W poszukiwaniu twórczej tożsamości: Gustave’a Flauberta biograficzne „zmącenie”

Rozważania poświęcono biografii jako gatunkowi ontologicznie „zmąconemu”, skupiając się na jednym twórcy – Gustavie Flaubercie. Literatura, która posłużyła za podstawowy punkt odniesienia dla przeprowadzanej w artykule refleksji, to – od strony analitycznej – dwie monografie (biografie) pisarza: Renaty Lis Ręka Flauberta oraz Piotra Śniedziewskiego Flaubert – w poszukiwaniu opowieści, zaś od strony teoretycznej – wybrane prace Romana Witolda Ingardena dotyczące filozofii literatury. Posiłkowano się także literaturą fachową skupioną na biografii (Hanna Gosk), stylu Flauberta (Marcel Proust), jakości Gestalt (Barry Smith). Metodologicznym zapleczem jest tutaj ontologia dzieła literackiego Romana Witolda Ingardena – fenomenologa pojęcie „obrazu”. Przyjmując hipotezę badawczą, że właściwości ontologicznego zmącenia biografii ucieleśniają się w zmąceniu podrzędnym wyrażonym językowo (genologicznym), przeanalizowano dwa warianty dociekania twórczej tożsamości francuskiego pisarza: zmącenia ontologicznego oddanego jako zharmonizowanie intencjonalnego z realnym (biografia anatomiczna Renaty Lis) i zmącenia ucieleśniającego trud przymierzania intencjonalności do realnego (opowieść biograficzna Piotra Śniedziewskiego). Wnioski wynikające z zestawienia obu wariantów genologicznych zmąceń biografii Flauberta pozwalają wydobyć podstawowe cechy ontologicznego zmącenia skupionego na poszukiwaniu czyjejś twórczej tożsamości i poddanego zwerbalizowaniu – wzmiankuje się o nich wskutek zaaplikowania pojęcia jakości Gestalt, przede wszystkim w ujęciu Edmunda Husserla i Carla Stumpfa. W rezultacie zobrazowana zostaje niemożliwość mówienia o biografii jako o gatunku niezmąconym. Jest to wniosek wieńczący zaprezentowane w pracy rozważania.

Les Soixante-quinze Feuillets de Marcel Proust ou la fabrique du masque

Les Soixante-quinze Feuillets by Marcel Proust or the production of the mask In Search of Lost Time, the narrator is not the writer, and we can find out several models behind one character. In other words, Proust created a mask he put on reality to avoid criticism and problems with his family, but also to look for the essence of beings and things by focusing the truth. Pseudonyms are not a game but a real poetic of the Name. The recent publication of his Soixante-quinze Feuillets (Gallimard, 2021) shows how Proust transformed his autobiography into a fictional world. That preliminary version exposes the methods he used to hide himself and the way he was experimenting the powers of the imagination and composition. It is the writer’s laboratory, an important source for genetic study of Proust’s masterpiece.

The Development of Postmodern Art: A Historical Overview

In general, modernists see the art form as a pure form independent of the art form itself. They give priority over what is shown. Or more importantly, the form or medium of representation they use is themselves. Based on this opinion, it seems that in its development the post-modern travel model can roughly be distinguished between those that are deconstructive and constructive or revisionary. Actually, one of the most prominent characteristics of modernism that distinguishes it from previous cultures such as romanticism, realism or naturalism is the existence of a systematic and amazing categorization. The energy that appears in each part is recognized for its strength. As in this case are the schools: post-impressionism, symbolism, cubism, vorticism, imagination, akmeism, and neo-plasticism. The term modernism was first used in 1890 by the Nicaraguan writer Ruben Dario to distinguish between Latin American literature and Spanish literature. Until the 1920s, modern artists managed to maintain by inspiring and integrating various art groups as a cultural force. These artists include; novelists James Joyce, Marcel Proust, and Andre Breton. In post-modernism also emerged conceptual art, a movement that attaches great importance to concepts. Often the work of conceptual artists is not shown in reality, but the work is limited to sketches and texts in which the artist's ideas are depicted. Post-modern thinkers are disillusioned with grand visions of the past such as Marxism and various religions. According to postmodernists, these visions bring only misery. These old views are being erased and replaced by more personal ideas.

Fryderyk Chopin w literaturze francuskiej: od figury romantycznej do ikony popkultury

The reception of Chopin and his music in French literature follows the rhythm of the changes in the European intellectual and aesthetic climates. George Sand recorded in her memoirs the image of a romantic genius par excellence, a dark, torn and complicated soul. The decadent and symbolist poetry, best exemplified by Maurice Rollinat, presents a portrait ofa blood-spitting neurasthenic, a soulmate of the poet. Marcel Proust paints the image of an elegant dandy and exquisite artist, while the first part of the twentieth century is dominated by the neoromantic vision of Chopin as a great Polish patriot; this theme is perfectly illustrated by the poems of Anna de Noailles and Edmond Rostand. André Gide presents a radicallynew view of Chopin’s music, seeing the Polish composer as a neoclassicist pianist. Contemporary literature and art go on to dress Chopin in jeans, eagerly turning him into a mass culture hero.

La escritura de la teoría como autoficción: Alain Robbe-Grillet

Se aborda la cuestión de la presencia del discurso de la teoría y de la crítica literarias dentro de los textos de autoficción de Alain Robbe-Grillet, publicados entre 1984 y 1994, agrupados bajo el título general de Les romanesques. El problema de la posibilidad de la representación del yo se sitúa dentro de una red de duplicidades de carácter intertextual, que se extiende hasta Marcel Proust y Mario Bellatin, y que conduce a una propuesta de ordenamiento graduado de los textos susceptibles de formar parte, con alguna que otra distancia, del género de la autoficción, recalificado de nouvelle autobiographie. El objeto fundamental del estudio lo constituye un modo de escritura de orientación metaliteraria y autoanalítica que, paradójicamente, se ofrece a la lectura como texto ficcional.

Outside the Great Wall, by the Blue Danube

To advance her career, Yuan-tsung was obliged to demonstrate her loyalty to the Party by doing whatever it wanted her to do, and so in late 1950, she went to do land reform work in a poverty-stricken farming village, known as Dragon’s Village, outside the Great Wall in northwestern Gansu Province. Six months later, she returned to Beijing, and at a weekend party, an old Nankai schoolmate, Dora Zhang, introduced her to Jack Chen, an overseas Chinese who, along with his father, had been an early supporter of the Communists. At the party, they waltzed to the music of the “Blue Danube.” She was not as impressed by Chen’s political pedigree as by his library, which included banned works by writers like Marcel Proust and D. H. Lawrence. They talked about these “decadent writers” and fell in love.

Repères d’une philosophie française de la subjectivité réflexive en littérature

Cet article présente seulement quelques idées d’une pensée philosophique qui a rayonné en France entre les deux guerres et qui a connu malheureusement un déclin considérable à la suite de l’influence de la philosophie allemande. La philosophie réflexive, connue ainsi par sa méthode de réflexion du sujet, vise à repérer le fondement métaphysique du moi au-delà de tout déterminisme lié aux faits psychologiques objectivables. Le moi est saisi par un retour de la pensée sur elle-même comme causalité spirituelle de tout acte volitif. À partir du cogito cartésien, Maine de Biran a été l’inspirateur de cette méthode philosophique de grand intérêt qui fonde une métaphysique de la conscience en tant que dimension première d’une philosophie de la subjectivité. Une relecture de la célèbre œuvre de Marcel Proust à la lumière de cette lignée de pensée, nous révèle l’influence de la philosophie réflexive en littérature. Ceci remettrait en avant une philosophie éclipsée, mais de grande valeur pour le monde français contemporain et ainsi jetterait une nouvelle lumière sur la critique littéraire de notre époque.

Marina Tsvetaeva et Marcel Proust

La correspondance de Marina Tsvetaeva évoque, quoique rarement, le nom de Proust. En outre, les biographes de Tsvetaeva témoignent qu’elle connaissait l’œuvre de l’écrivain français et s’y intéressait vraiment. Enfin, il existe aussi des tentatives d’analyse comparative et typologique des œuvres de Tsvetaeva et de Proust. L’impression d’apparition inattendue du nom de Proust dans la prose et la critique de Tsvetaeva se renforce encore par le fait qu’elle avait, surtout dans les années 1930, une attitude fort complexe à l’égard de la littérature française. L’image tsvetaevienne, comme l’image proustienne, est une grandeur qui dure, dont l’origine est dans l’enfance et qui ensuite de façon fantasque se projette dans le futur à travers le présent, porte en soi « le temps perdu » et lui donne une vie nouvelle.

The Development of Postmodern Art: A Historical Overview

In general, modernists see the art form as a pure form independent of the art form itself. They give priority over what is shown. Or more importantly, the form or medium of representation they use is themselves. Based on this opinion, it seems that in its development the post-modern travel model can roughly be distinguished between those that are deconstructive and constructive or revisionary. Actually, one of the most prominent characteristics of modernism that distinguishes it from previous cultures such as romanticism, realism or naturalism is the existence of a systematic and amazing categorization. The energy that appears in each part is recognized for its strength. As in this case are the schools: post-impressionism, symbolism, cubism, vorticism, imagination, akmeism, and neo-plasticism. The term modernism was first used in 1890 by the Nicaraguan writer Ruben Dario to distinguish between Latin American literature and Spanish literature. Until the 1920s, modern artists managed to maintain by inspiring and integrating various art groups as a cultural force. These artists include; novelists James Joyce, Marcel Proust, and Andre Breton. In post-modernism also emerged conceptual art, a movement that attaches great importance to concepts. Often the work of conceptual artists is not shown in reality, but the work is limited to sketches and texts in which the artist's ideas are depicted. Post-modern thinkers are disillusioned with grand visions of the past such as Marxism and various religions. According to postmodernists, these visions bring only misery. These old views are being erased and replaced by more personal ideas.