Chapter ‘El Greco’s White Dollops’. Miron Białoszewski on Art

Miron Białoszewski (1922–1983) – creator of amateur, experimental theatre, poet, as well as a prose writer – was mostly considered as the inventor of new way in expressing the world in language. The spoken word was said to be his environment. There also appeared some articles and publications about...

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Ngā taipitopito rārangi puna kōrero
Kaituhi matua: Śliwa, Anna
Hōputu: Online
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I whakaputaina: Wydawnictwo Uniwersytetu Łódzkiego 2025
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Urunga tuihono:ONIX_20250307_9788381426817_483
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author Śliwa, Anna
author_browse Śliwa, Anna
author_facet Śliwa, Anna
author_sort Śliwa, Anna
collection Directory of Open Access Books
description Miron Białoszewski (1922–1983) – creator of amateur, experimental theatre, poet, as well as a prose writer – was mostly considered as the inventor of new way in expressing the world in language. The spoken word was said to be his environment. There also appeared some articles and publications about the role of music in Białoszewski’s works. I thought then, what about eyesight, almost forgotten by critics? Close reading of Białoszewski’s works proves that the visual sphere can not be marginalized. Saying visual sphere, I mean not only widely understood art, but media and pop culture phenomena. The questions about visual sphere are bilateral. They refer to Białoszewski’s perception of reality, art, architecture or urbanization and, at the same time, to the way in which art and media influence his sensibility. But the most unique feature of relation between Białoszewski and art is that the visual sphere appears by the medium of language. Characters of one of Białoszewski’s prose, Rozkurz, do not look at works of art (for example paintings of El Greco) – they talk about them. The most interesting problem that appears in these conversations is the perception of the work of art.
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spelling doab-20.500.12854ir-1550582025-03-07T13:51:55Z Chapter ‘El Greco’s White Dollops’. Miron Białoszewski on Art Śliwa, Anna literariness visuality avant-garde utopia visual arts Miron Białoszewski (1922–1983) – creator of amateur, experimental theatre, poet, as well as a prose writer – was mostly considered as the inventor of new way in expressing the world in language. The spoken word was said to be his environment. There also appeared some articles and publications about the role of music in Białoszewski’s works. I thought then, what about eyesight, almost forgotten by critics? Close reading of Białoszewski’s works proves that the visual sphere can not be marginalized. Saying visual sphere, I mean not only widely understood art, but media and pop culture phenomena. The questions about visual sphere are bilateral. They refer to Białoszewski’s perception of reality, art, architecture or urbanization and, at the same time, to the way in which art and media influence his sensibility. But the most unique feature of relation between Białoszewski and art is that the visual sphere appears by the medium of language. Characters of one of Białoszewski’s prose, Rozkurz, do not look at works of art (for example paintings of El Greco) – they talk about them. The most interesting problem that appears in these conversations is the perception of the work of art. 2025-03-07T13:51:53Z 2025-03-07T13:51:53Z 2019 chapter ONIX_20250307_9788381426817_483 9788381426817 9788381426800 9788363820916 9788363820923 https://directory.doabooks.org/handle/20.500.12854/155058 pol image/jpeg Attribution-NonCommercial-NoDerivatives 4.0 International https://www.press.uni.lodz.pl/index.php/wul/catalog/book/924 Wydawnictwo Uniwersytetu Łódzkiego 10.18778/8142-680-0.07 Miron Białoszewski (1922–1983) – creator of amateur, experimental theatre, poet, as well as a prose writer – was mostly considered as the inventor of new way in expressing the world in language. The spoken word was said to be his environment. There also appeared some articles and publications about the role of music in Białoszewski’s works. I thought then, what about eyesight, almost forgotten by critics? Close reading of Białoszewski’s works proves that the visual sphere can not be marginalized. Saying visual sphere, I mean not only widely understood art, but media and pop culture phenomena. The questions about visual sphere are bilateral. They refer to Białoszewski’s perception of reality, art, architecture or urbanization and, at the same time, to the way in which art and media influence his sensibility. But the most unique feature of relation between Białoszewski and art is that the visual sphere appears by the medium of language. Characters of one of Białoszewski’s prose, Rozkurz, do not look at works of art (for example paintings of El Greco) – they talk about them. The most interesting problem that appears in these conversations is the perception of the work of art. 10.18778/8142-680-0.07 83bfe9c9-323d-4283-b087-d859fd9af314 9788381426817 9788381426800 9788363820916 9788363820923 155-187 open access
spellingShingle literariness
visuality
avant-garde
utopia
visual arts
Śliwa, Anna
Chapter ‘El Greco’s White Dollops’. Miron Białoszewski on Art
title Chapter ‘El Greco’s White Dollops’. Miron Białoszewski on Art
title_full Chapter ‘El Greco’s White Dollops’. Miron Białoszewski on Art
title_fullStr Chapter ‘El Greco’s White Dollops’. Miron Białoszewski on Art
title_full_unstemmed Chapter ‘El Greco’s White Dollops’. Miron Białoszewski on Art
title_short Chapter ‘El Greco’s White Dollops’. Miron Białoszewski on Art
title_sort chapter el greco s white dollops miron bialoszewski on art
topic literariness
visuality
avant-garde
utopia
visual arts
topic_facet literariness
visuality
avant-garde
utopia
visual arts
url ONIX_20250307_9788381426817_483
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