© 2018 Agnieszka Zawadowska, Monika Rudaś-Grodzka pl.it | rassegna italiana di argomenti polacchi | 9 | 2018 ISSN: 2384-9266 | plitonline.it

Agnieszka Zawadowska Set designer | [email protected] Monika Rudaś-Grodzka The Institute of Literary Research of the Polish Academy of Sciences | [email protected]

The Space of a Book. The Images of Words

Introduction

In 2005 Fundacja Odnawiania Znaczeń. Polka [Foundation for the Revival of Meanings. A Polish Woman] was set up, managed by Agnieszka Zawadowska. Since that time we have been running scientific and artistic projects together with the Institute of Literary Research of the Polish Academy of Sciences. We consciously seek new ways for the Polish humanities, revising their basis and, at the same time, preserving what is the most valuable in them. Our initiatives and research works in the fields of history and history of idea taken by us are open to new phenomena both in science and contemporary art. The horizon of these actions is the combination of the humanities, the reflection on his- tory, and artistic undertakings, which means, on the one hand, a desire to meet intellectual challenges of postmodernity and, on the other hand, an attempt to maintain sensitivity to specific historical determinants of the country. In 2005 we developed the exhibition Polka – Medium, Cień, Wyobrażenie [A Polish Woman – Medium, Shadow, Image] in cooperation with the Centre for Contemporary Art. In 2008 the Institute of Literary Research of the Polish Academy of Sciences, the Foundation for the Revival of Meanings, the Jewish Historical Institute, the Jewish Theatre, and the National Theatre collaborated on the occa- sion of the anniversary of the March 1968. Within the framework of the project Marzec 1968-2008 [March 1968-2008] the scientific conferences were held in the Jewish Historical Institute and the National Theatre, as well as the meetings with the March emigrants took place in the Jewish Theatre. For the first time the Polish and Jewish environments jointly celebrated the anniversary of the March ‘68, recognising the act of expulsion of Polish citizens of Jewish origin from Poland as one of the most important and tragic moments of the post-war history of Poland. After the conference on the March events two albums were created: Honor. Bóg. Ojczyzna [Honour. God. Homeland] and Żebro Mesjasza [The Rib of the Messiah]. In 2015 the exhibition Ludzkie/Nieludzkie [Human/Inhuman] was organised, the curators of which were Agnieszka Zawadowska and Małgorzata Uszyńska, on this occasion a catalogue was also issued. Basing on the artistic experience of the 1960-1980s and the works by such authors as Robert Massin (La cantatrice chauve) or Anselm Kiefer (Livre en plomb), and referring to the freedom of digital design, we treat a book as a space in which 205 Agnieszka Zawadowska, Monika Rudaś-Grodzka | The Space of a Book. The Images of Words - - - - - Mal d’ar Mal . 1 L’Inconscient L’Inconscient , Optique Grid , Systems Princeton - Architectu The Contest of , MITMeaning Press - Cambridge Images malgré Images , tout malgré Edition de Minuit, Paris 2003. , Édition iXe, iXe, , Édition l’idée de nature du pouvoir, et pratique race Sexe, , INA edition, Bry-sur-Marne 2014; edition, Bry-sur-Marne 2014; , INA et la le trace spectre entre L’image , Formless Zone Books, New York 1997; R.E. Krauss, Cinders, transl. of Minnesota N. University by Press, Minnesota Lukacher, 2014; J. Der The Animal that Therefore I am, ed. by M.L. Mallet, transl. by D. Wills, Fordham University - semi-trans the behind faintly showing are pictures Fuzzy see? we can What In our books we were guided by double logic of the material selection, we tried we selection, material the of logic double by guided were we books our In We also We ask the question about the final meaningofrepetitive pictures that According to According a traditional action, research photos/images were explained, The main category important for our works is an archive. In the book the In archive. an is works our for important category main The Y.A. Y.A. Blois, R. Krauss, transl. transl. by M. Veubret, Au Même titre, Paris 2002; K. Elam, ral Press, York Princeton-New 2004; R. Bolton, 1992; Bougnoux, -London D. J. Derrida, rida, 2008; C. Guillomin, York New Press, 2016; Donnemarie-Dontilly G. Didi-Huberman, parent parent glass pane of time, dusty junk, remains can be expressed. everything not That that feel? we can What are together. impossible to blend to present what what is silence and, left in at the complete same time, the most present to mean- through thinking for allows archive an of means by thinking that believe We ingful. which creat images, also means thinking to archaic a return and, simultaneously, are are available on the Internet, broadcast on television media. and As regards presented this in issue, we other refer to Benjamin’s thought who noticed that reproductions, though detached from its original, have a multiple strength and contexts. and newer newer create they had they to be and interpreted comprehensible in In some we works way. our depart from this perspective, we prefer Derrida’s approach, the possibility who that words can express and contested translate something. It is therefore necessary to maintain the differenceof languages, so inby told ourare archivethey photos/ extent some To untranslatable. of threshold the at stop images and unadoptable. foreign remain they us, but anyway edge the silence the of to be archives the deepest and the most reality. secret a possible discourse. the edge of act at We ing the language of the The future. scientific discourse, enriched with a reflection formulat for allows experiencing, and reasoning of a basis as images treats which ing questions that been have never posed, and perhaps will remain unanswered. Derrida extends the concept of archive understood as a place where docu- where a place as understood archive of concept the extends Derrida chive contexts the with deepened is archive the at A look stored. are things and ments of politics, technology, ethics, law, psychoanalysis, and Judaism. According to Derrida, due to the Holocaust archives changed their nature “archive du – mal” (archive of evil, archive they of pain). be All the became not remains, will photographs, it and voiced be never will they pain: and disease fever, involve things acknowl to have we the Shoah, of In the context possible put to them in order. 1 Pictures, pictures Pictures, of artists and works of researchers, including Jacques Derrida and Walter Benjamin, Experiences changes. and cultural redefinitions Walter essential of eyewitnesses are we and Derrida Jacques including researchers, of works and artists of is which of essence the method, multidisciplinary integral an create to us allowed whole than the important more a part is always and fragmentation, 206 pl.it | rassegna italiana di argomenti polacchi | 9 | 2018 ture Ludzkie/Nieludzkie form a specific archive, not based on any hierarchy or struc As Walter Benjamin wrote: salvationourpeople.meetingthe to dead daylight,ofand it ourbringing past, has to be of messianic character in mourning order tothe thereforebe effective, becausehidden, its purpose is is oblivion of signature the shadows lapping over these Between darkness. internalour resonateswith it that feelwe and has never taken place butitshouldhave (andmaybe itistoo late for it). and funeralmourning simultaneously,ceremonies,associatedand, exhumationis that with it in participate to invitation an as treated be should one. whole important The most the is pages the of None dimensions. other to opening a feeling that another type of vision is necessary, reviving inside us at dusk and are contourshave we which to blurrythanks hardly oftenvisible, are photos which in objects emerging; in emptiness the in us above circling are images and words of Shreds book. the of margins the beyond even attention our by cabinets from which long-forgotten junkisspillingout. corporeality.From ofa formalpointresemble drawers view, or oldalbums the air, which sets objects in motion while wafting, but also is a touchstone of their photos/texts/objects play a huge role. This fluid space not only resembles the a crux is always absent. Therefore empty spaces situated between and beyond tationsprinted there show fundamentalsome deficit signalling/indicating that quo- photographs,ofby. fragmentstexts, of Excerptsslipping are senses and blurring, are images lost. getting are words page each on that impression an orderdeterminedgraphically, they getexpresscan One chaos. and untidiness here, anditisdifficult to say what itsmain topicis. ground.story A multi-layeredthe begins in decomposing corpseslike ground back black the in offocus,blend out Blurredimages, hidden. ofhistoryouris ash are hanging in air and falling and down, dust and underneath where the disintegrating a crypt bodyof think us makes here dominating tonalitysteel and grey,cold, The visitation.of state the by accompanied areThey ambivalence. 3 2 Press, Cambridge–London 2006,p.390. UniversityHarvard of Press Belknap M.W.The Eiland, Jennings, H. by ed. al., et Jephcott E. W.Benjamin, Cf. J. Derrida, On the pages, in their deeper layers the dark heart of the past is pulsating is past the of heart dark the layersdeeper their in pages, the On Sheets of paper set in motion are moving like a funeral procession, followed fourthese Although volumesfall extremelyintothe extendedof canon the h fu books-albums: four The 2 . Entering it causes anxiety, sadness, sense of incredibility, uncertainty, and endowed with a weak messianicpower […] been have we us, preceded that generation every like Then earth. generations and the present one. Then our coming was expected on past betweenagreement a secret is there then so, If […] ones? silent nowof echo an to there isn’t hear, referred we voices the In well? days is as us earliercaress it nervaded that which air by the of index breath a secret Doesn’t redemption. a it with carries past The Archive Fever: A Freudian Impression, trans. by E. Prenowitz, Chicago–London 1996. , in: Id., in: History, of Concept the On Polka, oo. ó. Ojczyzna, Bóg. Honor. , vol. 4: SelectedWritingsvol. , 3 . , transl. bytransl. 1938–1940, er Mesjasza, Żebro - - - 207 Agnieszka Zawadowska, Monika Rudaś-Grodzka | The Space of a Book. The Images of Words - - - - . In . 7 . We realise that . We 6 , 1931–1934 transl. R. - Livin , vol. Selected Writings 2, part 2: events are evoked without distinction and large between small evoked are events 4 Karl , Karl Kraus in: Id., Imagined Communities. Reflections on the Origins abd Spreadof Nationalism, . This circulation does not allow for continuous reading, and also dziady 9 . We can see their past existence in the form of shadows, tracks, dust, can shadows, ash, in see past the of their existence form We . . In the designed scenery, which is a specific typeof montage, countless 5 8 Book-crypts/cemeteries loosen Book-crypts/cemeteries and chronology thanks to it the oppression We We notice that historical truth is often supported by phantasmic truth. The An internal order An of internal order books does not impose one of orthodox way reception current the on focused a newspaper, of convention the to refer albums The B. Anderson, gstone gstone et al., ed. By H. Eiland, G. Smith, The Belknap Press of Harvard University Press, 2005, p. 453. Cambridge–London , cit., p. 453. Kraus Benjamin, Karl W. Benjamin, W. Benjamin, op. cit., p. 390. Ibidem, p. 396. Polish name for a pagan festival in honour of ancestral spirits. ancestral of in honour a pagan festival name for Polish

Verso, London-New York 1991, p. 32-35. York London-New Verso, events that call us and wait for our gesture of remembering. In a book ritual of cel of of ritual time a book In is remembering. broken, of gesture and our they for allow wait and us us call to that move events in different directions, return to ebrating ebrating those who looked, waited long for us to call them. One of the ways to recall their their recall to ways the of One them. call to us for long waited looked, who those name by it call to is a word quote to that wrote Benjamin quoting. is name first books we books we make an to effort meetrequestswe Benjamin’s and by its a word call name, it break out and, the of at context the same time, it call back to its begin- ning 8 9 7 5 6 4 ones prised as if they were on the alert – are directed straight at us; figures are looking looking are figures us; at straight directed – are alert the on were they if as prised and are not looking, which provokes anxiety and uncertainty. The trace of this vision remains in us, a gesture made simultaneously by them and happens in by our time, internal us. more present than time historical This images evoke images which everything evoke is driven out or repressed in our individual and The collective looks history. coming from photos many – stubborn, sur slightly specks of dirt – scattered in the space between the first page and the last one. names and pictures called repeatedly seem to follow one another, we may have have may we another, one follow to seem repeatedly called pictures and names them cannot in almost be of a book,squeezed that an so they impression many go beyond margins, and meanings left them by are arranged in in reader every appear silence the is here feature predominant important An manner. a different upon a reader, however, it watches over him unpersuasively. Different modes of of modes Different unpersuasively. him over watches it however, a reader, upon the in us inside marks new leave they time every meanings, new reveal reading form of painful cuts on our sensitivity, slightly torn pages of our memory. The structure of the text divided into columns stabilises the look which oscillates between opposing forms and contradictory directions, which cause anamor events going by, and thanks to it pictures keep circling in contexts newer and newer ing in central places and at the edges. The quiet that prevails is painful, undefined, undefined, painful, is prevails that quiet The edges. the at and places central in ing to able is nothing despair, our To it. from emerges bygone, is What vibrating. and and emptiness, the into sinking and through flowing are they images, these stop only sometimes our attentive look can prevent them from moving for a while. phic chaos. The game of these forms is to guard unprinted pages against the unuttered. remains what and this whiteness the of annihilation 208 pl.it | rassegna italiana di argomenti polacchi | 9 | 2018 11 10 of these albums is Derrida’s sentence internal motto self-denial. An for strive will forever, and fragmented, stratified, chaos, which determine their incompleteness. All of these books will be infinite and accident of operations the suspend to impossible is it because failure, in end to has them organise to attemptany contradictory But ofnarratives. tude a multi- and senses imperfect produces deficiency essential Their fascinating.fragmentation, and repulsive are archive, the of time present the at stuck constantly refers usto other stories. its basis, disintegrates, not creating a unity, since all its structure is ghostly, inand itself denies – it space unfamiliar an remainsarchive the time, same the At appear between private and public, individual and collective, past and present. oftenofunexpectedsecrets,and cess usuallydisclosing surprising transitions den, because often something past does not want to be shown. During the pro - hid- be exceeding,should thatarchivealso makesavailablethings the means However, attention. and consideration, time, effort, requires place this around photos,collectingdocumentsand notallowing for easy interpretation. Moving seriouslyarchive an but art, of pieces be to intended not are Books here.role accordance with the intention of the authors, the aesthetic value plays a minor hands, becomes a user of a quadruple archive widely understood. Therefore, in initiate a kaleidoscopic motion of pictures. A reader, holding these books in their trast. This scenario is a kind of a musical score giving a reader an opportunity to correspond one with another, and sometimes push off from each other or con- composition. a newspaper of logic the orderorgraphical some to subject are beginnings, and clearillustrations got come not fromhave Books differentwhole. the orders,of reception their the positionsdisturb intexts a bookmain with mixed elements graphical whereas it, stop or down reading slow quotations one’s own presence” prints remain on eachpage. finger our engaged, cover.is bodyourits Then byopening it inside get can one sense, literal the in a crypt is A book it. in role a special plays object an together. corporeality put ofreburyThe them. and images Turningexhumewe pages, be the cannot which appear, tracks newer and newer time each tort. a is photo a Here annihilation. disintegration, death, of remains the meet eyesour then everyand nowdocuments and photosof fragments the In taboo. borderlines, which always violate our subjectivity and disturb the spaces of social blurred got have figures disabled/crippled and identities unestablished bodies, and their afterimages are stuck inside us. Defective phantom images of imperfect remainsof remains – the pictures because evoketheyextremeemotions, tance utledge, London-New York 2002, p. 289. J. Derrida, J. Writing%20and%20 Difference.pdf>.

J. Błoński,BiedniPolacy patrzą nagetto, Wydawnictwo Literackie, Kraków 2008. Z. Nałkowska, Dzienniki1939-1944, ed.by H.Kirchner, Czytelnik, Warszawa 1997, p.445. Gdańsk 2007. Pontremoli, E. Sanatorium podKlepsydrą, 1973, dir. W. Has. The quotations from the works createdbyworksthe Bogdan Wojdowski,from quotations The Améry, and Honor. Bóg. Ojczyzna is the book about our oblivion in culture and the man- (2009) are those books-albums which books-albums those are (2009) Mesjasza Żebro Ojczyzna, Bóg. Honor. The basic matter of this book is ash which is and, at the same time, “is not” – this Sanatorium Under the Sign of the Hourglass, a mourning story after tas b ML Klnwk, łw/ba terytoria, słowo/obraz Kalinowski, M.L. by trans. widzialnego, Nadmiar (legend of murders, anti-Semitism), murders,of (legend God - upris ghetto Joselewicz, Berek (topics: Honour 14 . 17 16 (JewishHomeland . On the pages ofpages the On . 15 , while wecan- 211 Agnieszka Zawadowska, Monika Rudaś-Grodzka | The Space of a Book. The Images of Words . - 18 , which which ‘68, Marzec - Mo of Experience The Air. into Melts Solid Is That All , w: Id., Id., w: , York New in Modernism From our perspective it was necessary to compare Christ’s suffering of with with of suffering Christ’s compare to necessary was it perspective our From The pictures the of Christian Messiah do not appear here as a provocation, The narrative of pictures and words circulates not only around messian- (2009) is also the result of the conference conference the of result the also is (2009) Mesjasza Żebro M. Berman, M. 1988, p. 333. York Books, New dernity, Penguin the uniqueness of Auschwitz, where death blurred all the boundaries between between boundaries the all blurred death where Auschwitz, of uniqueness the Auschwitz Therefore bodies. living in humanity annihilating inhuman, and human should be our memory of the Holocaust, and history, of the the Polish-Jewish reflection on a faith. In thiscontext another questionwas alsoraised: what at look we is when obsession an becomes question The Messiah? the for waiting but an incentive for deeper reflection. The wounded,dead mutilated body of the Messiah is the finally, most and, important image in Christian - iconogra phy; his blood which is the bodily and spiritual food, life-giving liquid down. written leaking was history which with ink the as regarded was wounds from out convince to The album includes these were Christ images on that of the cross life. and a new strength that God-Man the the is of death believers a source of Among other illustrations the elements following are to rivet attention: a phe- the his Messiah, relationship of nature corporeal ecstasy, mystical nomenon of with his mother’s body, and religious madness. the of as a dark reflection – should be perceived Afterimages on crosses women images of – the worrying with his blood his followers feeding the cross, nailed to Messiah ism, but also raises the question about anti-Semitism and the Holocaust. The legend of the and murder ritual the crucified Christ are the ideas manipulated The centuries. violence scenes for culture symbolic of bloody and by physical perpetrated on the Polish Jews are adjacent to the images of sacrificefor the of form the in pulsate history our of sides dark the them among and homeland, in photographs. black substance - anti-Se the until sect Frank’s Jacob of establishment the of times the from ing mitic riots in 1968. The juxtaposition of the Jewish messianism and the Polish one is the frame for the whole book. Although the ideas come from different religious traditions, in the national dimension their symbolic vectors intersect in the concept of common, a also is style) beautiful Tyrtaeus death, (of poetry Patriotic a community. national necessity of sake to make an offering for the it played a significant role in inventing- nation Polish the of of keynote the was and war, the at dying sacralised which Israel, founding myth of as messianisms the Jewish and of Polish state the on a reflection is point starting The alism. its strength. of which is a source defeat memories of a union of took place in Warsaw took in place can 2008. in We Warsaw find here the articles on thePolish and start lands, Polish the in Jews the of history the as well as messianisms, Jewish 18 Żebro Mesjasza Żebro many many others remain the unknown and unwanted figures inour history.Marshall Berman wrote that our past turns out to be baseless and elusive, we look back to seek a solid point to lean on, only to find out thatwe are embracing ghosts 212 pl.it | rassegna italiana di argomenti polacchi | 9 | 2018 statement that themessianicideaisnot only solace andhope 21 20 19 Ludzkie/Nieludzkie come not or time any at come both fore there- can redemption that saying bear, Moses Stephane ofwords the sense Weghetto. wonderburning what the of images the or ruins the of photos the The Essays that hehimself was themostpeculiar monster andmiracle centuries.reference MichelMontaigneThe body; de wrote a human inis point the over transformations and changes different underwent which normativity establishes it when standard standards”. is Weobserveheremonstrosityconcerningcan numerous ideas and “something that culture our in dominant sis the- the undermine who cited are bioethicists poets, philosophers, of ments Macierzyństwo [Maternity], Robert Beuchamp,Beztytułu[No title]. Dobkowski, Jan as artists paintings such the of of reproductions the includes it photographs, drawings, tions, quota- texts, from Apart 2016. in Gallery] [Studio Studio Galeria in held bition without identity. The problem of a boundary and real gender, as tools used for used tools as realgender, and a boundary ofproblem identity.The without also remains dead curiosities rejectedof a status havetheyarchive, the be in Here, it. from come to considered foetuses Deformed crypt. living interment, are not able to hide the notions of a woman’s abdomen which is a place nature, ofscientific their despite death, open, split body a woman’s showing illustrations awareus tofactextent of whatthe a woman’sbody was victimised. Anatomical make torture, of instruments resembling beds and chairs labour special ceps, the On disgusting. for appear: toolsgynaecological which and on however,drawings, hand, otherthe intimidating were – taboos as treated centuries for – childbirth menstruation, Pregnancy, anomaly. an as treated often was culture our in anatomy, which female of representations the depict eras different from removeding, from women’ssaved forwombsand coming Illustrations science. presenting the medical documentation of deformed organisms incapable of liv im. Stanisława Konopki [The Stanisław Konopka Main Medical Library] in Warsaw, a striped uniform worn incamps. is example shocking most the and orcamouflage, ofanimalshapes a form on takeclothes that accident no is it a counterpoint; shownas turallyis fashion in cul movedborderline hermaphrodites.The of case the in organsfemale and umbilicalcord,nectedthe foetuses physicallywith together,joined male both con- ofbodies images exampleofarethe which – an blurring orinfringement books, is a category of boundary. Different strategies of its operation are shown: M. deMontaigne, Essays, trans. by Ch.Cotton, MifflinandCo., Boston-Houghton, p. 121. G. Scholem, n. 4, 2006-2007, p.112. Moses, S. The book The The book is a question about the standard and its consequences, the state- An important category linking not only this album but also the rest of the of rest the also but album this only not linking category important An The album opens with the series of drawings from Główna Biblioteka Lekarska , transl. by J. Czerwińska, in “TeologiaPolityczna”,in Czerwińska, J. by transl. teraźniejszego, czasu Mesjanizm Judaizm – parę głównych pojęć, transl. by J. Zychowicz, Inter Esse, Kraków 1991, p. 163. is the catalogue of the exhiofthe - catalogue granicythe Ludzkie/Nieludzkie.Na is ciała Sd oa] Jry Tchórzewski, Jerzy Woman], [Sad Smutna 19 , and we recall Gershom Scholem Gershom recall we and , 20 . 21 . - - - 213 Agnieszka Zawadowska, Monika Rudaś-Grodzka | The Space of a Book. The Images of Words . - 22 - a Nineteenth-Cen of Memoirs Discovered Recently the Being , in: H. Barbin, H. in: , Introduction Photographs, drawings and texts also focus around the borderline that demar that borderline the around focus also texts and drawings Photographs, Looking at the forgotten faces, abandoned by history, we are cognizant of of cognizant are we history, by abandoned faces, forgotten the at Looking Pictures and circle texts around one and another our activate imagination, Turning Turning pages forward and backward, trying to connect discontinuous Barbarism of our culture leads from famous villages at colonial exhibitions exhibitions villages colonial at famous leads from culture our Barbarism of M. Foucault, Foucault, M. tury tury , French Hermaphrodite transl. by R. McDougall, Vintage Books, New 2010, York pp. VII–XVII. our our incomplete This existence. is the moment when we start to understand which reveals our own unknown spaces to us. us There inside is somewhere a flashbeen has it of known, conscience is book the in included everything that “reading” texts, at – looking pages turning are: reading this of acts Key ages. for the and pictures only, leaving our own marks on the Each texts. meaning may also lead to another one. Memory is a movement of imagination juxtaposing fragments irrelevant seemingly of our culture, which the of often power leads hybrid Almostevery as to the who misfits. considered destruction those are of death of the potential culture In our can be exterminated. inhuman creature or pictures, come out. to Photographs, a signal for only waiting lurks everywhere, with them, tracks form leading together us quotations, texts and to of shrouds awkwardness, the reveal They etc. homeland, history, bodies, our of places dark grotesqueness, peculiarity of the forms belonging to our phantasmic world. thoughts thoughts and reconstruct threads, we perform uncertain and Each made. been intuitive has assessment reading. ethical no here, stand correct one not is There own. do it on their has to reader presenting savage creatures (people wild and animals) taking to creatures experiments savage presenting place in concentration camps, carried out on people with dwarfism, as in the case The the of Mengele. contemporary famous dr. Ovitz examined by family response to the “barbarism of eras” seems to be and machines, the plants, animals, exit people, from that the recognition the epoch and of Anthropocene all the “misfits” are a communityeveryone should where have the same right to exist. Daily slaughter of animals on a global scale is an event still invisible and inaudible. This applies also to forests, jungles and all ers our cut our eyes. Until down sensitivity becomes very and our cleared before green - broth more emphatic with the surrounding world, we will know nothing about the order. human-animal-plant cates cates a human being and an as animal, a humanwell as being and a machine. standards aesthetic and ethical biological, approved the from differ that Bodies monkey the mermaid, the man, alligator The animal. partially as perceived were as treated were monsters, woman beasts, These freaks. degenerated features resulted in the situations that were they often shown in circuses and open-air sim- and, nature of world the to belonged people These curiosities. as markets ilarly to “the savage” transported from Africa, exhibited in human and animal zoological gardens. Women with beards, Julia Pastrana, Marie Bartel, Saartje Baartman, giving Venus, Hottentot performances in circuses, with often tragic in the album. and history subjectivity their recover biographies, 22 controlling a society, controlling is depicted the by topic of hermaphroditism and its tragic Écrits et Dits in Foucault Michel by described Barbin Herculine exemplification: 214 pl.it | rassegna italiana di argomenti polacchi | 9 | 2018 Fig. 2. Fig. 1. h wr o dul fre mmr ad biin cmrhniiiy and comprehensibility oblivion, and memory incomprehensibility, force: track anderasure. double of work the Illustrations from thebook Honor. Bóg.Ojczyzna[Honour. God.Homeland]. Illustrations from thebookŻebro Mesjasza [TheRib of theMessiah]. 215 Agnieszka Zawadowska, Monika Rudaś-Grodzka | The Space of a Book. The Images of Words [A Polish Woman]. We thank Marta Kubiszyn for her thank her Marta Kubiszyn for We Woman]. Polka Polish [A Photographs from the from Photographs book chamber gas the of door metal the in peephole the of photo the publish to permission in Majdanek. Fig. 3.