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The review discusses Krzysztof Skibski’s book Poetry as an Iterature. The Relationship between Elements of Poetic Language and Free Verse. In the reviewer’s opinion, it is an innovative study of non-numerical poem seen not from the perspective of deficit (regularity), but by the features peculiar to that form but non-existent in other versification systems. The researcher successfully employs both linguistic and literary tools, as well as develops new cognitive constructs. Multiple (iterative) reading, connected with, e.g., form spaciousness, verse relations, presence of verse ellipses, and phraseological reminiscences are made the key to free verse reception.

The article concerns different aspects of convergence processes of the traditional Oriental genres in the Polish culture, focusing on haiku, haiga and haibun. It examines book art, visual arts and the artistic websites. The theoretical frame of the research is rooted in the concept of transculturality introduced by Wolfgang Welsch. The author analyses Polish works of art employing different strategies of combining words and images, thereby showing unexpected similarities between cultures and revealing the artistic changes caused by the choice of different media. The investigation proves the most interesting compositions uncover unexpected common elements between apparently contradictory traditions, the necessary condition is, however, at least the basic knowledge of the Other.

The article presents detailed analyses of the irregular sound organisation of the two wings of Polish interwar avant-garde poetry: futurism and the constructivist group Awangarda Krakowska. The starting point of the research is the ‘musicality’ of symbolist poetry, expanded and overcome by the avant-gardists. Members of both groups paid special attention to the acoustics of poetry creatively employing devices such as paronomasia, onomatopoeia, alliteration, anaphora etc. However, the futurist practice proved more complicated, more diverse and less consistent (sometimes even dada-like). The phonostylistics of Awangarda Krakowska, although still highly innovative, was more ‘disciplined’, logical and focused on motivating the metaphors by sounds. The experiments of both groups were revived in the Polish post-war poetry (especially in the currents such as poezja lingwistyczna and the present neolingwizm). It is usually impossible to discriminate between the futurist and constructivist inspirations in the post-war works: sound concepts typical of futurism tend to be used in a more logical, consistent and metaphor-centred way. Hence, the author introduces the term “new musicality” referring to the specific and still vivid poetics of sound, first employed by the Polish avantgardists Publikacja dofinansowana przez Wydział Filologiczny UŁ

This paper focuses on the problem of silence regarded as an acoustic framework in which uncanny sonic phenomena appear. Some of these haunting noises take the form of sound abject — an unwanted sound of the human body, „neither [sound] subject nor [sound] object”. Borrowing terms from two eminent authors of twentieth-century aesthetics — Julia Kristeva, who proposed the concept of abject, and Pierre Schaeffer, who announced the existence of acousmatic sound objects, I hereby take the liberty of introducing the idea of „sound abject” — an unwanted, uncanny corporeal sound (the sound of the body itself ), uncontrolled by the self and constituting neither a subject nor an object but a sound phantasm that separates from the body and resounds worrisomely. I analyse the cases of sound installation created by Jan Simon as well as the Jamaican dub music production strategies.

Soundscape is a natural acoustic environment of man. Its elements are various constructions, listening impressions, recordings, programmes. While exploring this space, the researcher encounters many interesting aspects related to the contemporary perception of completed events in the form of auditive memory cultures. It can be saved and placed in the media. For example on Radio Olsztyn a public broadcaster from Warmia and Mazury in Poland. Therefore, it is possible to carry out research of the auditive cultural memory based on the radio programmes and their problematic issues. This specific, evolving cultural area of the region is worthy of analysis.

In her Nobel Prize speech, the first reporter who received this award, called herself “a human ear”. Swietlana Aleksijewicz’s statement inspired Katarzyna Michalak, a radio reportage artist, who, by carefully listening, noticed an experience shared by reporters who were explaining the world around them through various media. The author of this article, inspired by the meeting of two great reporters, decided to investigate how listening and acoustic space found expression in literary reportage. This article explores a research question concerning the functions of the sound sphere, and not only related to the protagonist’s voice, but also to his acoustic environment, present in the literary reportage. Therefore, the aim of this article will be to try to answer this question by analyzing the content of four Polish literary reports: Nie ma Mariusza Szczygła (2018), Błoto słodsze niż miód. Głosy komunistycznej Albanii Małgorzaty Rejmer (2018), Agonia. Lekarze i pacjenci w stanie krytycznym Pawła Kapusty (2018) oraz Lud. Z grenlandzkiej wyspy Ilony Wiśniewskiej (2018). The analysis of the presence of sounds in literary reportage leads to the formulation of the following conclusions. Exposing the acoustic sphere in the course of the narrative plays the role of mood-formation by building the background and scenography of the story, as well as the semantic sphere. It can be a significant element of the plot or to emphasize the most important events. It also creates the characterization of the main character and gives the reader access to his emotions. It is also a reporter's expression of empathy, an attempt to convey the hero’s voice without distortions and modifications, along with its melody, intonation and natural rhythm. It can be said that by including the last aspect, the attitude of Svetlana Aleksijewicz is reflected in the work of Polish reporters, although it is implemented in various forms.

The aim of the paper is to present punk cabaret — a new musical phenomenon on the music scene of the English-speaking countries. The author briefly presents its main representatives and cultural contexts, which is followed by an attempt to define the constitutive features of the genre in its musical, performative, and textual aspects. The former consist of prominent vocals, displaying both lyrical finesse and raw, punk-inspired force, with scant accompaniment evoking circus music and pre-war cabaret. Performance, playing a significant role in the genre, adds campy aesthetics and vintage flair. The textual layer, in turn, is characterised by dark humour, moral irreverence, disrespect for the established aesthetic canon, and the orientation towards social margins. All these facets — auditory, visual, and textual — are considered as inseparably intertwined and mutually interrelated in a constant play of contextualisation and allusions, with sound playing a vital role in text interpretation.

The audiosphere is a capacious, ambiguous category, often freely used in contextual research. It is a term that has long been present in literary studies, but is used quite freely. The aim of this article will be an in-depth look at the ways of using the word 'audiosphere' and, finally, an attempt to specify research meanings useful in the context of literary studies. The terminology that organizes the sound order of a language exists in the study of literature in two modes. Each mode represents a different path in the development of the field of meanings of the audiosphere category. The first of them was developed by literary researchers as early as the 1980s, where the audiosphere was identified with the audial medium of presenting a literary text, i.e. with singing, recitation or speech. The second mode was subordinated to contemporary influences of cultural anthropology. The creation of sound studies and the so-called sound anthropology resulted in a flood of new meanings of the word 'sound', as well as the need to develop cognitively useful descriptive categories. In this context, the audiosphere is a very Polish term. It is mainly used by Polish researchers, strictly distinguishing it from the soundscape category, which is more common in Western studies. In the article, the two models outlined above will be confronted with each other, and the purpose of this juxtaposition will be to cause shifts in terms of meanings. On the basis of a relatively outlined definition, the basic features of the audiosphere within literary research will be listed. This will make it possible to clarify which specific features of this category are useful in the context of literary studies and which should be rejected. Ultimately, it is about working out the possibility of creating a model of audial interpretation of a poetic text.

The article is an attempt to enter scientific reflection relating to radio reportage in the field of sound studies, especially in one of its original elements — the theory of soundscape created by Raymond Murray Schafer in the 1960s. It starts with the basic terminological solutions in the field of soundscape and the audial form of reportage, then juxtaposes them with each other and indicates the possibilities of their mutual penetration in both scientific and media fields. It presents the common features of a radio documentary and a soundscape, e.g. focus on reality, attention to sound, specific narration, the use of the oral history method etc. This paper also shows the difference between these two forms such as a greater level of creativity in the case of reportage in combination with the “raw” naturalness of the soundscape. It also highlights how the idea of acoustic ecology can use radio reportage to disseminate its assumptions. Finally, it postulates the inclusion of this audio genre as an element of the soundscape to a harmonious hi-fi space and considers as justified to set together the experiences of both the discussed phenomena on theoretical as well as practical grounds, and to continue the reflection as sketched out in this article.

The article presents a critical approach to the sound studies debate, concerning its metatheoretical aspects. The point of departure is a paper by Brian Kane that opens the first issue of “Sound Studies: An Interdisciplinary Journal”. Kane criticizes the ontoaesthetic perspective within the discipline. My aim is to introduce sound studies both as an interdisciplinary and transdisciplinary field of humanities, dominated by two — instead of one referred by Kane — research strategies: audio-antropological and onto-aesthetical. By focusing on the latter, where the works by Christoph Cox and Salomé Voegelin are situated, I want to propose a different, affective-materialistic approach to sound studies, based not on the opposition between signification and sound/vibration, but on the relationship between the Deleuzoguattarian machinic concepts and the musical avant-garde. Referring to excerpts from articles and manifestos by Luigi Russolo, Edgar Varèse, Pierre Schaeffer and Pauline Oliveros, I show that the machinic sound imagination once accompanied the historical avantgarde and neo-avant-garde movements. It is the key to break with the anti-post-structural approach in sound studies in favor of a more relational perspective. This perspective, within the onesthetic paradigm, would allow for the interpretation of sound machinery as elements of the machine system (aesthetic, social, cultural) in which sound operates.

The article attempts to classify documentary radio-play. The research material came from 2001–2019 and included radio-plays, which were produced in the Polish Radio Theatre and in the sixteen regional Polish Radio stations, presented during the Two Theaters Festival in Sopot. The author used a quantitative and qualitative method of analyzing the medium content. The number of documentary radio-plays in relation to the number of all radioplays presented during the Two Theaters Festival in 2001–2019, then the percentage ratio of the three categories of documentary radio-plays and the percentage ratio of documentaryplays from the Polish national radio stations and regional radio stations are presented in the charts prepared by the author. In deliberating on the essence of the documentary radio-plays the author posed the following research questions: what is the interest of the authors in documentary radio-plays in relation to other radio-plays in the last twenty years?; what kind of topics are the most interested for the authors?; what historical events are reflected in the radio plot?; do artists critically review the past?; what is the formal structure of documentary radio-plays?; do the authors reach for reporter’s recordings?; and finally — what formal and compositional procedures do the creators use to influence the audiences’ involvement? However, the attitude to reality in the discussed documentary radio-plays allowed the author to divide them into the following categories: firstly — these are radio-plays based on documents, memoirs, letters, archival materials; secondly — radio plays based on documents, memories, letters, archival materials but enriched with contemporary reporter’s materials, conversations with real characters; thirdly — radio-plays about history, events, authentic characters, in which the past is the starting point for telling the author’s story.

Postwar film writings of Tadeusz Peiper are the protest against “the policics of the voice” (M. Dolar) of the Polish social realist and propaganda films. Escaping from be-ing involved in communist ideology, the author creates a cinematic theory concentrated on nonverbal elements. An important role is played by categories extremely far from the constructivist discourse of art (nostalgia, community, non-human).

Aleksander Wat rezygnuje wraz z końcem lat dwudziestych z publikowania tekstów literackich i skupia się - na wzór romantycznego "rygorysty czynu", Adama Mickiewicza - na działalności redaktorskiej oraz publicystycznej. Celem niniejszego artykułu jest po pierwsze zestawienie ideologicznych postulatów Mickiewicza i Wata dotyczących relacji pomiędzy językiem a czynem oraz wykazanie wspólnoty ich stylu zachowania społeczno-politycznego. Po drugie zaś - prześledzenie publicystycznej działalności Wata z okresu "Miesięcznika Literackiego" (1929-1930): przeanalizowanie rozrachunku z futuryzmem (rozumianego jako rozliczenie z literackością i pozornym zaangażowaniem) oraz nowej formuły literatury faktu (prezentowanej w esejach poświęconych społecznej roli reportażu). At the end of 1920s Aleksander Wat quits publishing his literary texts and focuses on editorial and journalistic activity thus developing the model of a romantic "rigorist of action" created by Adam Mickiewicz. The purpose of this article is, first of all, to compare the ideological postulates of Mickiewicz and Wat regarding to the relationship between language and action, as well as to demonstrate the convergence of their social and political background. Secondly - I will examine the journalistic activity of Wat from the period of "Miesięcznik Literacki" (1929-1930): analyze his critique of Futurism (as too "literary" and only apparently engaged) and a new formula of non-fiction (presented in essays devoted to the social role of reportage).

The article contains considerations about the political and ideological engagement of the avantgarde writer that were developing in the inter war period and which have their origins amongst, for example, avant-garde ideas. The paper analyses Bruno Jasieński’s text “Palę Paryż” (I burn Paris) (1931), while the context for the novel is a critical revision of the relationship between politics and literature. Tekst powstał w ramach projektu Style zachowań awangardowych (program Sonata 10, nr rej. 2015/19/D/HS2/01003) finansowanego przez Narodowe Centrum Nauki.

The text proposes an experimental reading of the manifestos of the first Polish futurists in line with the “listening to literature” project (Andrzej Hejmej). I look for traces of the audiosphere associated with the human voice in the manifestos and ephemeral prints in which they were published in 1921. I try to reconstruct them using the recontextual method, by outlining the discursive field of the era in which they were created. Asking about the possibility of reconstructing the audiosphere on the basis of historical texts, I point to screaming and shouting as the main voice practices of the interwar period and I make a connection between them and the language of the press and politics as well as subversive communication strategies.

This article attempts to answer the question of whether we can describe contemporary poetry as avant-garde? The author recognizes problems associated with defining the avant-garde as a historical phenomenon and proposes — resorting to Marjorie Perloff ’s concepts — a new way of interpreting contemporary poetry as an arrière-garde reconstruction of avant-garde poetics. The oeuvre of Andrzej Sosnowski is analyzed as an interesting example of how the strategy of unoriginality can be incorporated into a new model of arrière-garde poetics.

In this paper I reassess Adam Wazyk's meta-poetical statements of the late 1960s and 1970s as also being a time of recovery for crucial avant-garde conceptions in Poland. The artist starting his poetic career as a member of “Nowa Sztuka” (“New Art”) avant-garde group around the 1920s, didn’t abandon his early intuitions on art after World War II. These in turn can be bound to his life-interests in French avant-garde poetry and in French surrealism. By indicating the poetic affinities of these art strategies, I attempt to highlight similar sources of surrealistic experiments in poetry in France and in pre-war Poland. In this particular case this brings us to avant-garde film techniques, seen through the prism of Deleuze’s dissertation on “Cinema”, especially in relation to his remarks on the early silent-movies. The notion of ‘movement-image’, created in the wake of Bergsonian philosophy in relation to time and movement in modernity, occurs as helpful in that matter. The core of my argument connects to the phenomenon of materiality often associated with surrealist practices, invoking here questions of a quite specific kind, that is questions about the matter of language and the matter of poesies. Artykuł powstał w ramach pracy nad grantem „Nauka chodzenia”. Świadomość późnonowoczesna w metapo-etyckich wypowiedziach przedstawicieli polskiej neoawangardy lat 60. i 70. XX wieku (nr rej. 11H 13 0651 82; 0064/NPRH3/H11/82/2014).

The text concerns the expansion of non-artistic forms of language in Polish literature after the “Polish thaw”. They are separated from real context, processed in an experimental, radical and original way and (re)used in the literary work as linguistic, ready-made objects or as a part of artistic recycling. I point out three strategies of language processing: contrasting, deforming and dismantling, which are present in works by three post avant-garde writers: Leopold Buczkowski, Tadeusz Rozewicz and Miron Bialoszewski. Striving for innovation and experiment, thinking of language with growing suspicion, focusing on its tendency to petrification allows their work to be seen as the continuation of modernist tendencies. REFERENCES Bachtin Michail (1970), Slowo w powieści [w:] Rosyjska szkola stylistyki, red. Mayenowa M.R., Saloni Z., Warszawa. — (1986), Problem gatunkow mowy [w:] tegoz, Estetyka tworczości slownej, przel. D. Ulicka, oprac. i wstep E. Czaplejewicz, PIW, Warszawa. Bialoszewski Miron (2017), Polot nad niskimi sferami, oprac. M. Byliniak, M. Sokolowska, PIW, Warszawa. Bolecki Wlodzimierz (2012), Modalności modernizmu. Studia, analizy, interpretacje, Wydaw­nictwo IBL, Warszawa. Buczkowski Leopold (1970), Uroda na czasie, PIW, Warszawa. Bukowiecka Marta (2015), Antyliterackie, a wiec literackie. O Nifikormach Edwarda Redlinskiego, „Teksty Drugie”, nr 4. — (2019), Preparowanie mowy. Uroda na czasie Leopolda Buczkowskiego, „Teksty Drugie”, nr 3. Gazda Grzegorz (1974), Futuryzm w Polsce, Wroclaw. Glowinski Michal (1997), Czy literatura moze byc wzorem mowy? [w:] tegoz, Narracje literackie i nieliterackie, Universitas, Krakow. Karpowicz Agnieszka (2012), Proza zycia. Mowa, pismo, literatura (Bialoszewski, Stachura, No­wakowski, Anderman, Redlinski, Schubert), Wydawnictwa UW, Warszawa. Kirchner Hanna (1996), Leopold Buczkowski, albo uroda na czasie [w:] Sporne postaci polskiej literatury wspolczesne. Kontynuacje, red. Brodzka-Wald A., Burska L., Wydawnictwo IBL, Warszawa. Kluba Agnieszka (2014), Autotelicznośc, referencyjnośc, niewyrazalnośc. O nowoczesnej poezji pol­skiej (1918–1939), Wydawnictwo Naukowe UMK, Torun. Nycz Ryszard (1978), Teufelsdrockh redivivus albo o pewnym dialogu tekstowym, „Teksty”, nr 1. — (2000), Tekstowy świat; poststrukturalizm a wiedza o literaturze, Universitas, Krakow. — (2012), Poetyka doświadczenia. Teoria — nowoczesnośc — literatura, Wydawnictwo IBL, Warszawa. — (2013), Jezyk modernizmu. Prolegomena historycznoliterackie, Wydawnictwo Naukowe UMK, Torun. Orska Joanna (2004), Przelom awangardowy w dwudziestowiecznym modernizmie, Universitas, Krakow. Owczarek Bogdan (2014), O kilku ideach waznych dla rozumienia prozy Leopolda Buczkowskiego, „Pamietnik Literacki”, nr 3. Redlinski Edward (1982), Nikiformy, Czytelnik, Warszawa. Rozewicz Tadeusz (2006), Poezja, t. 2, Wydawnictwo Dolnośląskie, Wroclaw. — (2008), Kup kota w worku. (work in progress), Biuro Literackie, Wroclaw. Slawinski Janusz (2001), Proba porządkowania doświadczen [w:] tegoz, Przypadki poezji, Uni­versitas, Krakow. Stankowska Agata (2013), „Wizja przeciw rownaniu”. Wokol popaździernikowego sporu o wy­obraźnie tworczą, Wydawnictwo Poznanskiego Towarzystwa Przyjaciol Nauk, Poznan.

The paper is an attempt to outline a few problems connected with economic modes of reading the historic avant-garde, mainly its poetry. The author recapitulates a short history of its studies based on symbolic economies in order to consider possible semantic differences, resulting in the various uses of economic analogy in the discourse of the first avant-garde. The article focuses on Futurist and Constructivists movements, trying to sketch conflicts between political commitment and artistic autonomy, possible economies of sign and some sources of the “economic imagination”.

The paper addresses two main issues: the first relates to modern hearing and the phenomenon of a new understanding of sound in the world of modernity, the second — as a consequence — to the repercussions of the auditory experience in the works of representatives of the first avantgarde. The author, following various examples of avant-garde manifestations of “language-noise” (including the works of Filippo Tommaso Marinetti, Luigi Russolo, artists of Cabaret Voltaire in Zurich), points out that they reveal the compulsion to hear, to be in sound-noise. He highlights the special importance of early European avant-garde movements (such as Futurism and Dadaism) in the process of restoring the proper sound potential to language (and literature) and at the same time refers to the new understanding of literature in the context of the modern soundscape. REFERENCES Adorno Theodor W. 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The text refers to the surrealist invention of automatic writing examined in the anthropological and historical perspective. The aim of the article is to show the relationships of automatic writing with other non-literary cultural practices, especially graphological and spiritualistic. These practices explore the unconscious, strictly individual components of writing, aimed at revealing the social and psychological truth about the subject. They are also to show the domain of what is rejected by modern rationalism. In this article I want to show that the link between modernity, the avant-garde and the subconsciousness or superconsciousness is a complex epistemic fight with modern political and social administration that goes beyond the field of art to the field of broadly understood culture.