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Piotr Kubiński Mariusz Pisarski Tomasz Umerle Barrett Watten Elżbieta Winiecka spring/summer 2016 POETICS AS MEDIUM Poetics is the message, to paraphrase Marshall McLuhan, being transmitted in our time from all media of literature. spring/summer 2016 Editor in Chief Prof., PhD Tomasz Mizerkiewicz introdution Editorial Board Prof., PhD Tomasz Mizerkiewicz, Prof., PhD Ewa Kraskowska, Prof., PhD Joanna Grądziel-Wójcik, PhD Agnieszka Kwiatkowska, PhD Ewa Rajewska, PhD Paweł Graf, PhD Lucyna Marzec theories PhD Wojciech Wielopolski, PhD Joanna Krajewska, MA Cezary Rosiński, MA Agata Rosochacka Publishing Editors PhD Joanna Krajewska MA Agata Rosochacka Linguistic Editors MA Cezary Rosiński – Polish version PhD Timothy WIlliams – English version Scientific Council Prof., PhD Edward Balcerzan (Adam Mickiewicz University in Poznan, Poland) Prof., PhD Andrea Ceccherelli (University of Bologna, Italy) Prof., PhD Adam Dziadek (University of Silesia, Poland) Prof., PhD Mary Gallagher (University College Dublin, Irealnd) Prof., PhD Hans Ulrich Gumbrecht (Stanford University, United States) Prof., PhD Inga Iwasiów (University of Szczecin, Poland) Prof., PhD Anna Łebkowska (Jagiellonian University, Poland) Prof., PhD Jahan Ramazani (University of Virginia, United States) Proofreaders: MA Justyna Knieć – Polish version Thomas Anessi – English version Assistant Editor: Gerard Ronge Cover and logos design: Patrycja Łukomska Editorial Office: 61-701 Poznań, ul. Fredry 10 Editor: Faculty of Polish and Classical Philology, Adam Mickiewicz University in Poznan, Poland „Forum Poetyki | Forum of Poetics” spring 2016 (4-5) year II | ISSN 2451-1404 © Copyright by „Forum Poetyki | Forum of Poetics”, Poznań 2016 Editors do not return unused materials, reserve rights to shortening articles and changing proposed titles. [email protected] | fp.amu.edu.pl SPIS TREśCI introdution Poetics as Medium | p. 4 theories Mariusz Pisarski, Time and Code in the Poetry of John Cayley and the Poets of Rozdzielczość Chleba | p. 6 Piotr Kubiński, Toward a Poetics of Video Games | p. 20 Elżbieta Winiecka, The Literariness on the Net, and the Functioning of Literariness Online. Perspectives for Research | p. 32 practices Barbara Kulesza-Gulczyńska, Facetiae on Facebook – A Case Study | p. 48 Tomasz Z. Majkowski, From the XCOM Archive: How to defeat the Aliens and Stay Sane | p. 60 Maja Staśko, Dycio Generator. On the Variational Tendencies of Eugeniusz Tkaczyszyn-Dycki’s Poetry | p. 70 Wiktoria Tuńska, What Do We Do with Poetics? – A Student’s Perspective | p. 84 poetics Tomasz Umerle, Fan-Fiction | p. 94 dictionary Aleksandra Szymił, Spoken-word poetry | p. 104 poetics Dariusz Pawelec, Edward Balcerzan’s Multimedia Theory of Genres. archive Its Conditions and Perspective | p. 112 critics Tomasz Mizerkiewicz, Sandy Baldwin’s The Internet Unconscious and Theories of the Unconscious in Electronic Writing | p. 118 4 spring/summer 2016 Poetics as Medium The literature of recent decades has opened up new perspectives for poetics. Writing has spontane- ously moved in unison with cultural transformations in the direction of increasing multimediality, digitalization, and virtualization. Barrett Watten, in an important article written several years ago, described the way the field of poetics is expanding to encompass new dimensions in works of e-liter- ature. But beside the newest types of electronic literary works, we have also seen a renewal of forms of spoken poetry; new genres are developing on the Internet, the creators of video games frequently speak of their works’ affinities with literature, and it is even possible to encounter such views as that of Sandy Baldwin, that everything written online presents a chance to recreate what literature is. Poetics undoubtedly bears witness to and engages with this literary revolution in new media. And as in every literary upheaval, this new literature draws, with a greater or lesser degree of transparency, on a knowledge of previous literature, but simultaneously poses questions to its predecessor that oth- erwise would never have arisen. In point of fact, both literary worlds, that of more traditional media and that of new media, often coexist in joyful harmony and learn much from and about each other through these intimate relationships. Knowledge about the poetics of works in traditional media (including those produced in the contemporary era) functions in this case in constant confrontation with knowledge about the poetics of works that participate in new media contexts. By the same to- ken, the most important contemporary task of poetics is mediation between the two spheres. Poetics has become a medium that brings together, in dialogue, literature from different media and types of knowledge about literature that intersect across those media. The authors of the articles in this issue of Forum of Poetics attempt to describe the extraordi- narily fascinating and wide range of contemporary poetics as a medium. Mariusz Pisarski relates the process by which today’s poetics have managed, with relative quickness and ease, to assimilate hypertext works, and reveals the more difficult tasks and more uncomfortable questions posed to poetics by recent works of e-literature understood as programming processes. Poetics here become introduction | Poetics as Medium 5 interwoven in an astonishingly compelling fashion with the world of video games, allowing for the unexpected fruition of the metaphor of interactivity; alongside the well-known phenomenon of audience immersion, Piotr Kubiński observes its opposite – emersion, and Tomasz Z. Majkowski notes the expansion of narratology’s field of study. For the study of genres, the criteria by which original literary genres are established become a new cognitive puzzle, particularly since some of them postulate the study of historical themes in a new media context and use conventions of older literary forms in the process (Barbara Kulesza-Gulczyńska). Some genres of internet litera- ture have, despite their young age, developed so extensively that their analysis already constitutes a separate branch of poetological study, as demonstrated here by the case of fan fiction (Tomasz Umerle). At the same time, there is a heightened need for a revival of oral poetry, reminiscent of the former dominance of the vocal medium in poetic expression; poetry is now often presented as a kind of performance, where orality and theatricality are joined with a poetry that observes hitherto unknown rules (Aleksandra Szymił). This leads unavoidably, as I mentioned earlier, to a revised reading of literature published in traditional book or poem form, as an interpretation of Eugeniusz Tkaczyszyn-Dycki’s poetry as a form of new media literature shows (Maja Staśko). It therefore is not surprising that there is a need to discuss the relevance of Edward Balcerzan’s proposal for a multimedia theory of genres, as it has more to say with each passing year (Dariusz Pawelec). The approach to teaching poetics at universities is also undergoing changes (Wiktoria Tuńska). Sandy Baldwin, with his fervently discussed concept of the literariness of the entire In- ternet, arrives at the most radical conclusions regarding the transformations referred to above (Elżbieta Winiecka, Tomasz Mizerkiewicz). Observing the flow of poetological knowledge among different spheres of literary and paraliterary creation, varying wildly in terms of the media they use, leads us to define the new condition of poet- ics as that of a medium. Poetics is the message, to paraphrase Marshall McLuhan, being transmitted in our time from all media of literature. 6 spring/summer 2016 Poetics in Action. Time and Code in the Poetry of John Cayley and the Poets of Rozdzielczość Chleba Mariusz Pisarski Appeals for an expanded poetics, heard in the past decade in discussions of contemporary textuality, always promising a renaissance for poetics and its preoccupations, are quick to find a sympathetic response. Who among literary scholars, a privileged crew in the 20th cen- tury due to the position of language and textual problems at the centre of cultural studies, would not wish to hold onto that strong hand in the 21st, after the performative1 and digital “turns”?2 Should we not ask, however, which poetics we are expanding? For Barrett Watten, poetics is a writing genre;3 in the Polish and European contexts, it is treated as a discipline. Between these two poles there is a middle way, whose adepts find poetics in each method and every possible feature of language adaptable for rhetorical or aesthetic purposes. In this article, I will argue that we should also consider the act of programming a literary work for aesthetic, cognitive and meta-reflexive purposes to be a form of poetics. 1 E. Domańska, “Zwrot performatywny we współczesnej humanistyce” (The Performative Turn in the Contemporary Humanities), Teksty Drugie 2007, no. 5, 48-61. 2 M. Meryl, “F5: Odświeżanie filologii” (F5: The Renewal of Philology), Teksty Drugie 2014, no. 2, 9-20. 3 B. Watten, “Poetics in the Expanded Field: Textual, Visual, Digital . .,” in: New Media Poetics. Contexts, Technotexts and Theories, ed. A. Morris, T. Swiss, Cambridge: MIT Press, 2006. theories | Mariusz Pisarski, Poetics in Action 7 From the perspective of the theory and practice of electronic literature, disciplines which developed as cultural consequences of the computer and internet revolution,4 the first point of view – of poetics as a kind of writing treating as its object the methods and means of ar- tistic production

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