The authoress deliberates on the post-modern origin of a phenomenon, which she describes as 'the Gardzienice prophecy' (and which she regards as extremely complex and, consequently, with rather unclear components). For the purposes of a 'Baudelairean' analysis of photographs from past Expeditions she tests the instruments created by Barthes in 'La chamber claire' (e. g. the punctum, the antidotum). On the other hand, the authoress considers the description of the road to Gardzienice from Andrzej Stasiuk's 'Mokry grudzien' (Wet December) to be the most magnificent revelation of the poetic rift. It affects the very essence of the original 'Gardzienice' visual dramaturgy, and provides more perfect expression to the essence of poetic activity, 'the passage of emptiness'. The authoress proposes this image as the theme of reflections instead of the no longer topical vision of 'Gardzienice' perceived within the context of the former political system.
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