http://hdl.handle.net/11089/55139 Kultura horroru | Horror Culture Wed, 08 Apr 2026 14:19:05 GMT 2026-04-08T14:19:05Z https://dspace.uni.lodz.pl:443/bitstream/id/c71f0789-b496-466e-9003-7e2270ed2988/ http://hdl.handle.net/11089/55139 http://hdl.handle.net/11089/56314 Whitney Chadwick, "Artystki i surrealizm", z wprowadzeniem D. Ades, przeł. A. Arno, Wydawnictwo Smak Słowa, Sopot 2024, ss. 352 [recenzja] Juchniewicz, Andrzej Zatora, Anna; Staszenko-Chojnacka, Dominika; Płuciennik, Jarosław Wed, 01 Jan 2025 00:00:00 GMT http://hdl.handle.net/11089/56314 2025-01-01T00:00:00Z http://hdl.handle.net/11089/56313 Piotr Sitkiewicz, "Człowiek-Brzytwa. Cztery szkice o felietonach Antoniego Słonimskiego", Słowo/obraz terytoria, Gdańsk 2024, ss. 224 [recenzja] Juchniewicz, Andrzej Zatora, Anna; Staszenko-Chojnacka, Dominika; Płuciennik, Jarosław Wed, 01 Jan 2025 00:00:00 GMT http://hdl.handle.net/11089/56313 2025-01-01T00:00:00Z http://hdl.handle.net/11089/56312 Wersyfikacja w cyklu „Polska” Marcina Świetlickiego Mastalski, Arkadiusz Sylwester Zatora, Anna; Staszenko-Chojnacka, Dominika; Płuciennik, Jarosław The article will focus on analyzing Marcin Świetlicki’s ars versificatoria in the “Polska” cycle, considering its place in the poet’s oeuvre and possible shifts in poetic idiom. Created from the beginning of the author’s career, this cycle offers insight into certain aspects of his poetic style. I will examine transformations within the cycle, particularly in relation to the poetic subject and literary communication. My approach follows Adam Kulawik’s concept of verse (derived form Shklovsky’s prijom) as a device organizing perception. The analysis will be based on Lucylla Pszczołowska’s criteria: verse structure and meter, its relation to syntax, stanzaic organization, and sound patterns, while also considering contemporary trends in poetic form. As I seek to demonstrate, the author, from the very first poem of the cycle, pursues a carefully conceived poetics, manifested through the deployment and modification of such poetic elements as verse construction, metrical and rhythmic (or deliberately disrupted) patterns, the architecture of supralinear structures and the interrelations between them, as well as the juxtaposition of divergent formal orders. These strategies are closely aligned with the evolving stance of the poetic subject toward a transforming reality — one that is articulated not only within the poetry itself but also underscored in the author’s commentary. By limiting the interpretation primarily to the level of the versification — that is, to what directly emerges from the poem’s formal elements, its structure, and the intertextual relationships among prosodic structures of different poems — I aim to demonstrate how useful these aspects could be in further interpretation of the poet’s oeuvre. Wed, 01 Jan 2025 00:00:00 GMT http://hdl.handle.net/11089/56312 2025-01-01T00:00:00Z http://hdl.handle.net/11089/56311 Fantastyka świata prymarnego Dąbrowski, Rafał Zatora, Anna; Staszenko-Chojnacka, Dominika; Płuciennik, Jarosław This article is an attempt to discuss the issue of Primary World fantasy, fantasy set in the world we can identify as ours, which has so far been mostly absent in academic discourse. At the same time another type of fantasy, Secondary World fantasy, has already been widely described by researchers, such as Krzysztof M. Maj or Grzegorz Trębicki, who paid attention to its mostly allotopic, exomimetic character. As a result of my analysis of academic discourse I attempt to define Primary World as a concept, noticing the need for seeing an opposition of Primary World and Secondary World as a spectrum, not something binary. I also tried to find a conventional border between them, which allows for the categorization of known genres of fantasy as Primary or Secondary World fantasy. After that I present de Lint’s consensus reality and Clute’s wainscot society as one of the many possible models of Primary World fantasy and define ways in which it differs from typical Secondary World fantasy. This model is popular in urban fantasy, contemporary fantasy and a few other genres. In this way I attempt to show this category of fantasy as entirely different than typical, allotropic Secondary World Fantasy that we all think the most often about when we talk about fantasy. Wed, 01 Jan 2025 00:00:00 GMT http://hdl.handle.net/11089/56311 2025-01-01T00:00:00Z