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The article constitutes an attempt at analysing futurist pronatalist discourse, on the basis of the manifestos and artistic praxis of the Futurists. The reproduction postulates, prevalent in the works of the Polish Futurists and usually placed in the context of vitalism, characteristic of the 1920s, are shown from a biopolitical perspective, emphasizing the intersection of the biological with the political and social horizons. The author attempts to trace especially the political entanglements of the “population project” of the Polish Futurists, which turns out be marked by numerous paradoxes, situating itself between the pronatalist rhetoric typical of nationalistdiscourse (on the one hand, the discourse promoted by F.T. Marinetti, and on the other, the one formulated in Poland directly after regaining independence) and thinking in terms of a community which starts from the material functions of the body. In this second context, the reproduction postulates are not only an attack on bourgeois morality, but are closely connected with the futurist critique of all social institutions and the state apparatus with its biopolitical dispositions.

W jednym z wywiadów udzielonych w kwietniu 1977 roku na łamach włoskiego komunistycznego czasopisma „L’Espresso” Julia Kristeva dostrzegła konieczność powiązania dyskursów awangardowych z feministyczną praktyką: Uważam, że zadaniem współczesnego ruchu feministycznego jest wynalezienie takiej formy anarchizmu, która wyraziłaby swoim zachowaniem i działaniem dyskurs historycznej awangardy: destrukcję (tradycyjnego) zachodniego podmiotu. Przykładem takich praktyk, zdaniem autorki La revolution du langage poétique (1974), może być – oprócz Comte’a, de Lautréamonta i Stéphane’a Mallarmégo – twórczość Ezry Pounda i Louisa-Ferdinanda Celine’a, poetów sympatyzujących z faszyzmem i jawnie kontestujących jakiekolwiek działania anarchistyczne (Fragment tekstu).

The article traces historical discourses of the avant-garde from the perspective of models of gender roles, starting with an analysis of the most radical futuristic ideas of the role of women. The crucial point is the interpretation of the “scorn for women” slogan and its connection with giving the critical judgement of bourgeois representations of the world. The last part of the article aims at reading the first poem by Aleksander Wat, the interpretation of which seems to show avant-garde’s wasted capability for considering the idea of gender.

The article traces historical discourses of the avant-garde from the perspective of models of gender roles, starting with the analysis of the most radical Futurist ideas of the role of women. The crucial point is the interpretation of the slogan “scorn for women” and its connection with the critical judgement of bourgeois representations of the world. The main point of the last part of the article is an approach to the first poem by Aleksander Wat, the interpretation of which seems to show wasted avant-garde capability for considering the idea of gender.

Recenzja książki Aleksandra Wójtowicza: “Nowa Sztuka. Początki (i końce).” Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2017, ss. 280

The article constitutes an attempt at analysing the role of the image of a real and a symbolic father in Aleksander Wat’s work. The point of the departure is a reflection upon the issue of avant-garde gesture of breaking off with the past and identity through a change of a family name from Chwat to Wat. The problem of misunderstanding resulting from the use of different languages forms the basis of the relationship between Wat and his father and serves as the background for the proposed interpretation, whose figure becomes the Tower of Babel. The image which emerges from the analyses of the poems composed by the author of Buchalteria, and especially from the fragments of his journal, is one of the “voice of the Father,” tormenting the writer, which has a close connection with the return of the suppressed Jewish identity.