http://hdl.handle.net/11716/29 2026-07-19T22:43:58Z 2026-07-19T22:43:58Z Kozaczewski, Jakub http://hdl.handle.net/11716/14211 2026-07-14T06:17:38Z 2023-01-01T00:00:00Z

Kraków? Jerozolima? Problemy z przestrzenią, czasem i tożsamością w wierszu Ryszarda Krynickiego "Tak, jestem" Kozaczewski, Jakub The article is an attempt at analyzing and interpreting one of the latest and most important poems by Ryszard Krynicki Tak, jestem. A special consideration has been given to three problem areas in the poem: time, space and identity. The author concludes that the poem is a kind of summary of the artistic career of the poet, particularly in the context of identity: as a reconciliation with his own poetic vocation and its consequences. He emphasizes the significant role of equalizing the fate of poets with persecuted Jews in this process, which was accomplished by Marina Cwietajewa. He discusses an original and personal approach to this painful topic against the background of European and Polish artists, who are close to Krynicki.

2023-01-01T00:00:00Z Cichocka, Marta Eloy http://hdl.handle.net/11716/14209 2026-07-14T05:58:25Z 2023-01-01T00:00:00Z

Grunt to historia? Vicente Luis Mora i jego "Centroeuropa" (2020) jako metapowieść intrahistoryczna Cichocka, Marta Eloy The purpose of the essay is to introduce the figure of a contemporary Spanish author, Vicente Luis Mora, and his novel Centroeuropa to the Polish literary researchers, as well as to analyze the special character of this novel in terms of reading agreement and the most adequate terminology concerning the literary genre, to which it belongs, based on the form oftypological characteristics of a novel that includes ten essential points: paratext, plot, narration, time structure, poetics, the question of mimesis, the loyalty of history towards History, metatextuality, ideological character and the strategies used by the author. On the basis of these reflections it can be concluded that Centroeuropa by Vicente Luis Mora is a metanovel about a man who is looking for his way in a breakthrough moment in the history of Europe, between the 18th and 19th century, in the declining feudal‑absolutist Prussia and the emerging liberal‑capitalist Prussia, in the embryonic society, where economic and political norms haven’t been fully constructed yet and women are not full‑fledged members of society. Centroeuropa is a multi‑dimensional novel inspired by the past of Central Europe, but – above all – a metanovel about writing and its servitude.

2023-01-01T00:00:00Z Filipczuk, Michał http://hdl.handle.net/11716/14205 2026-07-13T09:44:19Z 2026-07-06T00:00:00Z

Problem narcystycznego sceptycyzmu w Stanleya Cavella interpretacjach wybranych dramatów Williama Szekspira Filipczuk, Michał W niniejszej pracy zajmuję się analizą i interpretacją Stanleya Cavella literackich modeli sceptycyzmu, tak jak je autor ten ujmuje w swoich odczytaniach wybranych dramatów Williama Szekspira. W rozdziale pierwszym zajmuję się omówieniem specyfiki wybranych kluczowych założeń metodologicznych Cavella w kontekście jego filozofii literatury. W rozdziale drugim zajmuję się Cavellowską interpretacją Końcówki Samuela Becketta w kontekście Beckettowskiej, jak ją nazywa Cavell, strategii literalizacji znaczeń oraz tzw. filozofii zwyczajności. W kolejnym, trzecim rozdziale zajmuję się zagadnieniem autobiograficzności i terapeutyczności w filozofii Cavella. W rozdziale czwartym podejmuję próbę prześledzenia genezy sceptycyzmu w kontekście Cavellowskiej diagnozy, iż sceptycyzmu w istocie nie sposób obalić na drodze czysto intelektualnej. Kolejne rozdziały pracy stanowią egzemplifikacje tezy Cavella o niezdolności przyjęcia przez sceptyka, którego uosobieniem są protagoniści kolejnych omawianych przezeń dramatów, odrębności, odmienności Innego, której sceptyk nie jest w stanie zaakceptować. W rozdziale dziewiątym, Przezwyciężyć sceptycyzm, analizuję zaproponowane przez Cavella odczytanie dramatu Opowieść zimowa, stanowiącego według amerykańskiego myśliciela propozycję wyjścia ze sceptyckiego impasu (rozdział dziesiąty). W rozdziale dziewiątym, Przezwyciężyć sceptycyzm, analizuję zaproponowane przez Cavella odczytanie dramatu Opowieść zimowa, stanowiącego według amerykańskiego myśliciela propozycję wyjścia ze sceptyckiego impasu; In this work, I analyze and interpret Stanley Cavell’s literary models of skepticism, as presented in his readings of selected plays by William Shakespeare. In the first chapter, I discuss Cavell’s key methodological assumptions within the context of his philosophy of literature. In the second chapter I discuss Cavell’s interpretation of the Endgame by Samuel Beckett in the context of Cavell's philosophy of the ordinary and of what Cavell calls Beckett’s strategy of literalization. In the third chapter I address some of the problematic concerning the concepts of autobiographicality and therapeuticity. In the fourth chapter, I examine the origins of skepticism, in light of Cavell’s assertion that skepticism cannot be conclusively disproven through purely intellectual means. The subsequent chapters of the work provide examples of Cavell’s thesis about the inability of the skeptic, personified by the protagonists of the dramas he discusses, to accept the separateness of the Other. In chapter nine and ten I consider Cavell’s proposed reading of the play The Winter’s Tale and his suggestion that this interpretation provides a way to escape the skeptical impasse. In the context of Cavells phenomenology of theater I argue that Cavell’s reading of the play aligns with his own concept of overcoming skepticism. In the conclusion of my work, I summarize the outcomes of my research and evaluate the implications of Cavell’s analyses of skepticism, reflecting on their validity. Uniwersytet Komisji Edukacji Narodowej w Krakowie. Szkoła Doktorska. Rozprawa doktorska - promotor: Prof. Dr hab. Paweł Dybel.

2026-07-06T00:00:00Z Ryrych, Tomasz http://hdl.handle.net/11716/14204 2026-07-13T08:40:00Z 2023-01-01T00:00:00Z

Przemrażanie historii. "Lód" Jacka Dukaja jako metapowieść historiograficzna Ryrych, Tomasz The purpose of the article is to demonstrate that Lód by Jacek Dukaj might be interpreted – referring to the methodology of Linda Hutcheon – as a historiographic metanovel. The most important element indicating such a clue is the shift from an allohistorical narration to a story about the nature of history itself. Dukaj treats history as if it were a personal character in his novel. The notable and almost freezing over presence of history in Lód proves that an attempt at this kind of reading enables interpretive endeavours in the context of the entire contemporary historiographic discourse that was initiated by the works of Hutcheon or Hayden White. The traces of postmodernist persiflage allow to look at Dukaj’s novel in a context that is much broader than only word‑building fiction, which is far too often categorized as popular literature. The author of Lód – as I have been trying to show – has turned his work into a treatise about the mechanisms that rule history, posthistory and postmemory, which in the Polish culture seems to be a direct answer to the concept of romantic paradigm, as proposed by Maria Janion.

2023-01-01T00:00:00Z