The crucial role played by video games in contemporary culture is increasingly being noted by scholars of the phenomenon. Attention is being paid to the fact that aside from their obvious ludic and entertainment function, they also carry out other tasks and have a significant influence on other areas of contemporary art. (...)
The various meanings of the peculiar term “manifesto” all refer primarily to public declarations formulated clearly and directly, revealing one’s stance. A manifesto uncovers, lays bare, reveals, displays, makes accessible, but no doubt the best word to define what it in fact engages in is “betrayal.” The authors of manifestos betray their own views, but also betray the ones(s) to which they owe their allegiance – in betraying the “new” vision, they thus betray what is “old” – tradition. (...)
At a moment when we have practically abandoned the practice of reading books – as the statistics on reading testify – and gloomy diagnoses are intensifying from both literary theoreticians and poets, the most important question facing literary studies turns out to be why we read at all. (...)
– (incisiveness). In what follows, this category is applied to a small fragment of a literary text: an expression or a single sentence. Though “aptness” (of expression) indicates a perhaps rather elusive, but relatively uncomplicated property of linguistic organization of a small fragment of a literary text, this essay deals with a broader problem, less specific, for which this term has been chosen “for lack of a better one” – its meaning comes closest to the range of poetological phenomena to be discussed here, although its dictionary definition does not encapsulate all aspects of the problem in an obvious way. (...)
In the introduction to his Lectures in Comparative Literature, Ludwik Osiński announces:
The course of these sessions, starting right from the next one, will begin with the epic, after which we will next take as our focus an extremely vast literary craft, the drama. (...)
From the Notes of a Scholar of “Micro” Forms
I was not a writer to begin with; I was a listener. In those early decades of the century, reading and writing were not common experiences. Oral storytelling was the basis of fiction. (...)
W.,
A Comma in the Time of Writing
to nie jest
to byłoby
gdyby zdążyło być każdym
w każdej (tej, już tamtej) chwili[1]
(that is not / that would be / if it were on time to be every one / at every (this, no that) moment)
The poem that opens Krystyna Miłobędzka’s book of poetry Imiesłowy is ruled by pronouns. (...)
More or less at the same time, towards the end of the 1950s, European and American artists began to use the device of repetition on a scale previously unmatched. Creators of Pop Art used techniques of multiplication and reproduction of industrial and pop culture images; the Situationists challenged audiences to grasp the vast array of phenomena in which the new economy of the spectacle was revealed; the art of critical appropriations made an effort to redirect its symbolic capital in the direction of constructive social change. (...)
We publish Polish translation of Rita Felski’s “Context Stinks!”, New Literary History, Volume 42, Number 4, Autumn 2011, pp. 573-591. Published by Johns Hopkins University Press.
na stole stoi woda w garnuszku
a może garnuszek z wodą
(garnuszek wody?)
[…]
(on the table stands water in a pot / or perhaps a pot with water / (a pot of water?)
Tadeusz Różewicz, “Woda w garnuszku, Niagara i autoironia”
(Water in a Pot, Niagara and Self-Irony)
(in Zawsze fragment [Always Fragment], Wrocław 1996, p. (...)