Two intriguing Latin words, fabrica and officina often enter an intimate, grammatical relationship with the notion dear to any philologist, a well-known lexeme – litteraria. Scholars focusing on the European renaissance – perhaps the last epoch believing in the practical aspect of art – are well acquainted with this phraseological alliance, which conjoins two seemingly incompatible cultural elements: the power of practical manufacturing and the force of selfless creation. Language becomes here the tool of an agreement – it combines independent worlds, or proud kingdoms that usually fail to notice one another and thus remain separate, with their backs turned on each other.
The mentioned words, found in the title of this journal, point to Fabrica’s scholarly route, directed at seeking the potential to modernise thinking and the essence of productive modernity that entirely changes the humanist’s toolbox in literary (but also artistic) works. Even though this field seems to be defined precisely (the intersections and borderlands of Polish and Italian literatures and cultures), we are particularly interested in the comparative aspect and moment of the research process. We are thus interested in all the situations that reveal their transmedia character and belong to inseparable, “parallel” – to use Henry Remake’s words – “spheres of humanist expression.” After all, contextual studies remain the mandatory requirement of the modern humanities.
The formal structure of the journal comprises obligatory, permanent and cyclical sections and those occurring irregularly. The first group includes Articles and Studies and Varia, while the other – Translations, Presentations, Chronicle, and Discussions, Overviews, and Commentaries. Each volume – in the Articles and Studies section – will be devoted to a singular, meticulously defined research problem.
The primary (referential) version of the journal is its Internet version.
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2026-03-13
“Music is invaluable as the ultimate
means for awakening our zeal, a power that draws the mind
trained for its effects forward and
upward. But literature must precede it. By itself, music cannot
draw the world forward. By itself, music is dangerous”.
Thomas Mann, The Magic Mountain
“True music leads to intellectual and spiritual ecstasy,
even if it is an ecstasy born of harmonic tension”.
Arnold Schönberg, Letters and Essays of Music, 1910–1930
The project initiated here attempts to replace monumental pathos with ecstatic fields of joy and enthusiasm. Ecstasy in music reverses the melancholic gravity of sounds towards frenetic illuminations, transgressive, profound meanings. The reverse of "essential music" is not "inessential music", but "ecstatically moving" music, emanating a radiant sense of sound-in-the-world.
An analysis of the forms and varieties of “music ecstasy” reveals their structural heterogeneity. Sonoristic ecstasies, based on sonic masses and statics, construct sonic spaces whose density or monotonic stability evokes a sense of timelessness and disembodiment. Rhythmic ecstasies employ modality and the repetition of pulsations to lead, through structural trance, to a reorganization of temporal perception. Melodic, harmonic, and vocal ecstasies, in turn, are constituted by culminating directional vectors — tensions leading toward epiphanies, illuminations, and sacred moments of revelation.
In rock music, and more broadly in the idioms of popular music, these strategies undergo further transformations: from Dionysian fury and expressionist chaos to reductive micrologies of silence, in which "going beyond oneself" takes the form of intense introspection. Concert performance and communal reception amplify this potential: ecstasy becomes not only a compositional effect but also a somato-aesthetic event in which the listener's body co-creates the musical meaning.
Understood in this way, "ecstasies in music" are not a purely metaphorical category, but an analytical tool for capturing the dynamic relationships between sonic structure, cultural context, and the listener's experience. Their enumerative overview reveals the multiplicity of trajectories through which music—regardless of genre—realizes its transgressive, phenomenological, and ontological potential, thus contributing to a long tradition of research on transgression as a constitutive dimension of art.
Moreover, our research interests are not limited to musicologists and university-affiliated artists (such as virtuosos and instrumentalists). We also welcome articles by literary and cultural scholars, as well as researchers from other disciplines interested in the ecstatic experience across different "music worlds". These contributions range from early music classics, opera projects, and grand symphonies to rock experiments like King Crimson and the extravagances of techno/house/electro/rave (EDM).
The editorial team doesn’t charge a fee for the publication of an article. The texts featured in our journal are available in open access. Here is the website address:
https://journals.us.edu.pl/index.php/flit/index
If you are interested in the project, please confirm your application immediately and submit a preliminary topic proposal. We are expecting finished articles until September 15th 2027. Suggested length of the text: up to 15 pages (including bibliography). Papers can be submitted in Polish, Italian or English. Article proposals should be registered on the Open Journal System platform of the University od Silesia in Katowice. In case of any questions or concerns about the text submission process – please contact us at: fabricalitterarum@gmail.com
Scientific Editors of the Issue –
Arianna Savall (Zurich University of the Arts)
Agnieszki Budzińska-Bennet (Schola Cantorum Basiliensis)
Vittorio Ghielmi (Mozarteum University Salzburg)
Petter Udland Johansen (Hirundo Maris)
Ireneusz Gielata (University of Silesia in Katowice)
Mariusz Jochemczyk (University of Silesia in Katowice)
Miłosz Piotrowiak (University of Silesia in Katowice)
Artur Malke (All'Improvviso International Festival)
2025-07-08
As the Editorial Board, we hereby announce that the CFPs for the forthcoming issues of our journal have been published, and we are looking forward to receiving your submissions. We are accepting articles in Polish, Italian, and English. We kindly invite you to join our project and contribute to the issues listed below.
No. 2(10) (2025)
Published: 2025-10-31
10.31261/FLPI
20
Język Polski
English
Italiano
212