Przestrzenie Teorii https://pressto.amu.edu.pl/index.php/pt <p class="oczasopismie">„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 class="show"><a href="https://pressto.amu.edu.pl/index.php/pt/about">POLITYKA FUNKCJONOWANIA CZASOPISMA</a></li> <li class="show"><a href="https://pressto.amu.edu.pl/index.php/pt/issue/current">AKTUALNY NUMER</a></li> <li class="show"><a href="https://pressto.amu.edu.pl/index.php/pt/issue/archive">ARCHIWUM</a></li> </ul> <div class="oczasopismie"><strong>INDEKSOWANE W:<br /></strong><span style="font-size: 0.875rem;">SCOPUS, DOAJ, ERIH; ERIH Plus; CEJSH; Index Copernicus; CEEOL; PKP Index; Google Scholar; WorldCat</span></div> <div class="oczasopismie"><strong><br /><br />WSKAŹNIKI OCENY CZASOPISMA:</strong><br />Punktacja Ministerstwa Edukacji i Nauki (2023): <strong>100<br /></strong>Index Copernicus Value ICV: 2019 = <strong style="font-size: 0.875rem;">112.86<br /></strong><strong style="font-size: 0.875rem;"><strong>h5-index: 2 </strong></strong> <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><a href="https://pressto.amu.edu.pl/index.php/pt/index">10.14746/pt</a></div> <div class="oczasopismie"><strong>ISSN (Print): </strong>1644-6763 <strong>ISSN (Online): </strong>2450-5765</div> <div class="oczasopismie"><strong><br /><br />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> </strong></div> <div class="oczasopismie"> </div> Adam Mickiewicz University Poznan pl-PL Przestrzenie Teorii 1644-6763 <p><strong>Autorzy</strong><br>Autorzy tekstów przyjętych do publikacji w czasopiśmie „Przestrzeniach Teorii”&nbsp;&nbsp;są zobowiązani do wypełnienia, podpisania i odesłania na adres redakcji <a href="/ojs_3/pliki/umowa_autorska.doc" target="_self">umowy</a>&nbsp;o udzielenie nieodpłatnej licencji do utworów, z zobowiązaniem do udzielania sublicencji CC.<br><br>Zgodnie z umową, autorzy tekstów opublikowanych w czasopiśmie „Przestrzeniach Teorii”&nbsp;&nbsp;udzielają Uniwersytetowi im. Adama Mickiewicza w Poznaniu niewyłącznej i nieodpłatnej licencji oraz zezwalą na użycie sublicencji Creative Commons&nbsp;<a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" target="_self">Attribution-NonCommercial-NoDerivatives 4.0 International</a>&nbsp;(CC BY-NC-ND 4.0).<br><br>Autorzy zachowują prawa do dalszego, swobodnego rozporządzania utworem.<br><br>Autorzy, którzy wykorzystują w swoim tekście cudze utwory (np. ilustracje, fotografie) proszeni są o dostarczenie do redakcji czasopisma&nbsp;<a href="/ojs_3/pliki/images/umowa_cudz.doc" target="_self">zgodę</a>&nbsp;na publikację od uprawnionych podmiotów.</p> <p><strong>Użytkownicy</strong><br>Zainteresowani użytkownicy internetu uprawnieni są do korzystania z utworów opublikowanych po 2015 roku „Przestrzeniach Teorii”&nbsp;&nbsp;tylko w calach niekomercyjnych, pod następującymi warunkami:</p> <ul> <li class="show">uznanie autorstwa - obowiązek podania wraz z rozpowszechnionym utworem, informacji, o autorstwie, tytule, źródle (odnośniki do oryginalnego utworu, DOI) oraz samej licencji;</li> <li class="show">bez tworzenia utworów zależnych - utwór musi być zachowany w oryginalnej postaci, nie można bez zgody twórcy rozpowszechniać np. tłumaczeń, opracowań.</li> </ul> <p>Do wszystkich tekstów opublikowanych przed 2015 r. prawa autorskie są zastrzeżone.</p> <p><strong>Inne</strong><br>Uniwersytet im. Adama Mickiewicza w Poznaniu zachowuje prawo do czasopisma jako całości (układ, forma graficzna, tytuł, projekt okładki, logo itp.).</p> Czasopismo jako tajemnica. Wariacje na temat czasu i pisma https://pressto.amu.edu.pl/index.php/pt/article/view/38632 <p>This editorial is an impressionistic work written on the occasion of the 20th anniversary of the journal “Przestrzenie Teorii” (“Spaces in Theory”), predominantly emphasising the history of the establishment and the nature of the journal associated with two universities – Adam Mickiewicz University in Poznań and the Jagiellonian University in Kraków. The jubilee issue is devoted to literature as a mystery</p> Anna Krajewska Prawa autorskie (c) 2022 Anna Krajewska https://creativecommons.org/licenses/by-nc-nd/4.0 2022-12-30 2022-12-30 38 7 13 10.14746/pt.2022.38.0 Spis treści https://pressto.amu.edu.pl/index.php/pt/article/view/38769 PT Redakcja Prawa autorskie (c) 2023 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 Od wolności w literaturze do wolności na uniwersytecie https://pressto.amu.edu.pl/index.php/pt/article/view/38659 <p>Fiction literature and philosophical texts can remarkably influence contemporary understanding of freedom. The article discusses this subject, by analyzing selected texts, written by Czesław Miłosz, Adam Zagajewski, Zbigniew Herbert, Józef Tischner, Wiesław Myśliwski. Historical events, mentioned in texts, took place during the 1970’s and the 1980’s and were associated with the Jagiellonian University.</p> Jacek Popiel Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 17 26 10.14746/pt.2022.38.1 Bezkresna przestrzeń na kartce papieru https://pressto.amu.edu.pl/index.php/pt/article/view/38660 <p>The paper attempts to introduce Polish readers to a theory presented by the American literary scholar Margaret Freeman in her recent book, The Poem as Icon (2020). In the monograph, Freeman analyzes ways in which the reader experiences reality – both visible and invisible – through poetry. Her fundamental assumption is that the relevant research question is not what literary art is, but how it comes to be what it is. The purpose of the present paper is to show that, although written by a literary scholar, the monograph corresponds to general tendencies that can be seen in contemporary humanities: in cognitive linguistics (in particular, Leonard Talmy’s theory of -ception and George Lakoff’s cognitive theory of metaphor), in the theory of linguistic picture of the world, or in discourse analysis. All these disciplines are based upon the assumption that the essence of the world is continuous change, and they investigate linguistic expressions in the process of becoming, which is relative to factors traditionally considered as non-linguistic. Freeman’s poetic cognition has a wide scope: it embraces cognitive processes of human mind, but also bodily and emotive cognition. Thus poetic cognition is embodied, and in Freemen’s theory a “poem-as-icon” ultimately becomes an illusion of the “here-and-now” direst experience.</p> Elżbieta Muskat-Tabakowska Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 27 39 10.14746/pt.2022.38.2 Lech Majewski, metafizyka i Bosch https://pressto.amu.edu.pl/index.php/pt/article/view/38661 <p>The subject of the analysis is the problem of metaphysics in Lech Majewski’s novel Metafizyka [Metaphysics] (2002) and in the author’s film adaptation entitled Ogród rozkoszy ziemskich [The Garden of Earthly Delights] (2004). In the novel, metaphysical sensations are conveyed through discourse: 1) the reflections of the rationalist protagonist who undergoes a crisis of worldview following the death of his partner, and 2) in interpretations of the mysterious triptych by Hieronymus Bosch, showing an irreal world: an earthly paradise which the characters attempt to emulate by repeating scenes from the painting. In the film, Majewski aban metaphysical discourse in favour of exposing The Garden of Earthly Delights and showing elaborate psychological portraits of his characters, especially the heroine who is fascinated by Bosch. Therefore, despite having the same plot, the novel and the film are two separate, autonomous works.</p> Seweryna Wysłouch Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 41 58 10.14746/pt.2022.38.3 Literatura jako wehikuł tajemnicy. O pisarstwie Jerzego Grotowskiego https://pressto.amu.edu.pl/index.php/pt/article/view/38671 <p>Jerzy Grotowski (1933–1999), considered to be one of the greatest theatre artists of the 20th century, frequently expressed his ambivalent relation to words, repeating that any true knowledge has to be obtained by practice. However, all his life he had been creating and publishing text. The volume collecting them all in print has 1131 pages. Researchers interpreting his art (e.g. Krzysztof Rutkowski, Zbigniew Osiński) and his close collaborators like Ludwik Flaszen many times underlined the importance of Grotowski’s writings, stressing a special function the literature played in the artist’s research. Following their recognitions, partly polemizing with them, one can formulate some basic assumptions concerning the character and functions of Grotowski’s writing and its relation to the main aspects of contemporary literature. This was the man of theatre appears to be also an aware creator of a literature paradoxically close related and working for a mystery beyond the words.</p> Dariusz Kosiński Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 59 74 10.14746/pt.2022.38.4 Pomiędzy bestsellerem a poetologią. O aurze dzieła, dyskrecji wobec czytelnika i tajemnicy formy na przykładzie noweli Siegfrieda Lenza Minuta ciszy (2008) https://pressto.amu.edu.pl/index.php/pt/article/view/38752 <p>Siegfried Lenz’s novella (2008, English edition 2009) has not only been appreciated by literary critics, but also turned out to be a great bestseller. The novella is a frequent subject of research analysis, es- pecially in terms of its location in the tradition of German and world novella writing. This diversity of reception is astonishing and presents an interesting phenomenon. The novella tells a banal love story, but through an intentional silence and a series of intertextual tropes it also creates mysteriousness. The analysis proposed here is based on Walter Benjamin’s notion of “aura” in the 1930s. From today’s point of view, this concept requires a few additions, primarily from the perspective of systems theory. As it turns out this concept can be applied both to the content of the novella and to the strategy of literary criticism, as well as to explain the role of form and context in the personal perception of the text.</p> <p>&nbsp;</p> Andrzej Denka Prawa autorskie (c) 2022 Andrzej Denka https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 75 99 10.14746/pt.2022.38.5 Proces twórczy i sekrety błędów https://pressto.amu.edu.pl/index.php/pt/article/view/38685 <p>This text presents a very special creative process, which is an absolute exception in world literature. It is about the formation of My Century by Aleksander Wat and about various types of errors that were revealed during the preparation of the new edition of this work. The errors that appear in previous editions of My Century are of a varied nature. These are primarily “memory errors” of the <br />author himself, there are also errors resulting from faulty listening to the recordings or technical faults in several recordings, and finally errors that are difficult to classify and explain, and which may be associated with exceptional difficulties with establishing the facts.</p> Adam Dziadek Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 101 113 10.14746/pt.2022.38.6 „… prawda musi wybrać połowę paradoksu i połowę stereotypu”. O tajemnicach Żyda wiecznego tułacza Aleksandra Wata https://pressto.amu.edu.pl/index.php/pt/article/view/38703 <p>Aleksander Wat’s novella The Wandering Jew, published in 1926, is his only prose text in which the Jewish motif is the very center of the narrative. Wat carefully avoids dramatic or frightening notes, staying away from the characters created by Potocki, Quinet, Schubart, and Meyrink. However, certain aspects of the old version of the ancient myth remain: the millennial peregrination through history, the absolute solitude of the hero, and his magical movement and appearance in different parts of the world. The fusion of Catholicism and communism in the shadow of Marranism, represented by the protagonist Nathan, reflects grotesquely either on the phenomenon of Jewish youth fleeing the shtetls observed by young Wat, or on his own ecumenical dreams and reflections on the metahistorical role of Jews and their conversion. The article analyzes this issue also with particular regard either to the reception of the old Christian legend, or to the Anti-semitic narrative on the conspiracy of Jewish converts, shared by Keith Gilbert Chesterton, a contemporary writer very important for Wat.</p> Giovanna Tomassucci Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 115 140 10.14746/pt.2022.38.7 Maran na moście. Sekretne konwersje Gustawa Herlinga-Grudzińskiego https://pressto.amu.edu.pl/index.php/pt/article/view/38707 <p>This article attempts to discuss conversion in Gustaw Herling-Grudziński’s stories. Characters in Grudziński’s pieces are neither Jews nor Catholics, they are – as Yirmiyahu Yovel writes in his book The other within – “hybrids, a composite entity in the middle”. The paper applies the figure of marranos from Yovel’s research to reinterpret conversion in Grudziński’s stories and biography and point out how this secret shapes inner conflict in his works.</p> Dorota Kołodziej Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 141 162 10.14746/pt.2022.38.8 Sekrety literatury i głód wtajemniczenia https://pressto.amu.edu.pl/index.php/pt/article/view/38716 <p>This article concerns secrets and secrecy in narrative works. The author, following in the footsteps of Auerbach and Kermode, argues that secrets should be understood as discontinuous places, gaps that demand to be filled. Auerbach and Kermode pointed to the biblical origins of the secret narrative. The latter in <em>The Genesis of Secrecy. On the Interpretation of Narrative</em> noted that secrets presuppose a mode of initiation – this was the case in the gospel of St Mark he analysed, addressed to believers. However, this sender’s intention also appears in strictly literary texts that operate the convention of the secret. This article refers to four twentieth-century Polish narrative texts that use elements of secrecy in different ways. Mrożek’s <em>Moniza Clavier</em> conceals the confabulatory character of the first-person statement, Miłosz’s<em> Dolina Issy</em> and Gombrowicz’s<em> Kosmos</em> conceal the deeply autobiographical character of the reflection on individual fate, while the narrative in Lem’s <em>Solaris</em> activates the possibility of ‘vertical reading’, referring to the concept of some absolute. Secrets in literary texts tend to be secularized versions of religious narratives addressed to the initiated, and the promise of an integration of discontinuous places attracts sceptics and believers.</p> Łukasz Tischner Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 163 178 10.14746/pt.2022.38.9 Siedem sekretów literatury i sztuki https://pressto.amu.edu.pl/index.php/pt/article/view/38724 <p>This essay deals with some of the secrets that have been studied and explored for centuries by the science of literature and the sciences of art. The author searches for the logical-philosophical origins of the phenomenon of ‘mystery’, and discovers them in the sphere of the autotelic properties and anthropocultural functions of literature and art.</p> Marek Hendrykowski Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 179 191 10.14746/pt.2022.38.10 Niejednoznaczny urok tajemnicy. Tajniki lektury hipertekstów https://pressto.amu.edu.pl/index.php/pt/article/view/38730 <p>The article discusses the phenomenon of multiple reading of literary hypertexts. The construction of electronic hypertext is conducive to creating uncertainty and generates both: story and structural puzzles. The author on the example of the afternoon. a story by Michael Joyce discusses the characteristics of this type of literary works, which by involving the reader in the process of creating the course of the plot, put him before new challenges. Hypertext multiplies questions and riddles, plays with suspense as a ploy that promises a solution, and delays the fulfillment of the promise indefinitely. At the same time, it refers to solutions known from twentieth-century experimental novels.</p> Elżbieta Winiecka Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 192 218 10.14746/pt.2022.38.11 Autotematyzm out of the blue. Kilka uwag o poezji Julii Hartwig na marginesie wiersza Reprymenda https://pressto.amu.edu.pl/index.php/pt/article/view/38731 <p>The article discusses different variants of metareflection in Julia Hartwig’s poetry, situating them against the background of a comprehensive concept of the poet’s work. The analysis of her poem Reprymenda [Reprimand] gives rise to a proposal of authotematism specific to Hartwig’s poetry, here called ‘out of the blue’ autothematism and contrasted with the concept of avant-garde poetry. This metapoetic formula is then extended to other texts in the volume Jasne niejasne [Bright Unclear], in which the mimetic aspect of literature in particular is problematised and the ethical dimension of Hartwig’s oeuvre is highlighted.</p> Joanna Grądziel-Wójcik Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 219 232 10.14746/pt.2022.38.12 Sztuka Tajemnicy. „Metafantastyka” albo teoria literatury fantastycznej Stefana Grabińskiego https://pressto.amu.edu.pl/index.php/pt/article/view/38732 <p>The subject of the article is a pioneering in Poland critical conception of the fantastic developed by highly esteemed prewar author of the fantastic literature, Stefan Grabiński. The crucial, remarkable comments referring to fantastic literature were comprised by Grabiński in his extensive essay entitled On fantastic literature. The dissertation in question was never published in whole, however, to find its issue while his life in merely two short parts of it in press edition. In the first part of the article the archival documents were used (mainly the letters) which enabled the reconstruction of puzzling history of the manuscript of said essay now probably lost forever. In the second part, basing on the published parts of the essay, as well as other critical statements of the Polish writer, the main aspects of Grabiński’s theory were discussed. Upon the profound analyses made therefrom it appeares that Grabiński perceived and gave the fantastic genre a unique meaning and value, notably owing to its specific privileged language exposing metaphysical expression of the Mystery. The writer managed to depict in accurate, innovative and convincing way the character of fantastic literature, both in terms of historical and anthropological origin of this kind of literary creativity, and its aesthetics, <br>social and philosophical attributes what makes these researchers innovative and even anticipativewith reference to the corresponding studies of postwar literature theoreticians of fantastic genre (e.g. L. Vax, R. Caillois, T. Todorov). Discursive statements on the issue of fantastic literature of Grabiński are further related to much wider phenomenon which was focused on developing critical analysis of fantastic literature in Poland in the first decades of the twentieth century.</p> Jakub Knap Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 233 252 10.14746/pt.2022.38.13 Serdeczne idiomy w listach Wisławy Szymborskiej i Kornela Filipowicza https://pressto.amu.edu.pl/index.php/pt/article/view/38733 <p>The correspondence between Wisława Szymborska and Kornel Filipowicz, which has been published in the book Listy. Najlepiej w życiu ma Twój kot (2016), is interpreted in this paper as a love discourse with the use of private idioms. This creates a poetics of the cryptogram, enigmatic to others, yet clear to the correspondents who combine epistolography, applied arts, literature, and life into one whole. The main means of this poetics is the recontextualization in which the writers perform different roles and move between them. This is related to creating of the text as theatre, which characterizes Szymborska’s poetry in particular as a modern lyric of the mask and role. The violation of the borders between various fields of art and life is done in these letters through collages, stickers, and ready mades that engage not only mind but also body, allowing to hide feelings behind a masquerade, at the same time conveying what is inexpressible.</p> Dorota Wojda Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 253 277 10.14746/pt.2022.38.14 Klaudian i jego tajemnica https://pressto.amu.edu.pl/index.php/pt/article/view/38734 <p>The aim of this chapter is to present the mythological poem by Claudianus about Proserpine’s kidnapping and marriage. The poem still encourage the scholars to discussion about its aim and the state of its preservation. I will also focus my attention to the intratextual as well intertextual connections joining the poem with itself and the wide ancient tradition. I will propose two very hypothetical lines of interpretation concerning the De raptu Proserpinae.</p> Elżbieta Wesołowska Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 279 289 10.14746/pt.2022.38.15 Kwestia tajemniczego autorstwa renesansowego poematu Sarca https://pressto.amu.edu.pl/index.php/pt/article/view/38735 <p>Dating to the 1530s, the Latin poem Sarca was published in 1842 in Rome by Angelo Mai based on a manuscript found in Vienna. Forty years after publication, the incompatibility of this edition with the Viennese manuscript was first noticed. In the second half of the last century, a polemic began challenging the theory, previously considered certain, that Sarca’s author was Pietro Bembo. Researchers named Girolamo Fracastor, Andrea Navager and Agostino Beazzan, among others, as possible authors of the text in addition to Bembo. The question of the poem’s authorship remains unresolved to this day. The aim of this article is to analyse the turbulent and hypothesis-rich debate on the attribution of the Renaissance work. The poem has been subjected to internal criticism, i.e. inferences about the author’s person based on content analysis. Historical and bibliographical indicators of the work have also been examined. The article also attempts to answer the question of whether the latest techniques used in the analysis of the linguistic and stylistic features of the text, such as the methods of computer stylometry, could prove helpful in determining the authorship of the Sarca poem.</p> Daria Kowalczyk-Cantoro Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 291 300 10.14746/pt.2022.38.16 O poczuciu tajemnicy i dylematach gatunkowych w obrębie kategorii konfesyjności w prozie Swietłany Aleksijewicz Czarnobylska modlitwa. Kronika przyszłości https://pressto.amu.edu.pl/index.php/pt/article/view/38736 <p>The article refers to Chernobyl prayer, the documentary prose of Svietlana Alexievich. The aim of the article is to draw attention to the presence of the genres of confession and prayer in the reportage. They are used by the interlocutors, who entrusted the journalist with their accounts of the traumatic experiences in connection with the Chernobyl nuclear disaster in 1986. The author focuses on showing various features of both genres (intimacy, familiarity, discretion) and describes them with the perspective of an average person who unknowingly and instinctively searches in them for answers that medicine and science cannot give. Alexievich’s reportage describes the loneliness of an individual in the face of events that most ignore in silence, while their participants remain helpless and mutilated for life.</p> Anna Stępniak Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 301 312 10.14746/pt.2022.38.17 Tajemnice Września https://pressto.amu.edu.pl/index.php/pt/article/view/38737 <p>The author indicates that a research reflection on the civilian experience of September 1939, as recorded in the pages of Polish literature, will make it possible to complete the picture that emerges from previous analyses, dominated by the soldier’s, military experience. This work requires a broader view of the events of the beginning of the war, going beyond the meanings and time defined by military actions. Seen in this way, literary September appears as an as yet undiscovered mystery.</p> Sylwia Karolak Prawa autorskie (c) 2022 Sylwia Karolak https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 313 323 10.14746/pt.2022.38.18 Przełożyć czy przetłumaczyć tekst literacki? https://pressto.amu.edu.pl/index.php/pt/article/view/38738 <p>Tone Pretnar, in the translation of Jan Nepomucen Kamiński’s sonnets, created the illusion of the original by using his own poetic talent and a foreign word. Just as Kamiński used the word of Mickiewicz, so he used the word of Prešeren. However, he changed the communication purpose of the original text. Apart from the pastiche aspect, he gave the original a high poetic value, while revealing the aporia of the original’s autonomy.</p> Bożena Tokarz Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 325 338 10.14746/pt.2022.38.19 New Polish Theatre on the Small Screen: the TV series Artyści (Artists, 2015) https://pressto.amu.edu.pl/index.php/pt/article/view/38739 <p>The article describes the phenomenon of the Polish TV series Artists. Created by the theater creators Strzępka and Demirski were their TV debut. The series has become iconic among the theater community. Analyzing the series I show its sources, which are stuck in the extraordinary recent development of Polish theater dramaturgy . I also try to show how the series opens the directing to new dimensions of creativity. The changes that have taken place in the Polish theater allow to replace the dominant models of affirmation and subversion with an affective approach to art whose frame I become experience.</p> Wojciech Baluch Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 339 355 10.14746/pt.2022.38.20 Odkrywanie tajemnicy - rozwiązywanie zagadki. O scenariuszu telewizyjnego serialu kryminalnego (na przykładzie serialu Rojst) https://pressto.amu.edu.pl/index.php/pt/article/view/38740 <p>Authors of the series use various scenario techniques, creating the aesthetics of a black retro-crime with consciously developed allusions to the end of the communist era in Poland. They concern: space-time, dramaturgy, props, characters and the audio sphere. Their message is, on the one hand, an expression of a certain nostalgia for the lost time, and on the other, a kind of resentment with historically deepened criticism of the reality of the time. Solving a criminal mystery becomes at the same time uncovering the mystery of a double murder and a double suicide, it also refers to a mystery from many years ago, connected by the thread of romance.</p> Wojciech Otto Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 357 374 10.14746/pt.2022.38.21 O teatr przyszłości. Zapomniane źródła włoskiego myślenia performatycznego https://pressto.amu.edu.pl/index.php/pt/article/view/38741 <p>Italian theater studies in 20th century focused on the theater as the art of staging a dramatic text and it’s analysis. Over the past decade, theater anthropology and performance studies make their way among these relics of the past century slowly but effectively, and the sources of the Italian performance studies are indicated in the 1960s and 1970s. Meanwhile, the interest of Italian researchers in restored behavior is reflected in texts published in-between the two world wars. The subject of the analysis are two texts by Corrado Pavolini who we consider to be a precursor of Italian performance studies.</p> Katarzyna Woźniak-Shukur Prawa autorskie (c) 2022 https://creativecommons.org/licenses/by-nc-nd/4.0 2023-07-11 2023-07-11 38 375 385 10.14746/pt.2022.38.22