marek Hendrykowski https://pressto.amu.edu.pl/index.php/pt/article/view/20361 O twórczym przekraczaniu granic. Przetworzenia i reprezentacje w przestrzeni sztuki 2019-12-06T13:14:09+00:00 Ewa Szczęsna e.szczesna@uw.edu.pl <p>The paper analyzes the thesis that constantly transgressing boundaries in art is a fundamental principle and essential condition for artistic progress. Crossing external (the art – other discourses) and internal (between various art genres) boundaries is analyzed on the basis of transformations (especially adaptation) and representations. Dialogue relations initialized by art crossing the boundaries are analyzed as well: reinterpretations, polemics, extensions and supplementations. There is also a discussion of the ways in which semiotic and media boundaries are trangressed, especially the semiotic and media borders that are essential for the semiotic sphere of one artistic genre for the semiotic and media sphere of the other. The article refers to examples taken from literature, film, sculpture and painting.</p> 2019-12-06T13:14:09+00:00 Copyright (c) 2019 Ewa Szczęsna https://pressto.amu.edu.pl/index.php/pt/article/view/20362 Scalanie i percepcja wizualna. Kognitywne warunki odbioru dzieł sztuki (malarstwo, rzeźba, literatura) 2019-12-06T13:14:09+00:00 Krystian Saja krystiansaja@wp.pl <p>This article aims to indicate universal cognitive diagrams for the process of interpreting and creating works of art. This text deals primarily with issues such as visual perception, neural representations and mental maps. Each of these concepts has a direct connection with the reception of works of art (painting, sculptural and literary). A certain scope of cognitive processes may constitute a cognitive universe with respect to works of visual art. In every field of art, a set of similar, if not identical patterns with regard to a specific realization is noticed. We can therefore speak of generalizations, mutations and emanations in culture. This article is only a research proposal, which requires a wider study.</p> 2019-12-06T13:14:09+00:00 Copyright (c) 2019 Krystian Saja https://pressto.amu.edu.pl/index.php/pt/article/view/20364 Artyfikacja codzienności i odwrócony mimetyzm, czyli życie, które naśladuje sztukę 2019-12-06T13:14:10+00:00 Paula Milczarczyk paula.milczarczyk@gmail.pl <p>In this paper, I analyse the phenomenon of artification of everyday experience. Using the concept of “artification” developed in the field of Everyday Aesthetics, I define the non-artistic experience, which is co-shaped by art and related to its models of perception. As the consequence of this mechanism, I indicate the tendency to project some artistic cognitive schemas (or their elements) to the existing reality. As a result of this process, events and non-artistic views are captured in the image of art, as ”art-like”. The process of the interpenetration of the fields of art and non-art may lead in turn to the reversal of the mimetic order – when artistic creation determines the forms of examining the world to the extent that it creates the effect of “life imitating art”. This phenomenon of formalizing experience according to artistic models is illustrated by examples from the linguistics, visual arts and literature.</p> 2019-12-06T13:14:10+00:00 Copyright (c) 2019 Paula Milczarczyk https://pressto.amu.edu.pl/index.php/pt/article/view/20366 Obraz przestrzeni dowolnej według Gilles’a Deleuze’a 2019-12-06T13:14:10+00:00 Kamil Lipiński lipinski_kamil@yahoo.com <p>The subject matter of the article is Gilles Deleuze’s considerations on the concept of “any-space whatever” and its application in the cinema and the theater. This space is an outcome of the sensorimotor crisis as the development of Henri Bergson’s conception of duration to determine the potential transformations of modern cinema in the post-war period. It is expressed by a potential singularity that finds its locus in pure optical and sound situations. This conception reveals the correlation between the real and virtual connections defined by a genetic sign which relies upon differentiation. As a space characterized by an affection – image is experienced from its inside to define both disjoint and empty spaces. Such affect often emerges in a range of colors to outline the places marked by emptiness. It is strictly associated with “geometrical” orientation actualizing itself via the qualisign. Thus, this article defines the space in terms of the circuit of virtuality and actuality in time-image which crystallizes both in the cinema and TV dramas of potential exhaustion of three languages in theater performances. Namely, the first one is disruptive and enumerative; the second language consists of voices and combinative flows and the third one reunites the previous ones as the language of images, sounds, and coloring which is a movement between words.</p> 2019-12-06T13:14:10+00:00 Copyright (c) 2019 Kamil Lipiński https://pressto.amu.edu.pl/index.php/pt/article/view/20367 Estetyczne aspekty tworzenia i odbioru sztuki przez osoby z wadami słuchu 2019-12-06T13:14:10+00:00 Ewelina Woźniak-Czech ewelina_wozniak007@wp.pl <p>The aim of the article is to analyse the aesthetic aspects of the reception and creation of art by people with hearing impairments. For most people, hearing loss is unimaginable and is often understood only in the context of communication problems. Meanwhile, deaf people perceive their otherness completely differently. Deafness is a total experience, affecting not only the physical aspect, but also changing the perception of reality as a whole. Divergences in the way of perceiving the world, resulting from the exclusion of one of the basic senses, are particularly visible in the field of art, especially in those areas that use sound effects. The large variety of types of deafness does not allow for broad generalizations or building some kind of universal theory of reception. Therefore, from the perspective of deaf people, contact with art is very individual and intimate, which also affects the issue of their artistic creation. The author of the article touches upon the problem of the visuality of sign language and its artistic possibilities. She analyses the perception preferences of people with hearing impairments, exposing the issue of polysensory perception, and presents the most interesting artistic projects created both by the deaf and those that allow to build multidirectional relations between the parallel worlds of the deaf and hearing people.</p> 2019-12-06T13:14:10+00:00 Copyright (c) 2019 Ewelina Woźniak-Czech https://pressto.amu.edu.pl/index.php/pt/article/view/20368 Ciało mistyczne 2019-12-06T13:14:11+00:00 Karol Gromek kargromek@gmail.com <p>This article proposes to include in the literary studies the body of texts written by the Christian female mystics, whose accounts have so far been the domain of theological discourse. The perspective offered here focuses on the bodily categories contained in the works of women mystics from the 19th and 20th c. such as: Leonia Nastał, Faustyna Kowalska, Zofia Nosko, Roberta Babiak, Rozalia Celakówna, all of whom qualify under the category of experiential or affective mysticism. The present articles focuses on two notions, i.e. on the one hand, the typology of describing the bodily experience in the mystical text, and on the other, the biographical features. The latter opens up a path towards the anthropological and cultural dimension in the analysis of mystical writings with a particular focus on the issue of illness, self-mortification and exhumation.</p> 2019-12-06T13:14:11+00:00 Copyright (c) 2019 Karol Gromek https://pressto.amu.edu.pl/index.php/pt/article/view/20370 Podmiot transseksualny w kulturze – oswajanie, tragizm, tekstualizacja 2019-12-06T13:14:11+00:00 Anna Kujawska-Kot annakujawska-kot@wp.pl <p>The article presents the issue of the representation of a transsexual subject’s experience in various discourses. Pointing to the need for dialogical openness, the author proposes a transdiscursive perspective on transsexuality. By referring to the literary and historical discourses, the author proves that transsexual characters are constantly present in culture, but there is lack of textological reflection on this issue in studies on transsexual individuals. The author puts forward the thesis that these transsexual characters are searching for hypotexts in which they can find confirmation of their internal gender identity. As a result, during the process of transistion, they externalize themselves through intertextual bodywriting. On the one hand, they textualize themselves, but on the other hand, they create textual narrations about themselves. They want to exist socially throughout the text. The article is an attempt to open up theoretical reflections on transsexuality.</p> 2019-12-06T13:14:11+00:00 Copyright (c) 2019 Anna Kujawska-Kot https://pressto.amu.edu.pl/index.php/pt/article/view/20372 Najkrótszy kurs tragikomedii PRL: Rejs Marka Piwowskiego 2019-12-06T13:14:12+00:00 Krzysztof Obremski obremski@umk.pl <p>The tragicomic finale to a costume ball on a ship sailing into night-time darkness was already ‚conceived’ when passengers first stepped onto the gangway. The Cruise is a mix of genres (as was known from the ancient geneological theory of genus mixtum), because situational comedy and sociodrama co-create a genre as broken as tragicomedy, hence „If Rejs is considered a comedy, do not forget that it is a mocking comedy, streaked with despair, as bitter as gall” (Marek Hendrykowski).</p> 2019-12-06T13:14:12+00:00 Copyright (c) 2019 Krzysztof Obremski https://pressto.amu.edu.pl/index.php/pt/article/view/20373 Japońskie filmy o Ajnach w perspektywie amerykańskiego westernu 2019-12-06T13:14:12+00:00 Marek S. Bochniarz marek.s.bochniarz@gmail.com Przemysław Sztafiej przsztafiej@gmail.com <p>Recently the topic of transnationalism in the arts has become a popular strand of academic research. Nevertheless, this phenomenon is not an entirely new concept. In cinema it has been a constant element since its inception. One of the most important inspirations for world cinema has been the traditional cinematography of the USA, especially from the period of the great film studios, with the western being one of the most popular and imitated genres. Although it seems to be inextricably connected with the American myth of the frontier, the Wild West, the theme of expansion, and the conflict of ‘civilization’ and ‘wildness/savagery’ has reverberated outside the USA. In Japan westerns resonated on both the consumer-commercial and artistic levels. Japanese filmmakers utilized elements of the genre while weaving in some native contexts. The history of colonization of the northern island of Hokkaidō and its native inhabitants – the Ainu people – have been a point of reference for Japan-based western films. In this article, the authors analyze the western-specific genre elements in Japanese films about the Ainu people, while concentrating on the portrayal of individuals, groups and human relations on the frontier.</p> 2019-12-06T13:14:12+00:00 Copyright (c) 2019 Marek S. Bochniarz, Przemysław Sztafiej https://pressto.amu.edu.pl/index.php/pt/article/view/20374 Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka 2019-12-06T13:14:13+00:00 Regina Lubas-Bartoszyńska renialubasbartoszynska@gmail.com <p>This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.</p> 2019-12-06T13:14:13+00:00 Copyright (c) 2019 Regina Lubas-Bartoszyńska https://pressto.amu.edu.pl/index.php/pt/article/view/20375 Zamknięcie Kunstanii 2019-12-06T13:14:14+00:00 Wojciech Sztaba w.sztaba@kunstbriefe.de <p>The Closing of Kunstania is a short tale about art that has been hidden away from its audience in a garden behind high walls. In this refuge, there are neither audio-guides nor art education nor interactive apps. Kunstania reminds us of another possibility to encounter art without mediators, without an aura of masterpieces, and without the promise of an extraordinary event. Instead, a way through a labyrinth of rooms and corridors, where, perhaps, things and tales are stored, but must be found on your own, wandering, returning and recollecting.</p> 2019-12-06T13:14:14+00:00 Copyright (c) 2019 Wojciech Sztaba https://pressto.amu.edu.pl/index.php/pt/article/view/20378 Notes about authors 2019-12-06T14:58:13+00:00 . . pressto999@amu.edu.pl Notes about authors 2019-12-06T13:14:15+00:00 Copyright (c) 2019 . .