Wyspiański: Wyzwolenie (Liberation). Whose and from what? 4018-KON179-CLASS
A Polish drama masterpiece and one of the greatest puzzles of Polish literature: Stanisław Wyspiański’s Liberation. The course consists in reading just this one play during the whole semester. It will be a careful, multi-faceted reading taking advantage of available studies but also trying to ask new questions and give new answers. Our work will be rather painstaking, involving laborious and meticulous reading but also a spectacular and revealing adventure with many contexts linked to Liberation. In other words, we will try to write new footnotes to the text. Due to the person of the writer and the cultural references in the text, this is an interdisciplinary course. The participation of students of cultural studies, history, art history, musicology, religious studies as well as city tour guides and esotericism fans is welcome.
There is another important reason to study Wyspiański’s play, connected on the one hand with the formula of its title and on the other – with the present-day historical, political and social context that is so different from the time the work was written. It is no longer Konrad, that “outdated character”, who is the carrier of the ideas contained in Wyspiański’s masterpiece, but the various games and communication strategies that the writer used to communicate with the audience of his own time; embedded in the play’s text, they turned out to be useful almost 100 years later, in the free Poland that the man who wrote The Wedding had prophesied. His prophecies, let’s add, did not involve messianic visions and incantations or “other-worldly” interference, but were contained in Liberation’s strong emphasis on acts of human and civic will. “He shall live to see liberation who is liberated through his own will!”. In this approach the problem of 1989 becomes dead simple: the Poles came to want to be free – strongly enough and collectively enough that it actually happened almost of itself. The Poles came to want to desire. And it was exactly because of this, because of the drama of the will outlined in Liberation, that Wyspiański’s play ultimately provided the most fertile inspiration for the development of a national programme in theatre, even though the play itself never had any outstanding stage production. The implementation of this programme did not suffer through the lack of Konrad, brother and lover of the Erinyes, hero of vengeance and hatred, or the whole crowd of spectres, including the “Polish Antigone” and the “Polish Orestes” and the “Polish Oedipus” who were supposed to – and did – constitute a model for many generations of Poles. That is also something we will discuss.
Type of course
Learning outcomes
Student knowledge :
• have a basic understanding of the types and specificity of the present and methodological disciplines that relate to the study of culture ;
• know the basic terminology of literary and cultural studies ;
• To learn the basic methods of interpreting literary texts and textual historical source ;
• know the relationship between the disciplines of the humanities and the specific relationships between the various disciplines that relate to the study of culture ;
• acquired the base of an interdisciplinary approach in the study of cultural studies ;
• To learn the basic methods of interpreting literary texts and textual historical source ;
• knows the basic aspects of seventeenth-century French theater ;
• lists the most important works of the achievements of the ancient drama ;
• has an elementary knowledge of the structure of tragedy and comedy ;
Student skills :
• able to develop and present reception work culture;
• have basic research skills allowing for formulating and solving research problems in the field of cultural studies ;
• is able to perform this basic analysis of the use of interdisciplinary research methods and tools ;
• able to participate in discussions on Cultural , including the present logical arguments and draw critical conclusions;
• presents the results of an independent analysis of simple research problem in written and oral form ;
• able to interpret a theatrical performance in the primary field;
• is able to reconstruct the basic shape of the spectacle on the basis of the extant archives ;
• reads a literary text using the " close reading " ;
Student in the field of social competence :
• understands the need and principles of teamwork in interdisciplinary group ;
• able to work in a group both as its moderator and performer of the task
• is aware of the limitations of their knowledge and needs of its dredging ;
Assessment criteria
Credits will be based on attendance and active participation in classes and on a semester paper (max. 3 pages, 5400 characters) on an aspect related to Liberation chosen and agreed upon with the teacher.
Bibliography
1)S. Wyspiański, Dzieła Zebrane, t. I-XIV, Kraków 1964
2)S. Wyspiański, Dzieła Zebrane, Kraków 1964
3)t. XV vol. I - Twórczość pisarska. Życiorys
4)t. XV vol. II - O twórczości pisarskiej i plastycznej
5)t. XV vol. III - Teatr Wyspiańskiego
6)t. XV vol. IV - Teatr Wyspiańskiego
7)t. XVI vol. I - Kalendarz życia i twórczości 1869-1890
8)t. XVI vol. II - Kalendarz życia i twórczości 1.3.1890 - ostatnie dni marca 1898
9)t. XVI vol. III - Kalendarz życia i twórczości 26.3.1898-grudzień 1907.
10)S. Wyspiański, Listy zebrane I. Listy do Józefa Mehoffera, Henryka Opieńskiego i Tadeusza Stryjeńskiego, oprac. M. Rydlowa, Kraków 1994
11)S. Wyspiański, Listy zebrane II. Listy do Lucjana Rydla, oprac. L. Płoszewski, M. Rydlowa, Kraków 1979
12)S. Wyspiański, Listy zebrane III. Listy do Karola Maszkowskiego, oprac. M. Rydlowa, Kraków 1997
13)S. Wyspiański, Listy zebrane IV. Listy różne - do wielu adresatów, oprac. M. Rydlowa, Kraków 1998
14)M. Antoniuk, "Kultura małomówna" Stanisława Lacka. W kręgu młodopolskiej świadomości mowy i milczenia, Kraków 2006
15)J. Błoński, Wyspiański wielokrotnie, Kraków 2007
16)K. Fazan, Projekty intymnego teatru śmierci. Wyspiański, Leśmian, Kantor, Kraków 2009
17)E. Miodońska-Brookes, "Mam ten dar bowiem: patrzę się inaczej". Szkice o twórczości Stanisława Wyspiańskiego, Kraków 1997
18)E. Miodońska-Brookes, Wawel-"Akropolis", Kraków 1980
19)M. Popiel, Wyspiański. Mitologia nowoczesnego artysty, Kraków 2007
20)M. Prussak, Wyspiański w labiryncie teatru, Warszawa 2005
21)Stanisław Wyspiański. Studium artysty [materiały z sesji naukowej na Uniwersytecie Jagiellońskim 7-9 czerwca 1995], red. E. Miodońska-Brookes, Kraków 1996
22)M. Tomczyk-Maryon, Wyspiański [seria: Biografie sławnych ludzi], Warszawa 2009
23)Żywioły wyobraźni Stanisława Wyspiańskiego [artykuły z konferencji naukowej doktorantów (UJ i ASP Kraków, 8-9 listopada 2007)], red. A. Czabanowska-Wróbel, D. Jarząbek, D. Saul, Kraków 2008
Additional information
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