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transgresja : od dyskursu do autokreacji w eseistyce i formach pojemnych Czesława Miłosza" class="work-thumbnail" src="https://attachments.academia-assets.com/121335636/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127629417/Tradycja_i_transgresja_od_dyskursu_do_autokreacji_w_eseistyce_i_formach_pojemnych_Czes%C5%82awa_Mi%C5%82osza">Tradycja i transgresja : od dyskursu do autokreacji w eseistyce i formach pojemnych Czesława Miłosza</a></div><div class="wp-workCard_item"><span>Pamietnik Literacki</span><span>, 2006</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="72c46971fa2940e6a39f7fe4487040b0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" 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The discussion on the topic of contemporary li...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What Does It Mean to Be a Polish Art Critic Today? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="127629351"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127629351/Critical_Constellations"><img alt="Research paper thumbnail of Critical Constellations" class="work-thumbnail" src="https://attachments.academia-assets.com/121335571/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127629351/Critical_Constellations">Critical Constellations</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article’s objective is to apply the astronomical metaphor of the constellation to the study ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article’s objective is to apply the astronomical metaphor of the constellation to the study of literary critique. Departing from Walter Benjamin’s concepts that have been instrumental to the status of the “constellation” as a concept, and using this metaphor to reflect upon the study of history through Adorno’s revisions that usher the constellation into aesthetic studies, as well as the constellational model of reading proposed by Renée R. Trilling, and historical methods for applying this metaphor to Polish critical studies, this essay attempts to introduce the constellation as a means for grasping literary critique without deferring to totalizing and monolithic classification systems. The article demonstrates that the “critical constellation” allows us to yield a certain autonomy for critical discourses by simultaneously revealing their relativity and their multidimensional entanglements with the conditions of the literary field (including the present moment of the scholar)....</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fce807e9878b61d0975cc5bd253859ad" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":121335571,"asset_id":127629351,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/121335571/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127629351"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127629351"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127629351; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125373056"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125373056/%C5%9AWIADOMO%C5%9AC_KRYTYKI_Ankieta_WIELOG%C5%81OSU_"><img alt="Research paper thumbnail of ŚWIADOMOŚC KRYTYKI - Ankieta „WIELOGŁOSU”" class="work-thumbnail" src="https://attachments.academia-assets.com/119428831/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125373056/%C5%9AWIADOMO%C5%9AC_KRYTYKI_Ankieta_WIELOG%C5%81OSU_">ŚWIADOMOŚC KRYTYKI - Ankieta „WIELOGŁOSU”</a></div><div class="wp-workCard_item"><span>Wieloglos</span><span>, Mar 31, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ankieta "Wielogłosu" Z przekonaniem, że wypowiedzi sprowokowane ankietowymi pytaniami to jedna z ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ankieta "Wielogłosu" Z przekonaniem, że wypowiedzi sprowokowane ankietowymi pytaniami to jedna z istotnych dzisiaj form krytycznej wymiany myśli, zwróciliśmy się do krytyków z kilkoma pytaniami dotyczącymi współczesnej krytyki w kontekście przemieszania tendencji, języków, kryteriów, kanałów komunikacyjnych, ale też pojawiających się w ostatnich latach manifestów i programów. Rozpisaliśmy naszą ankietę zapewne trochę z niepewności, czy potrafi my dobrze nakreślić przestrzeń obecnej krytyki; trochę z obawy, czy nie zamkniemy jej w klatce akademickiej refl eksji, skracając jej oddech i ucinając (i tak już mocno podcięte) skrzydła; ale też z przekonania, że w takiej materii jak krytyka liczy się (nomen omen) wielogłosowość i że metakrytyczne refl eksje, które oczywiście nie zastąpią krytycznej roboty, są -cokolwiek by o nich powiedzieć -potrzebne i inspirujące. Jednym słowem -rozpisaliśmy tę ankietę nie tyle w zastępstwie poważnej dyskusji, ile z chęci dopuszczenia do głosu krytyków działających w różnych przestrzeniach i obiegach komunikacyjnych. Pytania o faktyczne (i postulowane) miejsce krytyki literackiej w różnych obiegach współczesnej kultury czy też o to, po co, dla kogo i z jakim umocowaniem czyta i pisze dziś krytyk, miały -w naszym zamierzeniu -stanowić punkt wyjścia do rozważań na temat aktualnego usytuowania krytyki. Otwarta formuła pytań miała sprzyjać różnorodności. I tak też się stało -jedni odpowiadali na każde z nich po kolei, inni -korzystając z naszych inspiracji -zdecydowali się na całościową odpowiedź bądź na znaczące ominięcie niektórych z nich. Nie wszyscy mogli i zechcieli odpowiedzieć na nasze pytania, ale te wypowiedzi, które otrzymaliśmy, oparte na doświadczeniu i codziennej praktyce każdego z krytyków, dobitnie świadczą o różnorodności myślenia, rozmaitości języków krytycznego opisu, postrzegania literatury i sytuacji wokół literatury. Rozpoznania na temat obecnego stanu krytyki -rozpięte pomiędzy przekonaniem o coraz większym znaczeniu opinii czytelnika amatora, poczuciem odpowiedzialności za własne, zawodowe krytyczne czytanie oraz intrygującymi, "utopijnymi" tezami o krytyce jako "tworzeniu (wytwarzaniu) miejsc oporu" -stanowią interesujący punkt odniesienia dla akademickiej refl eksji nad krytyką literacką, której poświęcony jest niniejszy numer "Wielogłosu". Pytania, z którymi zwróciliśmy się do krytyków, brzmiały: Publikacja objęta jest prawem autorskim. Wszelkie prawa zastrzeżone. Kopiowanie i rozpowszechnianie zabronione. Publikacja przeznaczona jedynie dla klientów indywidualnych. Zakaz rozpowszechniania i udostępniania serwisach bibliotecznych</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6c3b2c8c982fa468533bff6a908e1968" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119428831,"asset_id":125373056,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119428831/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125373056"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125373056"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125373056; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="122743371"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/122743371/Konstelacje_krytyczne"><img alt="Research paper thumbnail of Konstelacje krytyczne" class="work-thumbnail" src="https://attachments.academia-assets.com/117345826/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/122743371/Konstelacje_krytyczne">Konstelacje krytyczne</a></div><div class="wp-workCard_item"><span>Forum Poetyki</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Celem artykułu jest wykorzystanie astronomicznej metafory konstelacji do badania krytyki literack...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Celem artykułu jest wykorzystanie astronomicznej metafory konstelacji do badania krytyki literackiej. Wychodząc od kluczowych dla statusu pojęcia „konstelacji” ustaleń Waltera Benjamina, używającego tej metafory do refleksji o badaniu historii, poprzez Adorniańskie korekty sytuujące konstelację w polu badań estetycznych i proponowany przez Renée R. Trilling konstelacyjny model lektury, a także sposoby dotychczasowego wykorzystywania tej metafory w polskich badaniach nad krytyką, niniejszy szkic zmierza do ukazania konstelacji jako sposobu ujmowania krytyki literackiej bez totalizujących, ujednolicających klasyfikacji. Pokazuje, że „konstelacja krytyczna” pozwala na wydobycie jednostkowości dyskursów krytycznych, przy jednoczesnym odsłonięciu ich relacyjności i wielowymiarowego uwikłania w warunki pola literackiego (ze współczesnością ich badacza włącznie). Proponuje konstelacyjny model badania krytyki literackiej.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4df2150f2dc2b500ed7447ca0fac1041" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117345826,"asset_id":122743371,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117345826/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="122743371"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="122743371"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 122743371; 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Seria Literacka</span><span>, 2016</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="245a3f8b89f4ae324f165fa341493f33" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":114277476,"asset_id":118715587,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/114277476/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118715587"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118715587"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118715587; 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Odwołując się do toczących się wówczas debat społecznych i krytycznych oraz do używanych w nich różnych definicji kanonu, autorka pokazuje konteksty i reperkusje jego poruszenia (demontażu, rekonstrukcji). Nie tracąc z oczu zasadniczego faktu, że rozumienie kanonu przekłada się na sposób myślenia o literaturze oraz roli/powinnościach/możliwościach krytyki literackiej, analizuje zarówno cele, jak i sposoby używania tego pojęcia. A także okoliczności, w których w dyskusjach i tekstach krytycznych, podejmujących problematykę wartościowania, literackich hierarchii czy zadań krytyki, miejsce kanonu jako punktu odniesienia przejął mainstream i inne kategorie, bardziej adekwatne do heteronomicznego charakteru pola literackiego.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d17af4839cb88d6ef353b4459a3b6694" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":114277418,"asset_id":118715555,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/114277418/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118715555"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118715555"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118715555; 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Myślę, że czytając zgromadzone w tej książce teksty, wygłoszone w trakcie trzech dni obrad, można powiedzieć, że nie był to tylko fantazmat, ale również problem badawczy, problem biograficzny, nad którym warto się wciąż zastanawiać. W jakich formach zatem poznawaliśmy światopogląd tego pokolenia, skoro skłonni byliśmy uwierzyć, że ono w ogóle istniało? Poznaliśmy generację 1910 jako narrację, czyli jako pewną zbiorową opowieść o własnych losach, opowieść sformułowaną przez to właśnie pokolenie. Poznaliśmy to pokolenie jako określony projekt autobiograficzny, który dalej można rozwijać i rozbudowywać. Poznaliśmy to pokolenie jako przykład i jednocześnie dowód badawczy istnienia pewnej kategorii teoretycznoliterackiej, która okazuje się kategorią wciąż żywą i żywotną. Poznaliśmy to pokolenie z innej nieco strony - jako wspólnotę negatywną, która na podstawie pewnych sprzeczności wewnątrz tego ciała się rodzących potrafiła sformułować obraz jedności. Poznaliśmy to pokolenie jako diagnostów czasu zmiany, co wymusza rozpoznanie biografii tego pokolenia wobec czasu wojny</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118715553"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118715553"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118715553; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=118715553]").text(description); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="118715551"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/118715551/POLITICAL_PROBLEMS_OF_LITERARY_CRITICISM_IN_THE_LAST_20_YEARS_Krytyki_literackiej_klopoty_z_politycznoscia_w_ostatnim_20_leciu_"><img alt="Research paper thumbnail of POLITICAL PROBLEMS OF LITERARY CRITICISM (IN THE LAST 20 YEARS) (Krytyki literackiej klopoty z politycznoscia (w ostatnim 20-leciu))" class="work-thumbnail" src="https://attachments.academia-assets.com/114277450/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/118715551/POLITICAL_PROBLEMS_OF_LITERARY_CRITICISM_IN_THE_LAST_20_YEARS_Krytyki_literackiej_klopoty_z_politycznoscia_w_ostatnim_20_leciu_">POLITICAL PROBLEMS OF LITERARY CRITICISM (IN THE LAST 20 YEARS) (Krytyki literackiej klopoty z politycznoscia (w ostatnim 20-leciu))</a></div><div class="wp-workCard_item"><span>Pamietnik Literacki</span><span>, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Wierzê szczerze, ¿e najlepsza krytyka jest zabawna i pe³na poezji, nigdy za zimna i algebraiczna,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Wierzê szczerze, ¿e najlepsza krytyka jest zabawna i pe³na poezji, nigdy za zimna i algebraiczna, brak mi³oci i nienawici os³aniaj¹ca pretekstem, ¿e wszystko t³umaczy, i wiadomie wyrzekaj¹ca siê temperamentu. [...] Ale ten rodzaj krytyki przeznaczony jest do tomików poezji i dla czytelników poetycznych. Co za tyczy siê krytyki w rozumieniu dos³ownym, spodziewam siê, ¿e pojm¹ mnie filozofowie: krytyka, ¿eby byae s³uszna, to znaczy mieae racjê istnienia, powinna byae stronnicza, namiêtna, polityczna, a wiêc ukazywaae jeden punkt widzenia, ale otwieraj¹cy najwiêcej horyzontów 1. Wstêp Próba przyjrzenia siê zwi¹zkom krytyki literackiej z politycznoci¹ poci¹ga za sob¹ wiele trudnoci. Jedn¹ z najbardziej fundamentalnych jest w tym przypadku samo pojêcie politycznoci oraz zasadnicza kwestia rozumienia jej granic, o której autorzy ksi¹¿ki, zajmuj¹cy siê tym zagadnieniem, pisz¹: granice [te] sta³y siê dzisiaj na skutek ró¿norakich przeobra¿eñ, jakie dokona³y siê w sferze cywilizacyjnej, ekonomicznej i spo³ecznej, g³êboko problematyczne. W zwi¹zku z tym uwa¿amy, ¿e skonfrontowani z niebezpieczeñstwem ca³kowitego zaniku granic miêdzy tym, co polityczne, a tym, co nie, wkraczamy dzisiaj w okres nowego rozumienia sfery politycznej, w którym radykalnej redefinicji ulega samo rozumienie tego, co polityczne. Ta redefinicja jednak nie polega na tym, ¿e w ca³oci odrzuca siê dotychczasowe rozumienia politycznoci, uznaj¹c je za niewiele dzisiaj warte, ale przede wszystkim na tym, ¿e nadaje siê nowe znaczenie tradycyjnym jego wyznacznikom oraz inaczej w sposób bardziej otwarty i p³ynny ujmuje siê jego relacjê do tego, co niepolityczne 2. Tendencje do zamazywania granic, do ró¿norakiego rozumienia tego, co polityczne i niepolityczne towarzysz¹ równie¿ krytyce literackiej, tym bardziej ¿e</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4b2a472c1c07e6201ed25a67e76ebbc3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":114277450,"asset_id":118715551,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/114277450/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118715551"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118715551"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118715551; 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(Między esejem a autobiografią)" class="work-thumbnail" src="https://attachments.academia-assets.com/114277413/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/118715547/Dwudziestowieczne_podr%C3%B3%C5%BCe_intelektualne_Mi%C4%99dzy_esejem_a_autobiografi%C4%85_">Dwudziestowieczne "podróże intelektualne". (Między esejem a autobiografią)</a></div><div class="wp-workCard_item"><span>Teksty Drugie</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dorota KOZICKA Dwudziestowieczne "podróże intelektualne". (Między esejem a autobiografią) Próby u...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dorota KOZICKA Dwudziestowieczne "podróże intelektualne". (Między esejem a autobiografią) Próby usytuow ania w spółczesnych relacji z podróży wobec tradycji g a tunku i na tleX X -w iecznej literatury napotkać m uszą szereg trudności zw iązanych m ię dzy innym i z tym, że objęte tą nazwą teksty nie posiadają odrębnej, w yraźnie roz poznaw alnej form y gatunkow ej. Podróż definiuje się jako dziedzinę piśm ie n nictwa obejm ującą spraw ozdania z wszelkiego rodzaju w ypraw i wyznacza jej sze rokie granice od d o k u m en tarn y ch relacji faktograficznych po opow iadania o p o dróżach zm yślonych (również fantastycznych). P om iędzy tym i biegunam i mieszczą się różne odm iany gatunkow e: podróże-opisy, podróże przygodowe, użytkowe, intelektualne. S ło w n ik term inów literackich zawiera w zm iankę o żywot ności tego ostatniego n u rtu obejm ującego obok utworów powieściow ych również takie, "w których relacja z podróży -traktow anej jako zajęcie edukacyjne, badaw cze lub literackie -przechodzi sw obodnie w form ę eseju, trak tatu , szkicu publicy stycznego lub poetyckiej im presji" 1, często przybiera też form ę d ziennika po dróży. P rzedm iotem m oich rozważań są utwory określane przez Janusza Sław iń skiego m ianem podróży intelektualnych, a dokładniej -te spośród nich, które m ają c h arak ter referencjalny. 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W pism ach N ietzschego podróż jawi się jako przygoda m yśli uw olnionej po śm ierci Boga, eksploracja nieznanych obszarów, oderw anie się od stałego, pew ne go gruntu^. D la Paula R icoeura rozum ienie siebie jest m ożliwe jedynie wówczas gdy odbywa się "dookolną drogę pośród znaków ludzkości utrw alonych w dzie łach k u ltu ry "^. U H eideggera, Jaspersa, Blocha i S artre'a (gdzie w ątek podróży nie pojawia się bezpośrednio jako motyw, ale zdaniem Pino M enzio -autora II Viaggio dei Filosofi -ukryty jest głębiej i wymaga herm eneutycznego wydobycia^) w kategoriach podróżow ania ujm ow any jest ru ch do przodu, napięcie k u przyszłości, tran sg re sja, w ykraczanie przez człowieka poza w łasną kondycję, zw iązane z kategoriam i p ro jek tu (jako pro-iectu, od łac.^ro iacere -"rzucać przed siebie"), rzucenia, wol ności, pustki. Tak rozum iana podróż opisuje dośw iadczenie egzystencjalne, teore tyczne i artystyczne człowieka, który w swej życiowej "podróży" pozbaw iony już został tradycyjnego przew odnictw a "gwiazdy p o larn ej" i zagubiony w pozbaw io nym ce n tru m świecie w ielości i różnorodności. Porów nyw any do podróżnika arty sta to ktoś, kto wyrusza przed siebie w celu rozpoznania i in te rp retacji świata, ale nie św iata, który jest dany, poznany, określony i jako tak i m oże być przedstaw io ny, im itow any, lecz świata zawsze nieznanego, takiego, który trzeba dopiero roz poznać, czy w ręcz "w ynaleźć" . Jest sym bolem człow ieka w ychylonego w p rz ó d w n ieu stannym w ysiłku poznania i in te rp retacji rzeczywistości, w poszukiw aniu nowych punktów orientacyjnych, szkicow ania nowych m ap ludzkiego dośw iad czenia. W tych znaczeniach m etafora podróży byłaby bliska filozofii postm etafizycznej, która "usuw a" pew ny grunt, trw ały fun d am en t ludzkiego bytu. Podobne rozum ienie m etafory podróżow ania m ożna odnaleźć rów nież u Paula Virilio, który opisuje w spółczesne "podróże dla podróżow ania", odbywane w sza lonym pędzie, bez celu i ze strachu przed życiem samym. W jego koncepcji pod porządkow ane coraz w iększym prędkościom podróżow anie staje się film em , a p o d różujący -kinom anem , bo w podobny jak on sposób (czyli zza szyby) odbiera misytuow anie się «poza» tym porządkiem , poprzez «krytyczny dystans» względem niego, to przywoływać m etaforę m yślenia jako podróżow ania" (Travel as Metaphor from Montaigne to Rousseau, U niversity of M innesota Press, M inneapolis 1992, s. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="127629351"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/127629351/Critical_Constellations"><img alt="Research paper thumbnail of Critical Constellations" class="work-thumbnail" src="https://attachments.academia-assets.com/121335571/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/127629351/Critical_Constellations">Critical Constellations</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article’s objective is to apply the astronomical metaphor of the constellation to the study ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article’s objective is to apply the astronomical metaphor of the constellation to the study of literary critique. Departing from Walter Benjamin’s concepts that have been instrumental to the status of the “constellation” as a concept, and using this metaphor to reflect upon the study of history through Adorno’s revisions that usher the constellation into aesthetic studies, as well as the constellational model of reading proposed by Renée R. Trilling, and historical methods for applying this metaphor to Polish critical studies, this essay attempts to introduce the constellation as a means for grasping literary critique without deferring to totalizing and monolithic classification systems. The article demonstrates that the “critical constellation” allows us to yield a certain autonomy for critical discourses by simultaneously revealing their relativity and their multidimensional entanglements with the conditions of the literary field (including the present moment of the scholar)....</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fce807e9878b61d0975cc5bd253859ad" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":121335571,"asset_id":127629351,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/121335571/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="127629351"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="127629351"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 127629351; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125373056"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125373056/%C5%9AWIADOMO%C5%9AC_KRYTYKI_Ankieta_WIELOG%C5%81OSU_"><img alt="Research paper thumbnail of ŚWIADOMOŚC KRYTYKI - Ankieta „WIELOGŁOSU”" class="work-thumbnail" src="https://attachments.academia-assets.com/119428831/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125373056/%C5%9AWIADOMO%C5%9AC_KRYTYKI_Ankieta_WIELOG%C5%81OSU_">ŚWIADOMOŚC KRYTYKI - Ankieta „WIELOGŁOSU”</a></div><div class="wp-workCard_item"><span>Wieloglos</span><span>, Mar 31, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ankieta "Wielogłosu" Z przekonaniem, że wypowiedzi sprowokowane ankietowymi pytaniami to jedna z ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ankieta "Wielogłosu" Z przekonaniem, że wypowiedzi sprowokowane ankietowymi pytaniami to jedna z istotnych dzisiaj form krytycznej wymiany myśli, zwróciliśmy się do krytyków z kilkoma pytaniami dotyczącymi współczesnej krytyki w kontekście przemieszania tendencji, języków, kryteriów, kanałów komunikacyjnych, ale też pojawiających się w ostatnich latach manifestów i programów. Rozpisaliśmy naszą ankietę zapewne trochę z niepewności, czy potrafi my dobrze nakreślić przestrzeń obecnej krytyki; trochę z obawy, czy nie zamkniemy jej w klatce akademickiej refl eksji, skracając jej oddech i ucinając (i tak już mocno podcięte) skrzydła; ale też z przekonania, że w takiej materii jak krytyka liczy się (nomen omen) wielogłosowość i że metakrytyczne refl eksje, które oczywiście nie zastąpią krytycznej roboty, są -cokolwiek by o nich powiedzieć -potrzebne i inspirujące. Jednym słowem -rozpisaliśmy tę ankietę nie tyle w zastępstwie poważnej dyskusji, ile z chęci dopuszczenia do głosu krytyków działających w różnych przestrzeniach i obiegach komunikacyjnych. Pytania o faktyczne (i postulowane) miejsce krytyki literackiej w różnych obiegach współczesnej kultury czy też o to, po co, dla kogo i z jakim umocowaniem czyta i pisze dziś krytyk, miały -w naszym zamierzeniu -stanowić punkt wyjścia do rozważań na temat aktualnego usytuowania krytyki. Otwarta formuła pytań miała sprzyjać różnorodności. I tak też się stało -jedni odpowiadali na każde z nich po kolei, inni -korzystając z naszych inspiracji -zdecydowali się na całościową odpowiedź bądź na znaczące ominięcie niektórych z nich. Nie wszyscy mogli i zechcieli odpowiedzieć na nasze pytania, ale te wypowiedzi, które otrzymaliśmy, oparte na doświadczeniu i codziennej praktyce każdego z krytyków, dobitnie świadczą o różnorodności myślenia, rozmaitości języków krytycznego opisu, postrzegania literatury i sytuacji wokół literatury. Rozpoznania na temat obecnego stanu krytyki -rozpięte pomiędzy przekonaniem o coraz większym znaczeniu opinii czytelnika amatora, poczuciem odpowiedzialności za własne, zawodowe krytyczne czytanie oraz intrygującymi, "utopijnymi" tezami o krytyce jako "tworzeniu (wytwarzaniu) miejsc oporu" -stanowią interesujący punkt odniesienia dla akademickiej refl eksji nad krytyką literacką, której poświęcony jest niniejszy numer "Wielogłosu". Pytania, z którymi zwróciliśmy się do krytyków, brzmiały: Publikacja objęta jest prawem autorskim. Wszelkie prawa zastrzeżone. Kopiowanie i rozpowszechnianie zabronione. Publikacja przeznaczona jedynie dla klientów indywidualnych. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="122743371"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/122743371/Konstelacje_krytyczne"><img alt="Research paper thumbnail of Konstelacje krytyczne" class="work-thumbnail" src="https://attachments.academia-assets.com/117345826/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/122743371/Konstelacje_krytyczne">Konstelacje krytyczne</a></div><div class="wp-workCard_item"><span>Forum Poetyki</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Celem artykułu jest wykorzystanie astronomicznej metafory konstelacji do badania krytyki literack...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Celem artykułu jest wykorzystanie astronomicznej metafory konstelacji do badania krytyki literackiej. Wychodząc od kluczowych dla statusu pojęcia „konstelacji” ustaleń Waltera Benjamina, używającego tej metafory do refleksji o badaniu historii, poprzez Adorniańskie korekty sytuujące konstelację w polu badań estetycznych i proponowany przez Renée R. Trilling konstelacyjny model lektury, a także sposoby dotychczasowego wykorzystywania tej metafory w polskich badaniach nad krytyką, niniejszy szkic zmierza do ukazania konstelacji jako sposobu ujmowania krytyki literackiej bez totalizujących, ujednolicających klasyfikacji. Pokazuje, że „konstelacja krytyczna” pozwala na wydobycie jednostkowości dyskursów krytycznych, przy jednoczesnym odsłonięciu ich relacyjności i wielowymiarowego uwikłania w warunki pola literackiego (ze współczesnością ich badacza włącznie). Proponuje konstelacyjny model badania krytyki literackiej.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4df2150f2dc2b500ed7447ca0fac1041" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":117345826,"asset_id":122743371,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/117345826/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="122743371"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="122743371"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 122743371; 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Odwołując się do toczących się wówczas debat społecznych i krytycznych oraz do używanych w nich różnych definicji kanonu, autorka pokazuje konteksty i reperkusje jego poruszenia (demontażu, rekonstrukcji). Nie tracąc z oczu zasadniczego faktu, że rozumienie kanonu przekłada się na sposób myślenia o literaturze oraz roli/powinnościach/możliwościach krytyki literackiej, analizuje zarówno cele, jak i sposoby używania tego pojęcia. 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Myślę, że czytając zgromadzone w tej książce teksty, wygłoszone w trakcie trzech dni obrad, można powiedzieć, że nie był to tylko fantazmat, ale również problem badawczy, problem biograficzny, nad którym warto się wciąż zastanawiać. W jakich formach zatem poznawaliśmy światopogląd tego pokolenia, skoro skłonni byliśmy uwierzyć, że ono w ogóle istniało? Poznaliśmy generację 1910 jako narrację, czyli jako pewną zbiorową opowieść o własnych losach, opowieść sformułowaną przez to właśnie pokolenie. Poznaliśmy to pokolenie jako określony projekt autobiograficzny, który dalej można rozwijać i rozbudowywać. Poznaliśmy to pokolenie jako przykład i jednocześnie dowód badawczy istnienia pewnej kategorii teoretycznoliterackiej, która okazuje się kategorią wciąż żywą i żywotną. Poznaliśmy to pokolenie z innej nieco strony - jako wspólnotę negatywną, która na podstawie pewnych sprzeczności wewnątrz tego ciała się rodzących potrafiła sformułować obraz jedności. Poznaliśmy to pokolenie jako diagnostów czasu zmiany, co wymusza rozpoznanie biografii tego pokolenia wobec czasu wojny</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118715553"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118715553"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118715553; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=118715553]").text(description); 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[...] Ale ten rodzaj krytyki przeznaczony jest do tomików poezji i dla czytelników poetycznych. Co za tyczy siê krytyki w rozumieniu dos³ownym, spodziewam siê, ¿e pojm¹ mnie filozofowie: krytyka, ¿eby byae s³uszna, to znaczy mieae racjê istnienia, powinna byae stronnicza, namiêtna, polityczna, a wiêc ukazywaae jeden punkt widzenia, ale otwieraj¹cy najwiêcej horyzontów 1. Wstêp Próba przyjrzenia siê zwi¹zkom krytyki literackiej z politycznoci¹ poci¹ga za sob¹ wiele trudnoci. Jedn¹ z najbardziej fundamentalnych jest w tym przypadku samo pojêcie politycznoci oraz zasadnicza kwestia rozumienia jej granic, o której autorzy ksi¹¿ki, zajmuj¹cy siê tym zagadnieniem, pisz¹: granice [te] sta³y siê dzisiaj na skutek ró¿norakich przeobra¿eñ, jakie dokona³y siê w sferze cywilizacyjnej, ekonomicznej i spo³ecznej, g³êboko problematyczne. W zwi¹zku z tym uwa¿amy, ¿e skonfrontowani z niebezpieczeñstwem ca³kowitego zaniku granic miêdzy tym, co polityczne, a tym, co nie, wkraczamy dzisiaj w okres nowego rozumienia sfery politycznej, w którym radykalnej redefinicji ulega samo rozumienie tego, co polityczne. Ta redefinicja jednak nie polega na tym, ¿e w ca³oci odrzuca siê dotychczasowe rozumienia politycznoci, uznaj¹c je za niewiele dzisiaj warte, ale przede wszystkim na tym, ¿e nadaje siê nowe znaczenie tradycyjnym jego wyznacznikom oraz inaczej w sposób bardziej otwarty i p³ynny ujmuje siê jego relacjê do tego, co niepolityczne 2. Tendencje do zamazywania granic, do ró¿norakiego rozumienia tego, co polityczne i niepolityczne towarzysz¹ równie¿ krytyce literackiej, tym bardziej ¿e</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4b2a472c1c07e6201ed25a67e76ebbc3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":114277450,"asset_id":118715551,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/114277450/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118715551"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118715551"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118715551; 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(Między esejem a autobiografią)" class="work-thumbnail" src="https://attachments.academia-assets.com/114277413/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/118715547/Dwudziestowieczne_podr%C3%B3%C5%BCe_intelektualne_Mi%C4%99dzy_esejem_a_autobiografi%C4%85_">Dwudziestowieczne "podróże intelektualne". (Między esejem a autobiografią)</a></div><div class="wp-workCard_item"><span>Teksty Drugie</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Dorota KOZICKA Dwudziestowieczne "podróże intelektualne". (Między esejem a autobiografią) Próby u...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Dorota KOZICKA Dwudziestowieczne "podróże intelektualne". (Między esejem a autobiografią) Próby usytuow ania w spółczesnych relacji z podróży wobec tradycji g a tunku i na tleX X -w iecznej literatury napotkać m uszą szereg trudności zw iązanych m ię dzy innym i z tym, że objęte tą nazwą teksty nie posiadają odrębnej, w yraźnie roz poznaw alnej form y gatunkow ej. Podróż definiuje się jako dziedzinę piśm ie n nictwa obejm ującą spraw ozdania z wszelkiego rodzaju w ypraw i wyznacza jej sze rokie granice od d o k u m en tarn y ch relacji faktograficznych po opow iadania o p o dróżach zm yślonych (również fantastycznych). P om iędzy tym i biegunam i mieszczą się różne odm iany gatunkow e: podróże-opisy, podróże przygodowe, użytkowe, intelektualne. S ło w n ik term inów literackich zawiera w zm iankę o żywot ności tego ostatniego n u rtu obejm ującego obok utworów powieściow ych również takie, "w których relacja z podróży -traktow anej jako zajęcie edukacyjne, badaw cze lub literackie -przechodzi sw obodnie w form ę eseju, trak tatu , szkicu publicy stycznego lub poetyckiej im presji" 1, często przybiera też form ę d ziennika po dróży. P rzedm iotem m oich rozważań są utwory określane przez Janusza Sław iń skiego m ianem podróży intelektualnych, a dokładniej -te spośród nich, które m ają c h arak ter referencjalny. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="118715544"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/118715544/Podr%C3%B3%C5%BCny_horyzont_rozumienia"><img alt="Research paper thumbnail of Podróżny horyzont rozumienia" class="work-thumbnail" src="https://attachments.academia-assets.com/114277408/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/118715544/Podr%C3%B3%C5%BCny_horyzont_rozumienia">Podróżny horyzont rozumienia</a></div><div class="wp-workCard_item"><span>Teksty Drugie</span><span>, 2006</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">We w stępie do swojej książki Van D en Abbeele pisze: "Faktycznie, kwestionować ^ istniejący porz...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">We w stępie do swojej książki Van D en Abbeele pisze: "Faktycznie, kwestionować ^ istniejący porządek (czy to poznawczy, czy estetyczny czy też polityczny) poprzez Przem ierzanie skom plikow anych dróg ludzkiej myśli, znaków k u ltu ry i rze czywistości to m etafora często wykorzystywana również przez filozofów w spółczes nych. W pism ach N ietzschego podróż jawi się jako przygoda m yśli uw olnionej po śm ierci Boga, eksploracja nieznanych obszarów, oderw anie się od stałego, pew ne go gruntu^. D la Paula R icoeura rozum ienie siebie jest m ożliwe jedynie wówczas gdy odbywa się "dookolną drogę pośród znaków ludzkości utrw alonych w dzie łach k u ltu ry "^. U H eideggera, Jaspersa, Blocha i S artre'a (gdzie w ątek podróży nie pojawia się bezpośrednio jako motyw, ale zdaniem Pino M enzio -autora II Viaggio dei Filosofi -ukryty jest głębiej i wymaga herm eneutycznego wydobycia^) w kategoriach podróżow ania ujm ow any jest ru ch do przodu, napięcie k u przyszłości, tran sg re sja, w ykraczanie przez człowieka poza w łasną kondycję, zw iązane z kategoriam i p ro jek tu (jako pro-iectu, od łac.^ro iacere -"rzucać przed siebie"), rzucenia, wol ności, pustki. Tak rozum iana podróż opisuje dośw iadczenie egzystencjalne, teore tyczne i artystyczne człowieka, który w swej życiowej "podróży" pozbaw iony już został tradycyjnego przew odnictw a "gwiazdy p o larn ej" i zagubiony w pozbaw io nym ce n tru m świecie w ielości i różnorodności. Porów nyw any do podróżnika arty sta to ktoś, kto wyrusza przed siebie w celu rozpoznania i in te rp retacji świata, ale nie św iata, który jest dany, poznany, określony i jako tak i m oże być przedstaw io ny, im itow any, lecz świata zawsze nieznanego, takiego, który trzeba dopiero roz poznać, czy w ręcz "w ynaleźć" . Jest sym bolem człow ieka w ychylonego w p rz ó d w n ieu stannym w ysiłku poznania i in te rp retacji rzeczywistości, w poszukiw aniu nowych punktów orientacyjnych, szkicow ania nowych m ap ludzkiego dośw iad czenia. W tych znaczeniach m etafora podróży byłaby bliska filozofii postm etafizycznej, która "usuw a" pew ny grunt, trw ały fun d am en t ludzkiego bytu. Podobne rozum ienie m etafory podróżow ania m ożna odnaleźć rów nież u Paula Virilio, który opisuje w spółczesne "podróże dla podróżow ania", odbywane w sza lonym pędzie, bez celu i ze strachu przed życiem samym. W jego koncepcji pod porządkow ane coraz w iększym prędkościom podróżow anie staje się film em , a p o d różujący -kinom anem , bo w podobny jak on sposób (czyli zza szyby) odbiera misytuow anie się «poza» tym porządkiem , poprzez «krytyczny dystans» względem niego, to przywoływać m etaforę m yślenia jako podróżow ania" (Travel as Metaphor from Montaigne to Rousseau, U niversity of M innesota Press, M inneapolis 1992, s. X III).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="60c08102b6827989c25da49543dabb7d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":114277408,"asset_id":118715544,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/114277408/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="118715544"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="118715544"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 118715544; 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