Cosmos Witold Gombrowicz Pdf
WITOLD GOMBROWICZ AND JOSE ORTEGA Y GASSET. This article explores Witold Gombrowicz within the context of Argentine literature. In Cosmos the narrator arbitrarily links unrelated events, beyond what is arbitrarily imposed on them: a sparrow hanging on a tree, a piece of wood hanging behind a shed. To bring in other simulacral series, such as those constructed by Witold Gombrowicz in his novels Cosmos and Pornografia, which Deleuze refers to in conjunction with. Klossowski, and whose affinity to Klossowski's aesthetics could be attributed to their shared Polish background. And then there is the even stronger affinity. Driver Rtl8101l Xp there. Witold Gombrowicz's last novel, Cosmos, is a compulsively unsettling philosophi- cal drama veiled as a quotidian mystery. Originally published in Polish in 1965. Danuta Borchardt's new English translation conveys a world wrought with an interconnectedness, or perceived interconnectedness, that struggles to understand.
This article needs additional citations for. Unsourced material may be challenged and removed. (March 2013) () Witold Gombrowicz Born Witold Marian Gombrowicz ( 1904-08-04)August 4, 1904, Died July 24, 1969 ( 1969-07-24) (aged 64), France Occupation Novelist, dramatist, diarist Language Polish Nationality Polish Alma mater Notable works Website Witold Marian Gombrowicz (August 4, 1904 – July 24, 1969) was a Polish writer and. His works are characterised by deep psychological analysis, a certain sense of paradox and absurd, anti-nationalist flavor. In 1937 he published his first novel,, which presented many of his usual themes: the problems of immaturity and youth, the creation of identity in interactions with others, and an ironic, critical examination of class roles in Polish society and culture. He gained fame only during the last years of his life, but is now considered one of the foremost figures of.
His diaries were published in 1969 and are, according to the, 'widely considered his masterpiece'.
By Douglas Glover. Witold Gombrowicz leans toward Surrealism, but then he is also steeped in the history of philosophy. His brain is marinated in modernity, the 20th century critiques of the Enlightenment, Husserl’s Crisis in Philosophy, the loss of Being, and the turn toward Phenomenology and Existentialism.
So there is a loony side to what he is doing that, at the same time, is very serious and sophisticated, profoundly conversant with tradition while attempting to stand outside tradition. He has that flickering quality I have described elsewhere; his text is continuously oscillating between assertion and ironic subversion. In Cosmos — the title makes it obvious — Gombrowicz is satirizing the phenomenology of world creation, the mental process by which we construct a frame of meaning for ourselves.
Not the world (whatever that is), my world. Both inside and outside the novel (that is, in so-called real life), the modus operandi of consciousness is comically super-rational and simultaneously self-defeating (Husserl demonstrated that reason was never going to get where it said it was going). You (a subject, a consciousness) begin to notice hints of repetition and pattern; you look for other instances of the pattern in the chaotic flux of sensation; and eventually you decide the pattern is real. This is the procedure of reason and science. But, of course, in Cosmos what seems real to the narrator is in fact utterly contingent and often ridiculous or even murderous.
Form cannot enclose reality, but form always threatens to become reality. That is the antinomy of the novel: you can’t fit the world into a book, and yet form (read: custom, tradition, ideology, inter-personal expectation, etc.) is always threatening to derail the life of the individual, that is, there is always someone or some thing trying to fit you into his book. Cosmos is, in part, a horror story in which the monstrous evil is a form (in this case, a literary device) that haunts the narrator and eventually takes over his life. Instead of Godzilla or the mad slasher moving ineluctably toward its victim, the villain of Cosmos is an image pattern. There are two other forces working on the human mind besides reason.