Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image”
Tadeusz Różewicz often noted down phrases which could be interpreted as iconoclastic in his poems and poetry-related sketches. This article presents the reasons for the poet’s dislike of an image that is identified with a metaphor, which he expressed particularly strongly immediately after the war....
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| Format: | Article |
| Language: | Polish |
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Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza w Poznaniu
2014-01-01
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| Series: | Przestrzenie Teorii |
| Subjects: | |
| Online Access: | http://pressto.amu.edu.pl/index.php/pt/article/view/3302 |
| _version_ | 1818063114920263680 |
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| author | Agata Stankowska |
| author_facet | Agata Stankowska |
| author_sort | Agata Stankowska |
| collection | DOAJ |
| description | Tadeusz Różewicz often noted down phrases which could be interpreted as iconoclastic in his poems and poetry-related sketches. This article presents the reasons for the poet’s dislike of an image that is identified with a metaphor, which he expressed particularly strongly immediately after the war. It also describes the continuation of historical iconoclasm which was characteristic of the twentieth century, and on the level of which the notion of God’s “unrepresentability” was replaced by the issue of the unspeakableness and inconceivability of trauma. The efforts that Różewicz made to rethink the status of an image are presented against such a background. According to the poet, an image should satisfy the primeval desire for presence, which was ascribed to it once again after the Holocaust, like a painting from before the era of art. Therefore, Różewicz develops the theory of an “inner image” which one should pursue rather than create. An “inner image” is not a “fanfare played to celebrate life”, which inspires awe and can only be described in terms of aesthetic conventions, but a kind of manifestation of the hidden, wounded lyrical “I” and, most importantly, of its authentic experience. The “truth” of the image and metaphor that are “possible after Auschwitz” became bound up with what is somatic, and not conceptual, with what is tangible, and not imaginable, and with what is metonymic, not metaphorical. This truth is also largely (but not necessarily solely) connected with the human condition and existence rather than with God’s fullness. |
| first_indexed | 2024-12-10T14:14:58Z |
| format | Article |
| id | doaj.art-eaa890e223d04fa69090d66d3ef06b14 |
| institution | Directory Open Access Journal |
| issn | 1644-6763 2450-5765 |
| language | Polish |
| last_indexed | 2024-12-10T14:14:58Z |
| publishDate | 2014-01-01 |
| publisher | Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza w Poznaniu |
| record_format | Article |
| series | Przestrzenie Teorii |
| spelling | doaj.art-eaa890e223d04fa69090d66d3ef06b142022-12-22T01:45:23ZpolWydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza w PoznaniuPrzestrzenie Teorii1644-67632450-57652014-01-012110913310.14746/pt.2014.21.73273Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image”Agata StankowskaTadeusz Różewicz often noted down phrases which could be interpreted as iconoclastic in his poems and poetry-related sketches. This article presents the reasons for the poet’s dislike of an image that is identified with a metaphor, which he expressed particularly strongly immediately after the war. It also describes the continuation of historical iconoclasm which was characteristic of the twentieth century, and on the level of which the notion of God’s “unrepresentability” was replaced by the issue of the unspeakableness and inconceivability of trauma. The efforts that Różewicz made to rethink the status of an image are presented against such a background. According to the poet, an image should satisfy the primeval desire for presence, which was ascribed to it once again after the Holocaust, like a painting from before the era of art. Therefore, Różewicz develops the theory of an “inner image” which one should pursue rather than create. An “inner image” is not a “fanfare played to celebrate life”, which inspires awe and can only be described in terms of aesthetic conventions, but a kind of manifestation of the hidden, wounded lyrical “I” and, most importantly, of its authentic experience. The “truth” of the image and metaphor that are “possible after Auschwitz” became bound up with what is somatic, and not conceptual, with what is tangible, and not imaginable, and with what is metonymic, not metaphorical. This truth is also largely (but not necessarily solely) connected with the human condition and existence rather than with God’s fullness.http://pressto.amu.edu.pl/index.php/pt/article/view/3302literaturasztukaikonoklazmobrazTadeusz Różewicz |
| spellingShingle | Agata Stankowska Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image” Przestrzenie Teorii literatura sztuka ikonoklazm obraz Tadeusz Różewicz |
| title | Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image” |
| title_full | Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image” |
| title_fullStr | Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image” |
| title_full_unstemmed | Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image” |
| title_short | Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image” |
| title_sort | reversed iconoclasm tadeusz rozewicz seeks forms of an inner image |
| topic | literatura sztuka ikonoklazm obraz Tadeusz Różewicz |
| url | http://pressto.amu.edu.pl/index.php/pt/article/view/3302 |
| work_keys_str_mv | AT agatastankowska reversediconoclasmtadeuszrozewiczseeksformsofaninnerimage |