in: Archiv für das Studium der neueren Sprachen und Literaturen 258:1 (2021), 146-171 [peer-review]. (URL: https://archivdigital.info/ce/la-version-completa-en-tecnicolor-copia-nueva-y-subtitulada-zur-literarischen-modellierung-von-erinnerung-und-gedaechtnis-in-juan-jose-saers-glosa-1986/detail.html)

Teniendo en cuenta sus metáforas y la dimensión intermedial de estas, el presente artículo se propone de examinar la modelización estética de la memoria y del recuerdo en Glosa. Mediante la fotografía y el cine como partes de la poética visual del escritor argentino, la novela recurre a metáforas visuales y de presentificación. A través de ellas se va negociando no solo la representación de la memoria, sino también la relación entre la literatura y el mundo extra-textual en cuyo centro se encuentra la imposibilidad de acceder a lo real, de determinarlo y de asirlo con palabras.

Le souvenir d'une photographie de Brassaï, Phénomène de l'extase, ouvre une réflexion sur le regard, la mémoire et la photographie. En une succession de courts fragments, Marcelline Delbecq crée des jeux de miroir infinis où on ne sait plus qui de l'observateur ou de l'observé vole quelque chose de son image à l'autre.

Dédié à Claire Guezengar, ce texte a été écrit pour la Soirée Nomade du 18 juin 2014 à la Fondation Cartier.

Narrative Unmoored: Photography, Orientalism, and Geopolitics in Roberto Arlt's "La cadena del ancla" This essay offers a reading of "La cadena del ancla," a short story that Roberto Arlt wrote as a journalist while on assignment in Morocco during the mid-1930s, from the perspective of postcolonial studies and visual culture. While focusing on the themes of espionage and revenge, it analyzes Orientalist storytelling as a praxis of writing alongside history, through which the Argentine writer documented the rivalry between global colonial powers in 1935. By examining the main characters' displacement along the coast of North Africa, from Tangier to Cairo, the essay aims to open up the lines of interconnectivity between photography and narrative, visual arts and Mediterranean geopolitical flows. Arlt engages a "repertoire of Orientalism" by interpolating what Graham Huggan has called the "postcolonial exotic," but he also subverts it by inviting history into the pages of his short story. When read with a postcolonial understanding of the writer's travels, Arlt's visual projection of his experiences in Spain and Morocco makes us better understand how they became an integral part of his more explicitly politicized future writing, especially his playsÁfrica (1938) and La fiesta del hierro (1940).

Confession d’un peintre médiocre devenu faussaire de génie, dont la fille – sur le piano de laquelle trône l’unique cliché d’une mère décédée – s’efforce de devenir une soliste de talent : Excusez les fautes du copiste confronte d’emblée deux conceptions de l’art pour interroger la légitimité et la valeur de la représentation, à l’ère de la reproductibilité technique. La progressive domination des procédés de représentation modernes est en effet venue mettre à mal l’idéal d’authenticité véhiculé par la modernité tout en révélant la technicité inhérente à tout processus artistique. C’est cette mutation esthétique qu’interroge Grégoire Polet au travers de la figure du copiste. Le « génie » du faussaire n’est pas dû à l’inventivité de son travail, mais à sa maitrise parfaite des techniques picturales. La qualité de ses reproductions révèle le processus de mécanisation auquel ni l’art ni l’artiste – lui-même réduit à un pur savoir-faire – ne peuvent désormais échapper. L’illusion que son geste instaure au cœur même de la représentation déconstruit les limites entre le vrai et le faux, et interroge, par conséquent, la capacité de la fiction à produire encore une quelconque vérité. Le soupçon qui en résulte se répercute sur la littérature, au travers de la dimension métafictionnelle du témoignage écrit du faussaire, dont la fonction ne peut que mettre en doute la sincérité. Il s’agira dès lors de dégager la réponse que le roman apporte au soupçon qui pèse désormais sur la représentation.

Sellit est le nom d'un groupe de photographes bretons qui a publié dans les années 70-80 plusieurs monographies consacrées aux îles du Ponant (Ouessant, Batz, Groix…).
Pour citer cet article :
REVUE DES SCIENCES HUMAINES -N°319 -JUILLET-SEPTEMBRE 2015, Espaces phototextuels, Septentrion, p. 69-82.

This paper aims to place an interpretation on some aspects of the Brechtian Kriegsfibel, as rendered in the two most important Italian editions of the text. The Kriegsfibel is a collection of "photo-epigrams" realized by Brecht during his exile and then published in 1955. In this work the topic of Second World War is discussed in the dialectic between photography and poetry. On the one hand, this operation aims to deconstruct the epistemological status of photography as Apparat able to reproduce the reality tout court; on the other, it questions the perception of reality in its historical, geographic and social aspects. In this way, the topicality of war photography is projected, through the epigram, in millennial History and, at the same time, the narrative of History activates in the reader the creation of meaning and, therefore, the concrete action in the present. In the light of this analysis, a study of Kriegsfibel's Italian translations is proposed, i.e. the Abicí della guerra by Fertonani (1972), more literal and classical, and the one by Solmi (1975), freer and more actualising. The focus of discussion is on the second translation, which was proposed as an accompanying booklet for an audiovisual didactical experiment to take place in schools. This is a significant operation because it vivifies the didactic element and develops the performative character of Brechtian investigation, latent in the textual (and therefore visual) dimension of the original edition.

《聯合文學》2016年5月號（379期）

攝影與文學之間，自來有著一條漫長、線索蕪雜卻又迷人的歧路幽徑。就物質史言，攝影初啟即與印刷術深深交纏，攝影本身即是一種複製的技術。攝影在科學使用之外，在與繪畫的藝術競合之外，與書籍形式和文字關係也是媒介史中很重要的部份。攝影的出現改變了書籍樣貌，也改變了文學。書開始出現新的圖文關係，文學也開始出現攝影機的視角。慢慢地，照片不見得只能是映照現實的窗口，還可以是承載創作意識與虛構想像的空間，我們可對其進行文學性的解讀，非侷限於對象物的認識，甚至，當攝影家開始出現作者意識，攝影書也成為最適於表達自我的形式之一，甚至產生了一種與關乎文學的故事性。

Roland Barthes muere en París en 1980. Ese mismo año se publica de manera póstuma un ensayo, quizás una de las reflexiones más influyentes sobre la experiencia fotográfica, titulado La cámara lúcida (La chambre claire). Tres años después, en 1983, el escritor mexicano, pero declaradamente cosmopolita, 2 Salvador Elizondo , publica un "cuaderno de escritura", hoy prácticamente desconocido, que lleva por nombre Camera lucida.

Journeys Exposed: Women’s Writing, Photography and Mobility examines contemporary literature written by women that are all related to Italy in different ways. It argues that photography provides women with a means to expose aspects of their nomadic self and of others’ mobile lives within and beyond the writing process. By resorting to the visual, women individualistically respond to forms of hegemonic power, fragmentation, displacement, loss and marginality and make these experiences key to their creative production.

Analisi della celebre Prefazione verghiana a L'Amante di Gramigna, condotta alla luce della metafora fotografica con cui Salvatore Farina (alfiere del realismo italiano e dedicatario della prefazione) prende significativamente le distanze dalla proposta di realismo avanzata dallo scrittore siciliano.
La metafora fotografica impiegata da Farina indica un territorio, quello della realtà empirica e degradata, escluso dall'ontologia della forma tipica dell'estetica ottocentesca. Un territorio, tuttavia, verso il quale la proposta di realismo operata da Verga punta la sua indagine, approntando un modello metodologico convergente rispetto al coevo modello di realismo fotografico ottocentesco.

Le voyage dans "Lettres d’Égypte" n’est pas autonome en soi, dans le sens qu’il ne sert pas à nourrir le principe de la découverte. Le voyage sert un but, celui de revisiter le familier. La démarche du voyageur dépend donc de ce qu’il évoque comme souvenir du déjà-connu. Dans le contexte de ce livre, le connu évoqué est continuellement lié à la mémoire de la mort. Ainsi, l’épistolier-photographe fait participer ses amis à son voyage par le recours à l’écriture fictive. La manière dont cela se produit est par l’évocation d’un univers sacré du rituel de la momification.

Przedmiotem niniejszej książki są związki fotografii i literatury (tego, jak literatura wykorzystuje i interpretuje fotografię jako narzędzie reprezentacji świata). Dialektyczny charakter fotografii obecny w jej różnych rozumieniach i szczególny sposób, w jaki odsyła ona do rzeczywistości wpływają na kształt współczesnej prozy. Monografia wprowadza wątki: zdjęcia jako figury ujmującej sposób doświadczania rzeczywistości oraz dążenia współczesnej literatury do obrazowości. Obok rozważań nad istotą fotografii jako pojęcia i zjawiska a także nakreślenia podstawowych kierunków literackich użyć fotografii, zdjęcie przedstawione jest jako figura i strategia reprezentacji literackiej. Kolejne analityczne rozdziały są sprawdzianem założeń teoretycznych. Prezentują typy mediacji fotografii w literaturze na podstawie Matka odchodzi Tadeusza Różewicza, Mercedes-Benz Pawła Huelle, Drogi do Sieny Marka Zagańczyka, kolejnych trzech zbiorów „fotografii” Janusza Andermana, Fotoplastikonu Jacka Dehnela, esejów Dno oka Wojciecha Nowickiego, powieści Fotograf Wojciecha Bruszewskiego, Hanemann oraz Esther Stefana Chwina, Umschlagplatzu Jarosława Marka Rymkiewicza, a także Jadąc do Babadag Andrzeja Stasiuka, Zagłady Piotra Szewca oraz prozy Magdaleny Tulli. Wśród kluczowych zagadnień książki można wskazać – reprezentację, jej kryzys i próbę przełamania go poprzez wprowadzenie w obręb literatury zdjęć, które dzięki swojej naturalnej ambiwalencji demaskują i wyrażają kryzys związany z dawaniem świadectwa. Zdjęcie pośredniczy w ujęciu sposobu doświadczania rzeczywistości, ukazując stosunek podmiotu do świata oraz jego możliwości percepcyjne związane ze sposobem postrzegania. Daje dostęp do rzeczywistości, ma wartość dokumentu, jest opatrzone melancholijną interpretacją, a także stanowi puste wskazanie w stronę rzeczywistości.

Już w pionierskich czasach fotografii uznano jej podwójną siłę – dawania świadectwa i kreowania obrazu rzeczywistości. Dzięki swej ambiwalentnej naturze wschodząca sztuka szybko znalazła miejsce w obszarze innych dziedzin, jako narzędzie podstawowe lub pomocnicze. Przedstawiający charakter fotografii i techniczne możliwości reprodukcji z nią związane kontrastowały z metafizycznym niepokojem, który wzbudzały obrazy malowane światłem. Żywo komentowana w literaturze fotografia stała się jej ważnym tematem. Przekształciła funkcje obrazowania, ewoluując od ilustracji tekstu, pretekstu opisu, aż po autonomiczną figurę oraz środek fototekstualnych gatunków. Literackie sposoby odwoływania się do rzeczywistości poprzez zdjęcie mają już niemal dwuwiekową tradycję. Obok reprezentacyjnych chwytów (takich jak wysnuwanie historii ze zdjęć, poświadczanie rzeczywistości poprzez nie, ekfrastyczność etc.), fotografia stała się strategią opowiadania świata. Dialektyczny charakter fotografii obecny w jej różnych rozumieniach wpływa na kształt współczesnej prozy. Ujmując doświadczenie i obraz rzeczywistości, zdjęcie staje się tropem odmiennych modeli reprezentacji. Odczytanie jego roli w tekście stanowi podstawowe zagadnienie badawcze niniejszej pracy. Fotograficzne odniesienie do rzeczywistości jest polem literackiej interpretacji, kluczem do rozumienia świata.

Marta Koszowy - autorka prac interdyscyplinarnych z pogranicza literaturoznawstwa, krytyki literackiej i historii fotografii. Publikowała w zbiorowych tomach naukowych, a także „Tekstach Drugich”, „Pamiętniku Literackim” i „Teatrze”. Współpracuje z Akademią Pedagogiki Specjalnej oraz Ośrodkiem Badań Filologicznych i Edytorstwa Naukowego IBL PAN.


SPIS TREŚCI

WPROWADZENIE
Fotografia i literatura. Literatura i fotografia. Literatura/fotografia
I. TEZY I METODOLOGIE
Istota fotografii
Fotografia w literaturze. Zdjęcie jako figura i strategia literacka
Na temat indeksu. Quasi-semiotyczna interpretacja funkcji fotografii
w literaturze
Fotograficzna mediacja rzeczywistości w literaturze
Fotografia i literatura. Między fenomenologią a psychoanalizą
Zdjęcie i żałoba. Światło obrazu Rolanda Barthes’a
i Matka odchodzi Tadeusza Różewicza
II. FOTOGRAFICZNE MEDIACJE
ŚWIAT OBECNY W ZDJĘCIACH. REFERENCJALNA
MEDIACJA RZECZYWISTOŚCI W LITERATURZE
Opowieść o albumie rodzinnym. Ready made w Mercedes-Benz
Pawła Huelle
Fotograficzne widzenie. Droga do Sieny Marka Zagańczyka
Fotograficzna ekfraza
Świat zawładnięty przez fotografię. Kartezjański model
referencjalnej mediacji rzeczywistości
w Fotografie Wojciecha Bruszewskiego
FRAGMENTARYCZNA MEDIACJA RZECZYWISTOŚCI
W LITERATURZE
„Zagadka podobieństwa”, czyli „gdzie kończy się życie,
a zaczyna się śmierć”. Fragmentaryczna mediacja
w Hanemannie i Esther Stefana Chwina
Jadąc do Abony. Fotograficzne podróże Andrzeja Stasiuka
Świadectwo i ślad. Fragmentaryczna mediacja w Umschlagplatzu
Rymkiewicza. Nowoczesne doświadczenie i fotografia
PORZĄDEK PRAGNIENIA. APOFATYCZNA MEDIACJA
RZECZYWISTOŚCI W LITERATURZE
Nieobecne rzeczywiste. Zdjęcie jako figura powtórzenia
i nieobecności w Zagładzie Piotra Szewca
Obecne nierzeczywiste. Apofatyczna mediacja jako agon
na przykładzie prozy Magdaleny Tulli
III. WYJŚCIE
Wybawienie świata w obrazie. Alegoria jako epifania śmierci
i symbol jako epifania życia

Reservados todos los derechos. Queda rigurosamente prohibida, sin la autorización escrita de los titulares del "Copyright", bajo las sanciones establecidas en las leyes, la reproducción parcial o total de esta obra por cualquier medio o procedimiento, incluidos la reprografía y el tratamiento informático.

du plus visible ? D '. La photographie, conçue comme outil de lecture, mise en regard de l'écrit, serre au plus près les grands textes philosophiques contemporains, qu'ils soient de Bergson, de Jankélévitch, de Merleau-Ponty, de Heidegger, de Derrida ... << La photographie montre la réalité de la pensée >) (Jean-Luc Nancy).

AT FIRST SIGHT, ANDRÉ BRETON'S SURREALIST " NOVEL " Nadja—celebrating love, the chance encounter, and the ideal of convulsive beauty—seems far removed from the melancholy poetics of mourning, destruction, and trauma of Sebald's Austerlitz. The only common denominator would be the juxtaposition of photography and narrative. However, both novels share many themes and motifs, as well as a high degree of self-referentiality and a sophisticated use of mise en abyme, on a microscopic, textual level as well as on the macroscopic level of the book as a whole. Both Austerlitz and Nadja are hybrid texts in which the guidelines for interpretations are blatantly present: metafictional statements about writing, interpretation , time, space, history, memory, love, death continually double the narrative. This assigns to the reader a position either inside or outside the logic of the text. Somehow every interpretation seems already inscribed within the texts, governed by poetics that are totaliz-ing in their explicit dialectics. In the end, all the fragments, motifs, events, names, and objects fit together in a greater design (the surrealist vision of reality or the Western history of trauma), while on the other hand the grand scale of society, politics, and history permeates the most minute particulars. To resist an allegorical reading in which fragments acquire meaning in terms of something else, we must instead attempt a metonymical reading, following the paths through which objects are linked. This results in a kind of textual substance or density that never completely yields its partial or fragmented status, but that nonetheless contains it. This locus of substance can also be seen as a starting point of creativity in the fullest sense of bringing dead matter to life.

Um 1860 erobern Porträtfotografien die Öffentlichkeit. Berühmte Zeitgenossen werden in speziellen Sammelalben gruppiert. Der Aufsatz fragt nach den Formen dieses kulturellen Gedächtnisses und vergleicht die Fotografie mit älteren Bildnisviten und Erinnerungsorten wie dem Pantheon.

"The Moment’s Eternity. Literature and Photography in Russia".

Photography develops along with aesthetic views and literary investigations across the decades. Studying this fertile relationship, the essay outlines the most relevant steps focusing on some exemplary texts of Russian literature, from the mid-nineteenth century to the present. Improvements in the photographic technique, debates on artistic quality and on the ability to capture the experience this new medium shows, developed together with the birth of the great nineteenth-century novel, and with the affirmation of a new perception of time, later interweaving with political events of twentieth-century Russia. The dialogue with photography offers to the artists of the word new opportunities of investigation on time, memory and the self. The fleeting uncertainty of the moment that the photo shot reveals, testifies, in the texts, to the fragile identity that we try to find any time our eyes observe photographic portraits. The latter arrived to the present from remote or close time dimensions.

Muertes de autor. De los orígenes de la fotografía a la autoficción / Deaths of the Author. From the Origins of Photography to Autofiction

RESUMEN: Dentro del arte y literatura, la autobiografía y la fotografía se han rodeado tradicionalmente de un aura de autenticidad archivística. La autoficción, aquí entendida como autobiografía contemporánea que reivindica su carácter ficcional, rompe esta asunción. La fotografía del yo también desestabilizó, desde sus inicios, el valor documental del medio. Este artículo parte de una reflexión acerca del primer autorretrato fotográfico, Autorretrato de un ahogado (1840), donde el artista, Hippolyte Bayard, escenifica su propia muerte. A continuación, mostramos cómo la representación del yo se convierte en una cuestión recurrente en la autobiografía con la llegada de la autoficción, desde la proclamación de la “muerte del autor” por el pensamiento posestructuralista. Tras repensar los fundamentos de la autoficción refiriéndonos a obras de Roland Barthes, Jorge Semprún y Javier Marías, entre otros, sostenemos que este modo indeciso de narrativa de vida recuerda al proyecto original de Bayard. Las obras autoficcionales reescenifican, con variaciones, la muerte del autor. Aunque sugieran que la autorrepresentación es solo posible como ficción, en última instancia estas narrativas también reafirman la presencia de la figura autoral mediante el anuncio simbólico de su ausencia.

PALABRAS CLAVE: autoficción, muerte del autor, autoría, fotografía y literatura, literatura contemporánea española, autobiografía, Hippolyte Bayard, Roland Barthes, Jorge Semprún, Javier Marías

ABSTRACT: In literature and the visual arts, autobiography and photography have traditionally been vested with an aura of archival authenticity. As a category of contemporary autobiography that claims its own fictionality, autofiction breaks this assumption. Self-portrait photography, too, since its origins, has challenged its own documentary status. The point of departure for this article is the first self-portrait photograph, A Drowned Man (1840), whereby the artist, Hippolyte Bayard, stages his own imaginary death. Then, I show that self-representation has become a recurring concern in autobiography, and more precisely in autofiction, since the proclamation of the “death of the author” by poststructuralist thought. After rethinking the foundations of autofiction through works by Roland Barthes, Jorge Semprún and Javier Marías, among others, I contend that this indecisive mode of life narration reminds us of Bayard’s original project. Autofictional writings re-stage the death of the author with variations. I claim that, while these visual and textual narratives suggest that self-representation is only made possible through fictionalization, they also assert the presence of the author by symbolically illuminating his very absence.

KEYWORDS: autofiction, death of the author, authorship, photography and literature, contemporary Spanish literature, autobiography, Hippolyte Bayard, Roland Barthes, Jorge Semprun, Javier Marias

La fotografia viene utilizzata intermedialmente per la narrazione di contromemorie e memorie traumatiche ricorrendo a numerose modalità e strategie di inserzione e impiego diverse. Se l’intermedialità da un lato non è riconducibile ad una serie di pratiche convenzionali, ma dipende dal contesto narrativo, dall’altro essa detiene un’organicità che la allinea funzionalmente ai processi e alle indagini sulla rappresentabilità del trauma. Inoltre, per la versatilità della sua natura poliedrica, la pratica narrativa intermediale (nelle sue configurazioni più diverse) assume una valenza epistemologica e metodologica nei confronti degli studi sull’esternazione e rielaborazione del trauma. Questo studio si prefigge di mettere a confronto testi teorici e testi narrativi per metterne in rilievo il reciproco apporto.

TOWARDS THE POST-HUMAN BODY... POLISH POETRY AFTER 1989 IN THE FACE OF NEW MEDIA AND NEW REALITY

The subject of the study is to analyse, on the basic of contemporary young poetry, changes taking place in the contemporary world. They go together with the changes and modifications in contemporary culture resulting in the creation of a larger catalogue of domains included in the area of a widely understood notion of culture. There are also some fields that belong to it from now on (such a relationship exists at present e.g. between culture and technology, which seems to constitute certain novelty; technology accepted as an indispensable element of everyday life more and more often becomes a part of high culture as a from of artistic expression). Together with the aforementioned changes, the picture of contemporary literature and culture changes as well. Aesthetics also changes. The field defined by experts as aesthetics of new media (i.e. communications, IT, new-media, electronic, digital and design and design aesthetics, as well as video-image aesthetics) becomes more and more popular. The sore point seems to be a specific border between the reality of the real world and the virtual reality of media.
The answer to such a way of reality penetrating the minds of human beings who experience it comes from several phenomena, including but no limited to a visible change of world’s perception, characterized by slow limitation, and perhaps soon disappearance of tolerance for linearity of feelings. A linear order is disappearing and the role of individual sequence is being taken over by concurrency and multiplicity. The way of experiencing (reading) the text changes. It is nothing else but a gift from the computer age.. The world is perceived first of all by means of eyes. The process of absorbing the text starts to be convergent with mechanisms managing the absorption of communications illustrated with images and sounds, like information coming from television and computer programs, with increasing role of images and structuring a graphic layer of the text, which starts losing its transparency, whereas the aspects of its spatial organization acquire some degree of significance.
The analysis of contemporary poetry may allow for a conclusion that the written word in its traditional meaning gradually stops being a sufficient code. Not only transparency of the prose discourse, but also specific condensation being the property of the poetical language stops being a satisfactory means of expression, which in poetry leads to specific experiments, which assuming the form of attempts at making it more modern, are based first of all on following general fashion, on acquiring a sense of security from everything that is modern, as well as on emanating with references to terms coming from contemporary technical civilization. Attempts at replacing the traditional information channel with becoming similar to channels of different types (medial and multimedia channels) prove confidence of the contemporary man to state-of-the-art communications techniques, using images and sounds (television or radio communication), as well as techniques assuming a possibility of interactive participation in the creation of the form of a medial piece of art best suiting the recipient (simulation of programs and computer games). Together with the tendencies listed above there is a drive to shorten messages as much as possible, maximum condensation of meanings, and thus more and more clear iconicity in literature, which is supposed to contribute to that effect, using thought abbreviations, images, quotations and paraphrases of advertising slogans. Poems, assuming the function of quasi-documents, start to play documenting functions towards reality, they become similar to reportages, photographs etc. It is a proof of the changing world. At the same time, the poetic form becomes disintegrated, various genres overlap in a specific way, genres become contaminated with medial and multimedia formats. Poetry, entering into relationships both with genres originating at the border of literary kinds (epic and drama, e.g. a screenplay) and those belonging to medial and multimedia formats, coming from a different system in terms of structure (based on a screenplay, but using in equal proportions also images, sound, and first of all animation, e.g. films or computer games) becomes a non-homogenous form. Most of poetic works of that kind turn out to be amorphous creations, characterized with a high degree of heterogeneity. Intertextual relations taking place refer to texts of various kinds, both poetic texts, texts for film works, and spatially structured hypertexts. All that makes us refer to the issue of significance of relationship between the text and reality as well as possible mutual relations on that surface.
The plan of this study focuses on the analysis of the following phenomena occurring in contemporary poetry:
The dialogue with popular culture; a video-clip technique; On photography; Medial and multimedia poetics; Musicality of a literary work; On advertisements; Post-human body; On the trip nowhere (a category of the individual “stuck” to the place). The analysis will mainly regard a group of artists, whose poetry is referred to using the term “young”, and a significant turning point I will refer to is 1989 as the date preceding numerous poetic and prose debuts. I take into consideration works of the following poets: Jacek Podsiadło, Miłosz Biedrzycki, Artur Szlosarek, Mariusz Grzebalski, Maciej Melecki, Marcin Sendecki, Eugeniusz Tkaczyszyn-Dycki, Zbigniew Machej, Marcin Baran, Paweł Marcinkiewicz, Radosław Kobierski, Dariusz Sosnicki, Tadeusz Pióro, Tomasz Majeran, Grzegorz Olszański, Sławomir Matusz, Wojciech Kuczok, Jolanta Stefko, Marta Podgórnik, Julia Fiedorczuk, Anna Podczaszy, Paweł Barański, Adam Wiedemann, Wojciech Brzoska, Bartłomiej Majzel, Paweł Macierzyński etc.
The analysis covers all references to a widely understood “sphere” of inventions of contemporary technology, utilization of notions regarding or coming into intertextual discourse both with popular culture, including mass culture, an a quite abundantly represented group of contemporary authors of the anthropological thought. Observations of the poetry being currently created makes me distinguish its several characteristic features, out of which the most important ones in my opinion are as follows: clichéness and iconicity – using images to an equal extent as linguistic signs (letters), reference to and utilization of ready-made clichés in the form of images; non-homogeneity (heterogeneity) of signs. Frequently, apart from traditional linguistic signs (letters), signs coming from other structural and meaning systems (digits, images, graphic signs) are used. Entering into relationships with systems of signs used mainly by the techné sphere so far. Utilisation of signs and symbols reserved so far for such devices as a computer, telephone, or a video camera.
Any text enriched with those clichés somehow loses its linear character. It becomes a form of hypertext, or structural communication. It is a relation to the omnipotent and omnipresent influence of the computer technology, a piece of chain preceding the condition of poetry, when one of the elements co-constituting the structure of a poetic work will be simply a photo, a shot or a section of a film, whereas the hardcopy will be totally replaced with computer links. The reaction to the information noise bombarding us all around and a snapshot character of experiencing the world relating to it becomes also fragmentariness of poetic messages, reduction of the world presented to a sequence of notions-images constituted in a calculative order.
A contemporary poem more and more often becomes a kind of experiment aimed at depicting – as faithfully as possible – a specific way of perceiving the world with the eye “contaminated” by contact with mediatised reality, an experiment, which due to its character and a kind of operations made on a “tissue” of poetic communication could successfully be called quasi-medial// quasi-multimedia in nature. Among methods of that type repeating with the highest frequency we may distinguish: shaping of poetic expression based on poetics similar in terms of construction to the video-clip technique, characterized by high frequency of changes of the poetic images, snapshots, sensory character, and fragmentariness; following the technique of television communication, utilization of methods and terms characteristic for the technology of moving picture (film); constructing of the process of lyrical expression following the relation made by means of the eye equipped with modern tools of contemporary technical civilization (camera lens, digital camera, regular camera); making the process of expressing statements similar to the communication registered on a photographic film, as well as film, video or tape-recorder tape; purposeful imitation of various types of means used in mass media carried out most frequently by making the structure of a poem similar to particular television programs built on fixed composition patterns; construction of poetic expression based on a pattern of computer games; frequent references to the sphere of inventions of contemporary technology and multimedia and virtual reality, utilization of professional terminology.
Virtualisation regards and touches poetic reality. This notion can by successfully used with reference to young Polish poetry, and especially to the reality described in it. Blurred edges between art and everyday life have resulted in literature in creating a new model of poetry, which, by borrowing and using some of the props characteristic for non-poetic reality, constitutes a tangible proof of transformations that the world available to the present cognition and experience has gone through.

Prominent instances of ekphrasis—the literary description of an artwork—play a crucial role in Ferrante’s narratives. This chapter examines Ferrante’s strategic employment of visual images and articulates the role of ekphrasis as a narrative, thematic, and figurative device in Troubling Love, My Brilliant Friend, and The Story of a New Name. Full abstract available at: http://link.springer.com/chapter/10.1057/978-1-137-57580-7_7

This paper reads W. G. Sebald's Austerlitz as a photo-text of trauma and examines the ways in which the insertion of photographs in the novel and their interaction with the text disrupt and destabilize the narrative, allowing for a multiplicity of interpretations. The quality and subject matter of the photographs included in the novel, as well as the ambiguity or ambivalence often created by the textual references surrounding them, instigate the viewers/readers to assume the position of a witness and to engage in an elaborate process of meaning-making. In effect, it will be suggested, that the combination of verbal and visual components results in the restoration of witnessing and the construction of a new, multi-perspectival narrative, where traumatic (historical) memory is given space to flow " multidirectionally, " (to use Michael Rothberg's term), and converge with other historical traumata.
Cet exposé étudie le photo-texte Austerlitz, écrit par W. G. Sebald, et examine de quelle manière l'insertion des photographes dans le roman, ainsi que leur interaction avec le texte, interrompent et déstabilisent la narration, en permettant d'interprétations diverses. La qualité et le thème des images inclus dans le roman, ainsi que l'ambiguïté ou l'ambivalence souvent créée par les références textuelles, mènent le lecteur à adopter la position d'un témoin et à participer au processus d'élaboration du sens textuel. Ainsi, la combinaison d'éléments visuels et textuels conduit à la restauration du témoignage et à la création d'une nouvelle narration multi-perspective où la mémoire traumatique se conduit vers des directions multiples et converge avec d'autres expériences traumatiques collectives.

This paper springs from the issues raised with reference to the historiographical representation of limit events and the challenges presented in the attempt to address collective trauma, and wishes to contend that fictional works of photo-textuality —in other words novels which consist of verbal as well as visual (photographic) components— carry the potential to place such 'unrepresentable' or 'indescribable' events among the historically narratable. While focusing predominantly on word-image interactions, this paper reads W. G. Sebald's photo-text The Emigrants (1992) as an example of photo-literary narratives of trauma, to examine the ways in which these bimedial structures enable the surfacing of memory in multidirectionality. This is achieved, I argue, via the employment of the valuable functions of testimony and witnessing, the establishment of polyphony and multi-perspectivity—consequent, predominantly, to the reciprocal relationship between verbal and visual narrative— and the ensuing involvement of the respondent viewer/reader in the production of meaning. Within this context, the insertion of the photograph in the verbal narrative, and the aporias raised by the interaction of the two components, allows for an affective mode for addressing the singular traumatic event to be developed, and for historic calamity to be approached in a manner that echoes the experiences of other victims and/or survivors of catastrophic events. Thus, the traumatic past may be reconstructed by analogy and, while singular, also meet Paul Ricoeur's definition of the historical as contributing " to the development of a plot. " Introduction: Limit events and the challenges of representation

Résumé
Objets ambigus, hybrides entre la photographie et la peinture, accomplissant une tâche traditionnellement
dévolue à la gravure, les reproductions photographiques de tableaux ont reçu, au XIXe siècle, un accueil
témoignant d’une double tension entre art, document et industrie. Elles se sont trouvées au coeur de
discours littéraires, critiques ou journalistiques qui tentaient de jauger leurs caractéristiques et leurs usages
afin de déterminer non seulement leur valeur artistique et documentaire, mais aussi leur valeur sociale
et commerciale. La réception de ces images nous renseigne sur la façon dont ont été accueillies ce qui
nous apparaît aujourd’hui comme les prémices de l’industrie culturelle, ainsi que sur l’instauration des
règles qui se sont établies pour régir la tarification, la circulation et la consommation des reproductions
de tableaux, objets culturels et industriels affectés par des critères de valorisation différents de ceux
appliqués aux oeuvres originales. C’est la logique et l’histoire de cette hiérarchie des reproductions de
tableaux qu’il s’agit d’aborder en interrogeant le « degré d’art en plus » dont bénéficiait la gravure par
rapport à la photographie, selon propos prêtés à la grand-mère du narrateur d’À la recherche du temps
perdu de Proust.


Abstract
While pictorial reproductions were traditionally engravings, nineteenth-century photographic
reproductions of painting were perceived and described at the time as very ambivalent objects, hybrid
between art, document and industry. They were at the center of literary and journalistic discourse that
attempted to assess their characteristics and uses to determine not only their artistic and documentary
value, but also their social and commercial value. The reception of these images tells us how were
perceived the rise of the cultural industry, as well as the establishement of rules regulating rates,
circulation and consumption of pictorial reproductions. The logic and history of this hierarchy among
pictorial reproductions will be examined by querying the “one degree of art more” that benefits engraving
according to the statement attributed to the narrator’s grandmother in In Search of Lost Time by Proust.

Something opaque.
Barthes, Mourning and «Écriture»

This paper aims at investigating the presence and effects of mourning in Barthes’s last work.
Always focusing on this theme, particular interest will be devoted to Barthes’s Journal de deuil, in comparison with the famous Chambre Claire and with a very important late text like La preparation du roman. The main hypothesis is that the stillness of mourning (in conjunction with the narcissistic configuration of the subject), following to Barthes’s mother’s death, permits building a funeral monument (La chambre claire), but it does not allow accessing the narrative dialectization that the project of a novel (Vita nova) would have required.