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The article concerns the experimental graphic novel Here by Richard McGuire, which is a specific attempt to read time in space. The novel consists of a set of boards depicting the same place in New Jersey at different historical moments. In my work, I reflect on the category of chronotope in the comics medium and try to consider to what extent (and if) Here complements or expands understanding of chronotope in this context. [ABSTRACT FROM AUTHOR]

In recent research special attention has been paid to theocentric space-time as a cosmological principle that explains the enumerative character of the traditional litany. It is, indeed, no accident that the genre gained popularity during the ascendancy of Neoplatonism, according to which geography of the visible world is misleading as all the diversity of earthly and celestial creations somehow springs up from a divine monad. However, a question arises: to what extent the ancient assumptions are still relevant in the 20th- and 21st-century poetic litanies of different countries? This essay argues that in the poems by Juan-Eduardo Cirlot, Richard Eberhart, Frantiešek Halas, Anna Kamieńska, Desanka Maksimović, Charles Péguy, Giovanni Raboni, Aurelia Thiegi, and others, the litanic enumeration almost automatically implies concentric space-time, a fact which sometimes is additionally highlighted by an anaphoric order of spatial pronouns, such as "here," "where," "in," "over" etc. At the same time, however, the name of God is only sporadically mentioned which means that the space's dependence on the single source of existence is announced through the genre itself rather than through words. Finally, the essay also seeks to explain the surprising stability and durability of the genre semantics. As it is illustrated by the poems of Anna Kamieńska, Audre Lorde, and Kazimierz Wierzyński, when the divine monad is expelled from the central position of a litany's universe and replaced by a human being, the genre resists - as it were - the attempts at questioning the theocentric concept of its space-time. Since the litanic semantics is expressed by formal rather than verbal means, a poet turns out to have no tools to contradict the content of the genre and the only way to accentuate one's particular standpoint is to initiate a dialogue between what is said in words and what is said through the genre. [ABSTRACT FROM AUTHOR]

The article is an attempt to analyze the influence of Mikhail Bakhtin's chronotope concept on the different ways of existence of time and space in two novels by Olga Tokarczuk: one of the earlier ones - Primeval and Other Times and the first one after receiving the Nobel Prize - Empuzjon. Space-time was recognized here as a key element of the writer's work, influencing the plot structure of the works, manifesting itself simultaneously as a constructor of meanings and active formative force of values. The author, using motives that were an important element of Bakhtin's concept of the chronotope shows that time and space play an important role in shaping the ontological and epistemological dimension of human experience. One of the main goals of the article is to show that the creative implementation of these elements makes it possible to create autonomous stories, and how space (and time) as a cultural category is used to explore the issues of identity, history, culture, as well as the mental and human emotional condition in the relationship of us and the world. [ABSTRACT FROM AUTHOR]

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Linguistic Guide / Poradnik Jezykowy is the property of Towarzystwo Kultury Jezyka-Dom Wydawniczy ELIPSA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article concerns the reception of Marcel Proust's novels by Anna Iwaszkiewiczowa (1897-1979) -- an excellent expert in literature, music and painting, polyglot, erudite, humanist with a predilection for the exact sciences. She was the first translator of, In Search of Lost Time into Polish; the excerpts she translated testify not only to her outstanding talents at translation, but also to her reading insight and a kind of closeness to Proust's writing and thought. Iwaszkiewiczowa also translated important critical articles by foreign authors to familiarize Polish readers with European proustological discussions. In addition, she devoted a lot of attention to the French author in her private journals, but above all, she creates her own, inspiring interpretations of Proust's work in literary essays. The juxtaposition of the writings of Marcel Proust and Joseph Conrad turns out to be particularly interesting and fresh, though surprising at first. This article analyzes these texts, presenting them in the context of contemporary aesthetic, philosophical and even physical concepts (including Witkacy's "pure form", Rudolf Otto's "numinosum", Hermann Minkowski's "space-time"), to which Iwaszkiewiczowa referred directly or indirectly. Parallel reading of both types of her considerations -- those scattered in dailies, where she noted private impressions, as well as those announced in the form of carefully prepared articles -- brings an interesting and unique image of Proust and of Iwaszkiewicz herself. The article is an attempt to give the floor to Anna Iwaszkiewicz, who is commonly perceived as the wife of a well-known writer. The author of the article argues that the figure and creative output of Anna Iwaszkiewiczowa are worth careful reading and research analysis, and above all, a reminder. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Philosophy / Roczniki Filozoficzne is the property of John Paul II Catholic University of Lublin, Faculty of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The idea of simultaneous theatre developed in 1928 by Szymon Syrkus and Andrzej Pronaszko, in cooperation with Zygmunt Leski, serves here as a starting point for discussing the projects of theatrical architecture by the group of artists called Praesens. My investigation reveals the new idea of the theatrical stage developed with particular attention paid to the first project of this type, namely Andrzej Pronaszko’s moveable theatre (the first version dated to 1927), and to the dialogue between modernist stage design and architecture within the practices of this avantgarde collective. To reconstruct the process of how the new stage was created, an analysis of the biographies of artists was made and subsequently collated with source material related to the projects of theatrical architecture. It considerably enriches the present state of knowledge of this canonical project of the avant-garde. The chronological order was also interlaced with the discussion of the theatrical architecture of Praesens, in relation to crucial ideas of modernism, such as movement, time, space-time, simultaneity, mock-up, stage design, and creative dialogue. Moreover, several other strategies were discussed, such as advertising practices employed by modernists to promote their achievements and the importance of precedence and novelty in the interdisciplinary artistic network. These strategies and practices determined the way that Polish avant-garde artists operated. [ABSTRACT FROM AUTHOR]

This paper is a close-reading of Joyce Carol Oates’ short story The Woman in the Window inspired by Edward Hopper’s 11 A.M. An extensive narrative, which is overwritten over the painting and set in it’s space-time framework, enables the short story discussed herein to be considered as an ekphrastic apocryphon with subversive potential. Literary reaffirmation of the perspective of painted woman that is obviously omitted in Hopper’s masterpiece, allows for the alleged oppressiveness of the painting to be revealed. [ABSTRACT FROM AUTHOR]

Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An analysis of two different reconstructions of Aristotelian mechanics in the language of contemporary physics reveals interesting aspects of the historical development of physics: (1) there exists a structural invariant in all physical representations of reality in the form of the Cartesian product and (2) all intertheoretical transitions to date, at each stage of unification, have occurred in accordance with the correspondence principle. This means that the historical development of physics can be regarded as rational in the sense that subsequent theories become ever more general and Aristotelian mechanics can be treated as a natural forerunner of Newtonian mechanics and, by extension, Einstein's relativity theory. [ABSTRACT FROM AUTHOR]

In today's humanities and social sciences, the chronotope is among the most prominent terms that have been borrowed from modern literary studies. This alone justifies examining it in detail. Its linguistic source form has been maintained throughout its international career (unlike terms such as 'syuzhet' or 'defamiliarization', also translated into English as 'estrangement,' which are used with similar frequency but appear in a variety of forms in different languages). This is not to say, however, that the term chronotope poses no philological problems. Complicated semantics (polysemy and polyvalence) and complicated interpretations related to the term's transposition into distant fields of study. Ulicka proposes that by being used in such distinct domains the term 'chronotope' has regained its initial semantic tendency: it is a term describing the mental categorization of the world. [ABSTRACT FROM AUTHOR]

The main aim of this paper is to provide an interpretative application of Józef Życiński’s philosophical work. I claim that one can find in Życiński’s thought criteria for evaluating certain positions which use platonistic concepts in order to solve specific problems in the context of philosophy of physics, especially philosophy of spacetime. After reconstructing Życiński’s philosophy, I use the derived criteria to evaluate positions of Howard Stein’s and Max Tegmark’s. I conclude that, according to criteria taken from Życiński’s philosophy, the former’s views are more plausible, and so create a better starting point in developing a platonistic structuralist position.

The article analyses the specifics of spacetime planes of ideological models in contemporary Ukrainian prose based on Volodymyr Yavorivskіy's novels. Narrative specificities and the characters' internal retrospective thoughts allow us to immerse ourselves into their existential space and trace their ways of personal development. [ABSTRACT FROM AUTHOR]

The position called Moderate Ontic Structural Realism, presented by Michael Esfeld and Vincent Lam, is described and criticised. Three theses are proposed. First, that the regarded position is intertwined with treating Spacetime as a property (or aspect) of the gravitational field. Second, that the metaphysics of properties used in Moderate Ontic Structural Realism leads to unfortunate consequences such as abandoning the equality of heuristics of constructing representations of gravity in General Relativity. Finally, the third thesis is that Spacetime should be interpreted metaphysically as part of a wider gravitational structure. After a summary of Esfeld's and Lam's position, reference to the issue of the equality of heuristics is presented as a critical perspective. A criticism of Moderate Ontic Structural Realism is formulated and further postulates about the ontology of Spacetime are proposed. In conclusion, an answer to the question stated in the title is suggested: spacetime is a part of the structure. [ABSTRACT FROM AUTHOR]