By Witold Gombrowicz
One of many undeniable totems of twentieth-century global literature, Witold Gombrowicz wrote Pornografia after leaving his local Poland for Argentina in 1939 after which looking at from afar because the German invasion destroyed his state. Translated for the 1st time into English from the unique Polish by way of award-winning translator Danuta Borchardt, Pornografia is considered one of Gombrowicz’s optimum appeared works—a richly imagined story of violence and carnality set in wartime Poland. in the middle of the German profession, getting older intellectuals commute to a farm within the nation-state, searching for a respite from the hellish scene in Warsaw. They speedy develop bored in their bucolic surroundings—that is, until eventually they're hypnotized via a couple of kingdom youths who've grown up along one another on the farm. The older males are made up our minds to orchestrate a tryst among the 2 young children, yet they're quickly distracted by means of a string of violent advancements, together with an order from the underground stream for the lads to assassinate a rogue resistance captain who has sought safe haven with them. The erotic video games are wear hold—until the 2 dissolute intellectuals have the option to contain their pawns within the murderous plot.
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Example text
For more on La Nausée, see Chapter Four below. 8 For Shields (1994, 62-3), he is Parisian by virtue of being “always as much mythic as […] actual”. 9 This reading draws on the chiastic form of the full title, in which Les Petits poèmes en prose is opposed to the subtitle Le Spleen de Paris. According to Covin (2000), while spleen can be seen to oppose Paris, just as poem opposes prose, in which case the city is re-presented as an Ideal, Paris can also be seen to stand outside the opposition, encompassing the tension between the poles.
It is in this direct access to events that the poem gives to the reader that its fetishistic power resides. 33 For, when Lehmann analyzes “À une Passante” from the perspective of the fetish, he is working from the garments backwards; that is to say that if the garments function in the poem as a fetish it is because the traumatic moment has already occurred: “The character of the fetish alludes in the poem both to the commodity, that is, the fashionable detail on the garment, and to the eroticism of the leg, which in itself can be seen only in its sartorial representation: adorned by stocking and shoe” (Lehmann 2000, 245).
We dress to be part of the crowd, yet to stand out from the crowd” (Wilson 2001, 51). It is precisely in this double movement that the follower of fashion can be compared to that other major but elusive figure of modernity, the flâneur. He, like Dior’s models, is of his time to the extent that he occupies a specific point in history;6 and yet, as Chambers (1999) reminds us, he is always, at least partially, out of step. In addition to being critically perverse, the flâneur is also double in terms of his literary and historical presence.