Całkowita rewolucja : status przedmiotów w poezji surrealizmu

2015
book
monography
dc.abstract.enTotal Revolution. Status of the Object in the Poetry of Surrealism examines the problem of a "Surrealist object" in the aesthetics of the Surrealist Movement and in the works of its representatives, notably André Breton and Gellu Naum. The research perspective applied by the author is intended to place the reflection on Surrealism within the wider field of study of such disciplines as cultural studies, sociology and philosophy. From this point of view, the notion of a "Surrealist object" is considered not only a key concept of a revolutionary aesthetics, but also an announcement of the modern "theories of things", present in anthropology, design and cultural studies. The dissertation includes three basic chapters, an extensive Introducion and the final Conclusion. In the Introduction, the author defines the notion of the "Surrealist object", referring to the ideas of Roland Barthes, Jean Baudrillard, Arthur C. Danto or Michel Foucault. In this way, an "objectual perspective" is characterized, which sets a new status of the "Surrealist object". First of all, it appears as a sign without a denotation in the textual space (crisis of referentiality), second of all it obtains an autonomous essence in the surreality, in which it takes control of the subject and reduces its identity. The author analyzes as well the notion of the poetic image that, according to W. J. T. Michell, is inseparably related to the presence of objects. In the final part of the Introduction he examines poetic works of Lautréamont, Arthur Rimbaud and Max Jacob, emphasizing the elements that can be seen as an announcement of the aesthetics of Surrealism. The status of the objects presented in this poetry reflects the Surrealists' ideas developed in the third decade of twentieth century. Chapter I, Contradiction of the Unity, Negation of the Synthesis. Avant-garde Theories and Modern "Theories of Things" in Search of a "Surrealist Approach", presents the notion of a "Surrealist object" as a common point for various theoretical ideas and conceptions. The author recalls Peter Bürger's statement from his Theory of the Avant-Garde, in which the German philosopher announces a necessity to create a "new critical hermeneutics" for avant-garde texts. Starting from this postulate, the author focuses on establishing of a "Surrealist approach", which could deal both with the textual aspects of a "Surrealist object" and with its influence on the development of the modern cultural theories. Due to its strong connection to the notion of surreality, the "Surrealist approach" could also be a counterpoint to strictly materialistic visions of object, like the one by Bjørnar Olsen, whose point the author argues. Subsequently, the author analyzes some of the conceptions of the following scholars: Peter Bürger ("non-organic" and "autonomous work of art", "the objective chance", montage), Umberto Eco (catalogue and poetic list), Krzysztof Pomian ("semiofory" and collections), Gustav René Hocke (discordia concors rule), Jurgis Baltrušaitis (anamorphosis), Marek Krajewski ("ways" and "styles" of objects' life), Deyan Sudjic ("world of objects" and "language of things") and Hartmut Böhme ("rebellion of things", as well as their "unsubordinate presence", fetishisation claimed a symbol of objects' emancipation). The first part of the dissertation terminates with a definition of the "Surrealist approach", based on the theories of Vladimir N. Toporow, Roland Barthes and Hal Foster. The definition describes the "Surrealist approach" as a particular set of research instruments prepared to examine not only the textual manifestations of objects, but also the vague and paradoxical relations between "words-objects" (Barthes) and material beings. Chapter II, From the "Incurable Anxiety" to the "Mutation of Role". Priorities of the "Total Revolution of the Objects" in the Surrealist Manifestoes and the Poetry of André Breton, is divided in two subsections which examine the notion of the object in Breton's theoretical writings. The postulates, strategies and categories that emerge from the manifestoes and are related to the status of the object in the Surrealist poetry are then illustrated with examples from Breton's poetry. The text corpus includes such collections of poetry as L'Union libre [Free Union], Le Revolver à cheveux blancs [The White-Haired Revolver], L'Air de l'eau [Airwater], Fata Morgana and Poèmes [Poems]. In the first subsection, the author analyzes the status of the object that emerges from Manifeste du surréalisme [Manifesto of Surrealism] and completes his considerations with the main points from Second manifeste du surréalisme [Second Manifesto of Surrealism]. The study of both manifestoes clearly illustrates the modification and the evolution of the notion of the object, of the surreality, of the imagination and, above all, of the strategies of poetic representation. The author distinguishes four types of relationships between the objects that build a poetic image and divides them into four groups (contradiction, disguise, mystery and ambiguousness). Morover, basing on the theories of Barthes, Jacques Derrida and Rosalind E. Krauss, the problem of the Surrealist objects' suspended referentiality is established. The second subsection discusses the most important stage in the evolution of Breton's interest in the Surrealist object's problem, that reaches its climax throughout the postulates of a "total revolution of the object". Breton’s Crise de l'objet [Crisis of the Object] contains some essential ideas in this topic. The author recalls some of Breton's slogans with which he urged the objects to liberate themselves from the control of the subject. He discusses also two basic types of Breton's Surrealist objects: "objects of oneiric origin" and "Surrealist object in the proper sense". The first group is described as an "internal model", the second as an "external model". When analyzing the objects listed in the Crisis of the Object, the author suggests dividing them into three main categories: "poetic ready-mades", "poetic found objects" and "Surrealist poetic objects in the proper sense." Furthermore, he explains the notion of a "Surrealist moment" as well as the procedures of "disturbance" and "deformation" that are the basis for the "mutation of role". Thanks to these procedures, the objects displaced from the real world can gain a new context in the Surrealist space. The author presents a classification of the types of the "mutation of role", among which can be mentioned the processes of "substitution", "modification" ("insertion"or "deletion") and "animation" of the objects' status. In Chapter III, Laboratory of Disturbances and Deformations. Typology of Surrealist objects on the example of the poetry of Gellu Naum, the author uses his own classification of Surrealist objects and types of poetic representation as an instrument for a profound analysis of the works of a Romanian Surrealist Gellu Naum, with references to some ideas developed by Czech, Slovakian and Serbian surrealists. This chapter includes three smaller parts. The first one presents the evolution of the theory of the object in the aesthetics elaborated by the Romanian Surrealists, Gherasim Luca and Gellu Naum. The author presents here the theories of the "objectively offered object" (O.O.O) and cubomanie (elaborated by Luca) and the conceptions of "precise deformation" and "ephialtic object" present in Naum's essays. These ideas seem to complete the Breton’s postulates of the "total revolution of the object". The second and the third subsection presents a particular laboratory of "disturbances" and "modification" initiated by the Surrealist object. Almost all of the properties of the poetic presence of the objects described by Breton can be found in Naum's early works, which makes them a unique example to analyze. The author focuses on the collection of poetry Drumeţul incendiar [The Incendiary Traveler] and a poem Vasco da Gama. As intertextual references the author uses Přízrak třetí války [The Phantom of the World War Three] by Vratislav Effenberger, poems by Štefan Žáry and Dušan Matić, as well as René Magritte's paintings. On these examples, the author analyses all the strategies of poetical representation, among which the "substitution", "modification", "animation", "anthropomorphization", "transformation" and "absorption", the most characteristic for Naum's poetry and connected to the theory of the "ephialtic object". The Conclusion of the thesis recapitulates importance of Gellu Naum’s poetry in the perspective of Breton’s theory of the Surrealist object. Finally, the author discusses the possibilities to implement the established typology of the objects in exploring the Surrealist aesthetics in the comparative method.pl
dc.abstract.plCelem, jaki przed sobą stawiam, jest wpisanie interdyscyplinarnie rozumianego pojęcia obiektu w estetykę surrealizmu i odnalezienie metody analizy jego językowej, tekstowej obecności. Następnie, na podstawie istotnych dla tej tematyki manifestów Andre Bretona, chciałbym zaproponować typologię specyficznego dla surrealizmu obrazowania poetyckiego, które, co poddaję pod rozwagę, w szczególny sposób powiązane jest z udziałem metaforyki opartej na przedmiotach. Mam również zamiar, by tak rzec, taksonomiczny: dzięki wypracowanemu instrumentarium badawczemu tworzę odrębną klasyfikację obiektów charakterystycznych dla poezji surrealizmu. W ostatnim rozdziale wykorzystuję ten swoisty teoretyczno-literacki model, któremu patronuje powołana przeze mnie uprzednio „postawa surrealistyczna", jako odpowiedź na potrzebę »nowej, krytycznej hermeneutyki«, o którą upominał się przed laty Peter Burger, do lektury esejów teoretycznych oraz, przede wszystkim, do analizy twórczości poetyckiej surrealistów rumuńskich. W tym świetle będę chciał ukazać wiersze bukareszteńskiego poety i teoretyka kierunku Gellu Nauma jako teksty z jednej strony emblematyczne dla całego dorobku programowego i stricte estetycznego europejskiego surrealizmu, z drugiej natomiast jako przypadek osobliwy, w którym problematyka przedmiotu wyłaniająca się z pism Bretona znajduje najpełniejszą kontynuację oraz szczególnie istotne uzupełnienie. (Fragment Wprowadzenia)pl
dc.affiliationWydział Filologiczny : Instytut Filologii Romańskiejpl
dc.contributor.authorKornhauser, Jakub - 145348 pl
dc.date.accessioned2015-11-23T09:58:41Z
dc.date.available2015-11-23T09:58:41Z
dc.date.issued2015pl
dc.date.openaccess60
dc.description.accesstimepo opublikowaniu
dc.description.additionalBibliogr. s. 249-259. Indeks. Streszcz. ang. Strona wydawcy: https://www.wuj.plpl
dc.description.physical268, [1]pl
dc.description.publication16pl
dc.description.seriesAwangarda/Rewizje
dc.description.versionostateczna wersja wydawcy
dc.identifier.isbn978-83-233-3970-0pl
dc.identifier.projectROD UJ / Ppl
dc.identifier.urihttp://ruj.uj.edu.pl/xmlui/handle/item/17018
dc.languagepolpl
dc.participationKornhauser, Jakub: 100%;pl
dc.pubinfoKraków : Wydawnictwo Uniwersytetu Jagiellońskiegopl
dc.rightsDozwolony użytek utworów chronionych*
dc.rights.licenceOTHER
dc.rights.urihttp://ruj.uj.edu.pl/4dspace/License/copyright/licencja_copyright.pdf*
dc.share.typeotwarte repozytorium
dc.subject.ensurrealismpl
dc.subject.enavant-gardepl
dc.subject.enBretonpl
dc.subject.enNaumpl
dc.subject.enobject-oriented theoriespl
dc.subject.enexperimental poetrypl
dc.subject.enliterary theorypl
dc.subject.plsurrealizmpl
dc.subject.plawangardapl
dc.subject.plBretonpl
dc.subject.plNaumpl
dc.subject.plteorie rzeczypl
dc.subject.plpoezja eksperymentalnapl
dc.subject.plteoria literaturypl
dc.subtypeMonographypl
dc.titleCałkowita rewolucja : status przedmiotów w poezji surrealizmupl
dc.title.alternativeTotal revolution : status of the objects in the poetry of surrealismpl
dc.typeBookpl
dspace.entity.typePublication
dc.abstract.enpl
Total Revolution. Status of the Object in the Poetry of Surrealism examines the problem of a "Surrealist object" in the aesthetics of the Surrealist Movement and in the works of its representatives, notably André Breton and Gellu Naum. The research perspective applied by the author is intended to place the reflection on Surrealism within the wider field of study of such disciplines as cultural studies, sociology and philosophy. From this point of view, the notion of a "Surrealist object" is considered not only a key concept of a revolutionary aesthetics, but also an announcement of the modern "theories of things", present in anthropology, design and cultural studies. The dissertation includes three basic chapters, an extensive Introducion and the final Conclusion. In the Introduction, the author defines the notion of the "Surrealist object", referring to the ideas of Roland Barthes, Jean Baudrillard, Arthur C. Danto or Michel Foucault. In this way, an "objectual perspective" is characterized, which sets a new status of the "Surrealist object". First of all, it appears as a sign without a denotation in the textual space (crisis of referentiality), second of all it obtains an autonomous essence in the surreality, in which it takes control of the subject and reduces its identity. The author analyzes as well the notion of the poetic image that, according to W. J. T. Michell, is inseparably related to the presence of objects. In the final part of the Introduction he examines poetic works of Lautréamont, Arthur Rimbaud and Max Jacob, emphasizing the elements that can be seen as an announcement of the aesthetics of Surrealism. The status of the objects presented in this poetry reflects the Surrealists' ideas developed in the third decade of twentieth century. Chapter I, Contradiction of the Unity, Negation of the Synthesis. Avant-garde Theories and Modern "Theories of Things" in Search of a "Surrealist Approach", presents the notion of a "Surrealist object" as a common point for various theoretical ideas and conceptions. The author recalls Peter Bürger's statement from his Theory of the Avant-Garde, in which the German philosopher announces a necessity to create a "new critical hermeneutics" for avant-garde texts. Starting from this postulate, the author focuses on establishing of a "Surrealist approach", which could deal both with the textual aspects of a "Surrealist object" and with its influence on the development of the modern cultural theories. Due to its strong connection to the notion of surreality, the "Surrealist approach" could also be a counterpoint to strictly materialistic visions of object, like the one by Bjørnar Olsen, whose point the author argues. Subsequently, the author analyzes some of the conceptions of the following scholars: Peter Bürger ("non-organic" and "autonomous work of art", "the objective chance", montage), Umberto Eco (catalogue and poetic list), Krzysztof Pomian ("semiofory" and collections), Gustav René Hocke (discordia concors rule), Jurgis Baltrušaitis (anamorphosis), Marek Krajewski ("ways" and "styles" of objects' life), Deyan Sudjic ("world of objects" and "language of things") and Hartmut Böhme ("rebellion of things", as well as their "unsubordinate presence", fetishisation claimed a symbol of objects' emancipation). The first part of the dissertation terminates with a definition of the "Surrealist approach", based on the theories of Vladimir N. Toporow, Roland Barthes and Hal Foster. The definition describes the "Surrealist approach" as a particular set of research instruments prepared to examine not only the textual manifestations of objects, but also the vague and paradoxical relations between "words-objects" (Barthes) and material beings. Chapter II, From the "Incurable Anxiety" to the "Mutation of Role". Priorities of the "Total Revolution of the Objects" in the Surrealist Manifestoes and the Poetry of André Breton, is divided in two subsections which examine the notion of the object in Breton's theoretical writings. The postulates, strategies and categories that emerge from the manifestoes and are related to the status of the object in the Surrealist poetry are then illustrated with examples from Breton's poetry. The text corpus includes such collections of poetry as L'Union libre [Free Union], Le Revolver à cheveux blancs [The White-Haired Revolver], L'Air de l'eau [Airwater], Fata Morgana and Poèmes [Poems]. In the first subsection, the author analyzes the status of the object that emerges from Manifeste du surréalisme [Manifesto of Surrealism] and completes his considerations with the main points from Second manifeste du surréalisme [Second Manifesto of Surrealism]. The study of both manifestoes clearly illustrates the modification and the evolution of the notion of the object, of the surreality, of the imagination and, above all, of the strategies of poetic representation. The author distinguishes four types of relationships between the objects that build a poetic image and divides them into four groups (contradiction, disguise, mystery and ambiguousness). Morover, basing on the theories of Barthes, Jacques Derrida and Rosalind E. Krauss, the problem of the Surrealist objects' suspended referentiality is established. The second subsection discusses the most important stage in the evolution of Breton's interest in the Surrealist object's problem, that reaches its climax throughout the postulates of a "total revolution of the object". Breton’s Crise de l'objet [Crisis of the Object] contains some essential ideas in this topic. The author recalls some of Breton's slogans with which he urged the objects to liberate themselves from the control of the subject. He discusses also two basic types of Breton's Surrealist objects: "objects of oneiric origin" and "Surrealist object in the proper sense". The first group is described as an "internal model", the second as an "external model". When analyzing the objects listed in the Crisis of the Object, the author suggests dividing them into three main categories: "poetic ready-mades", "poetic found objects" and "Surrealist poetic objects in the proper sense." Furthermore, he explains the notion of a "Surrealist moment" as well as the procedures of "disturbance" and "deformation" that are the basis for the "mutation of role". Thanks to these procedures, the objects displaced from the real world can gain a new context in the Surrealist space. The author presents a classification of the types of the "mutation of role", among which can be mentioned the processes of "substitution", "modification" ("insertion"or "deletion") and "animation" of the objects' status. In Chapter III, Laboratory of Disturbances and Deformations. Typology of Surrealist objects on the example of the poetry of Gellu Naum, the author uses his own classification of Surrealist objects and types of poetic representation as an instrument for a profound analysis of the works of a Romanian Surrealist Gellu Naum, with references to some ideas developed by Czech, Slovakian and Serbian surrealists. This chapter includes three smaller parts. The first one presents the evolution of the theory of the object in the aesthetics elaborated by the Romanian Surrealists, Gherasim Luca and Gellu Naum. The author presents here the theories of the "objectively offered object" (O.O.O) and cubomanie (elaborated by Luca) and the conceptions of "precise deformation" and "ephialtic object" present in Naum's essays. These ideas seem to complete the Breton’s postulates of the "total revolution of the object". The second and the third subsection presents a particular laboratory of "disturbances" and "modification" initiated by the Surrealist object. Almost all of the properties of the poetic presence of the objects described by Breton can be found in Naum's early works, which makes them a unique example to analyze. The author focuses on the collection of poetry Drumeţul incendiar [The Incendiary Traveler] and a poem Vasco da Gama. As intertextual references the author uses Přízrak třetí války [The Phantom of the World War Three] by Vratislav Effenberger, poems by Štefan Žáry and Dušan Matić, as well as René Magritte's paintings. On these examples, the author analyses all the strategies of poetical representation, among which the "substitution", "modification", "animation", "anthropomorphization", "transformation" and "absorption", the most characteristic for Naum's poetry and connected to the theory of the "ephialtic object". The Conclusion of the thesis recapitulates importance of Gellu Naum’s poetry in the perspective of Breton’s theory of the Surrealist object. Finally, the author discusses the possibilities to implement the established typology of the objects in exploring the Surrealist aesthetics in the comparative method.
dc.abstract.plpl
Celem, jaki przed sobą stawiam, jest wpisanie interdyscyplinarnie rozumianego pojęcia obiektu w estetykę surrealizmu i odnalezienie metody analizy jego językowej, tekstowej obecności. Następnie, na podstawie istotnych dla tej tematyki manifestów Andre Bretona, chciałbym zaproponować typologię specyficznego dla surrealizmu obrazowania poetyckiego, które, co poddaję pod rozwagę, w szczególny sposób powiązane jest z udziałem metaforyki opartej na przedmiotach. Mam również zamiar, by tak rzec, taksonomiczny: dzięki wypracowanemu instrumentarium badawczemu tworzę odrębną klasyfikację obiektów charakterystycznych dla poezji surrealizmu. W ostatnim rozdziale wykorzystuję ten swoisty teoretyczno-literacki model, któremu patronuje powołana przeze mnie uprzednio „postawa surrealistyczna", jako odpowiedź na potrzebę »nowej, krytycznej hermeneutyki«, o którą upominał się przed laty Peter Burger, do lektury esejów teoretycznych oraz, przede wszystkim, do analizy twórczości poetyckiej surrealistów rumuńskich. W tym świetle będę chciał ukazać wiersze bukareszteńskiego poety i teoretyka kierunku Gellu Nauma jako teksty z jednej strony emblematyczne dla całego dorobku programowego i stricte estetycznego europejskiego surrealizmu, z drugiej natomiast jako przypadek osobliwy, w którym problematyka przedmiotu wyłaniająca się z pism Bretona znajduje najpełniejszą kontynuację oraz szczególnie istotne uzupełnienie. (Fragment Wprowadzenia)
dc.affiliationpl
Wydział Filologiczny : Instytut Filologii Romańskiej
dc.contributor.authorpl
Kornhauser, Jakub - 145348
dc.date.accessioned
2015-11-23T09:58:41Z
dc.date.available
2015-11-23T09:58:41Z
dc.date.issuedpl
2015
dc.date.openaccess
60
dc.description.accesstime
po opublikowaniu
dc.description.additionalpl
Bibliogr. s. 249-259. Indeks. Streszcz. ang. Strona wydawcy: https://www.wuj.pl
dc.description.physicalpl
268, [1]
dc.description.publicationpl
16
dc.description.series
Awangarda/Rewizje
dc.description.version
ostateczna wersja wydawcy
dc.identifier.isbnpl
978-83-233-3970-0
dc.identifier.projectpl
ROD UJ / P
dc.identifier.uri
http://ruj.uj.edu.pl/xmlui/handle/item/17018
dc.languagepl
pol
dc.participationpl
Kornhauser, Jakub: 100%;
dc.pubinfopl
Kraków : Wydawnictwo Uniwersytetu Jagiellońskiego
dc.rights*
Dozwolony użytek utworów chronionych
dc.rights.licence
OTHER
dc.rights.uri*
http://ruj.uj.edu.pl/4dspace/License/copyright/licencja_copyright.pdf
dc.share.type
otwarte repozytorium
dc.subject.enpl
surrealism
dc.subject.enpl
avant-garde
dc.subject.enpl
Breton
dc.subject.enpl
Naum
dc.subject.enpl
object-oriented theories
dc.subject.enpl
experimental poetry
dc.subject.enpl
literary theory
dc.subject.plpl
surrealizm
dc.subject.plpl
awangarda
dc.subject.plpl
Breton
dc.subject.plpl
Naum
dc.subject.plpl
teorie rzeczy
dc.subject.plpl
poezja eksperymentalna
dc.subject.plpl
teoria literatury
dc.subtypepl
Monography
dc.titlepl
Całkowita rewolucja : status przedmiotów w poezji surrealizmu
dc.title.alternativepl
Total revolution : status of the objects in the poetry of surrealism
dc.typepl
Book
dspace.entity.type
Publication
Affiliations

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