From silence to speech in the poetic writing of Raúl Zurita

Du silence à la parole dans l’écriture poétique de Raúl Zurita

Author(s): Benoît Santini / Language(s): French / Issue: 13/2014

Keywords: Raúl Zurita;Chili;poetry;dictatorship;silence;

Dans le discours poétique du Chilien Raúl Zurita (1950), le silence et le non-dit deviennent un véritable principe d’écriture; en effet, afin de dénoncer par le biais de l’implicite les actes de la Junte militaire (1973-1990), le poète met en place un véritable pacte de lecture avec le récepteur qui, une fois familiarisé avec cette écriture lyrique, parvient à en déceler le sens caché. In the poetic discourse of the Chilean writer Raúl Zurita (1950), silence and then on-said become a veritable principle of writing. In order to denounce implicitly the acts of the military Junta (1973-1990), the poet establishes a pact with the reader who, once familiarised with this lyrical writing, can uncover its hidden meaning.

Figure(s) of silence in Alessandro Baricco's Silk

Figure(s) de silence dans Soie d’Alessandro Baricco

Author(s): Marisa das Neves Henriques / Language(s): French / Issue: 13/2014

Keywords: ineffability;language;poetics of the blank;silence;voice;

Voici une réflexion autour de Soie d’Alessandro Barrico, dont le silence– stratégie littéraire constante– doit être pensé au pluriel, dans un dialogue fructueux, avec diverses dichotomies (bruit/murmure ; langage/silence ; écriture/récit). Symptôme et résultat, le silence fonctionne comme un tissu qui unit, mais sépare aussi les personnages. This is a reflection on Soie by Alessandro Barrico, in which silence – a constant literary strategy – must be thought about in the plural, and in a fruitful dialogue with diverse dichotomies (noise/ murmur; language/ silence; writing/ recital). Both symptom and result, silence functions like a fabric which unites but can also separate characters.

Silence and "instant d'éternité" in Le Vent à Djémila by Camus and in La Leçon de la Sainte Victoire by Peter Handke

Silence et « instant d’éternité » dans Le Vent à Djémila de Camus et dans La Leçon de la Sainte Victoire de Peter Handke

Author(s): Paola Paissa / Language(s): French / Issue: 13/2014

Keywords: silence;plenitude;writing;painting;oxymoron;Albert Camus;Peter Handke;

L’article compare Le Vent à Djémila de Camus et La Leçon de la Saint eVictoire de Peter Handke. La fonction du silence s’avère fondamentale chez les deux auteurs : elle est à la base de l’enseignement qu’ils tirent de l’expérience d’une sorte de voyage initiatique, culminant dans une suspension temporelleet une plénitude existentielle. This article compares Le Vent à Djémila by Camus with La Leçon de la Sainte Victoire by Peter Handke. The function of silence appears fundamental to both authors: it is at the root of what they learn from their experience of a sort of ‘journey of initiation’ which culminates in temporal suspension and existential plenitude.

Silent reader and silent landscape. The incipit of Thomas Hardy's Mayor of Casterbridge

Lecteur silencieux et paysage silencieux. L’incipit du Mayor of Casterbridge de Thomas Hardy

Author(s): Sébastian Thiltges / Language(s): English,French / Issue: 13/2014

Keywords: Thomas Hardy;Hardy; silent landscape;description;history of reading;textual space

La séquence descriptive liminaire du roman The Mayor of Casterbridge deThomas Hardy fournit une illustration de l’analogie richardienne entre « pages »et « paysages ». Loin de n’être qu’une métaphore conceptuelle,celle-ci s’inscrit bien au coeur d’un imaginaire romanesque. The descriptive preliminary sequence to The Mayor of Casterbridge by Thomas Hardy illustrates the Richardian analogy between ‘pages’ and ‘landscapes’. Far from being only a conceptual metaphor, it is central to the novelistic imagination. Keywords : Thomas Hardy, silent landscape, description, history of reading,textual space.

The mutilating silence of The White Ribbon. Mutism as the black screen of speech. (Das weisse Band, Michaël Haneke, 2008)

Le silence mutilant du Ruban blanc. Le mutisme comme écran noir de la parole (Das weisse Band, Michaël Haneke, 2008)

Author(s): Sylvain Louet / Language(s): French,German / Issue: 13/2014

Keywords: muteness;violence;perversion;ritual;experience;

Le Ruban blanc frappe par le motif dominant du mutisme, à la fois signe de la violence de cette société et son référent principal. Il est le moteur d’une autodestruction, ferment d’un avilissement de la société prête à s’engloutir dans ce qui deviendra la Première Guerre mondiale. Expérience tragique et moyen artistique, il équivaut à un écran noir de la parole. The Ruban blanc is striking for its dominant motif of muteness, at once a sign of society’s violence and its principal referent. It is the motor for self-destruction, and the catalyst for the degradation of a society about to engulf itself in what will become the First World War. A tragic experience and an artistic mode, it equates with the black screen of speech.

Excerpts from a dictionary of silence

Extraits d’un dictionnaire du silence

Author(s): José Thomaz Brum / Language(s): French / Issue: 13/2014

Keywords: silence;Maeterlinck;Rimbaud;Joubert

Cet article, construit sous la forme d’extraits d’un dictionnaire imaginaire, présente quatre visions sur le silence : celle de la Règle de Saint Benoît, celle du symboliste Maurice Maeterlinck, celle du poète Arthur Rimbaud et celle du moraliste Joseph Joubert. This article, constructed in the form of extracts from an imaginary dictionary,presents four visions of silence: that of the ‘Règle’ by Saint Benoît, that of symbolism by Maurice Maeterlinck, poetry by Rimbaud, and that of the moralist Joseph Joubert.

Notes on silence and elegiac writing (Poetic speech as wandering on principal)

Notes sur le silence et l’écriture élégiaque (La parole poétique comme errance principielle)

Author(s): Pierre Jamet / Language(s): French / Issue: 13/2014

Keywords: silence;elegy;Deleuze;wandering;nomadism

Toute littérature est expérience du langage en ses limites, en ses confins, musique, cri ou silence (Deleuze). Toute littérature est trace (litterata) de cequi (s’)est passé. L’élégieserait quant à elle un genre emblématique de la littérature elle-même, en ce qu’elle est rapport au perdu, au passé, au Jadis (selon Quignard), au néant. Mais en réalité elle donne le silence, comme la peinture donne l’invisible. All literature is the experience of language at its limits, in its confines : music, cry or silence (Deleuze). All literature is a trace (litterata) of what has passed/is past.The elegy is thus a representative genre of literature, given its rapport to the lost, past,Old Days (according to Quignard), and the void. Yet in reality, it produces silence,like painting produces the invisible.

Le Mythe des Sept Dormants, Le Journal and Les Nourritures terrestres of André Gide. A sleep approach in medical autofiction

Le Mythe des Sept Dormants, Le Journal et Les Nourritures terrestres d’André Gide. Une approche du sommeil dans l’autofiction médicale

Author(s): Sylvie Bourgouin / Language(s): French / Issue: 13/2014

Keywords: medical autofiction;sleep;polysomnography;second reality;pre-existence

Le sommeil revêt un caractère sacré chez les écrivains, où le texte préétablit dans la nuit se révèle à l’éveil. Le mythe des Sept Dormants oublié par la Bible, vénéré par le Coran, contient en son mystère la proximité du sommeil et de la mort, de l’éveil et de la résurrection. André Gide dans son Journal et Les nourritures terrestres relie les deux pensées du sommeil. Sleep is sacred to writers : the text dreamt up during the night is revealed on waking.The myth of the Seven Sleepers, forgotten by the Bible but venerated by the Koran, reveals the mysterious proximity between sleep and death, waking and resurrection. In his Journal and Les nourritures terrestres, André Gide links these two elements of sleep.

Neumes

Neumes

Author(s): Maxime Caron / Language(s): French / Issue: 13/2014

Cloud (Excerpts)

Nuage (extraits)

Author(s): Jean-Jacques Marimbert / Language(s): French / Issue: 13/2014

To speak the language of a philosopher, speaking to writers

Parler la langue d’une philosophie qui s’adresse aux écrivains

Author(s): Simona Constantinovici / Language(s): French / Issue: 13/2014

Adriana Babeti, Amazoanele – o poveste [The Amazonians – a tale], polirom, iasi, 2013

Adriana Babeti, Amazoanele – o poveste [Les Amazones – un conte], polirom, iasi, 2013

Author(s): Ilinca Ilian / Language(s): French / Issue: 13/2014

Determinants of Wojciech Żukrowski’s Prose (part II)

WYZNACZNIKI PROZY WOJCIECHA ŻUKROWSKIEGO (część II)

Author(s): Anna Wzorek / Language(s): Polish / Issue: 2/2015

Keywords: modern literature; political prose; fictional prose; sensualism;Wojciech Żukrowski;

The article discusses three main features of Żukrowski’s literary output, namely political issues, fictitiousness and sensualism. Zofia Lipińska rightly stresses that fictitiousness is the first and most important feature of literature created by Żukrowski. The author of Kamienne tablice never downgraded plots or protagonists and never fell prey to a modern multi-gloss form. He followed great realists, such as J. Iwaszkiewicz, M. Dąbrowska, J. Kawalec and W. Myśliwski. Political issues of the prose of Żukrowski is most fully revealed in Mądre zioła, Dni klęski, a short story entitled Kwasoodporni, as well as Plaża nad Styksem or a novel Kamienne tablice. At times, political elements in Zukrowski’s prose decrease its literary value. The works of the author of Lotna suffer because the writer is unable to present his opinion on important or difficult matters (e.g. the fate of the Home Army in post-war Poland, the September Campaign of 1939, distortions of socialism which led to the October breakthrough of 1956 or a political crisis in 1968). The present article argues that Żukrowski deserves to be called a writer – sensualist.

The tangled ways of assimilation and the Polish dream of independence on the basis of Roman Polański's autobiography "Roman"

POWIKŁANE DROGI ASYMILACJI A POLSKI SEN O NIEZALEŻNOŚCI NA PRZYKŁADZIE AUTOBIOGRAFII ROMANA POLAŃSKIEGO ROMAN

Author(s): Patrycja Nosiadek / Language(s): Polish / Issue: 2/2015

Keywords: assimilation; identity; American dream; autobiography

Assimilation is a complicated process which all immigrants try to undergo successfully in a foreign unknown country. They have to face new reality, fight for their identity and cross the cultural, historical and language borders. This difficult process is related to personal qualities and inner strength which defines their existence within a new reality. Roman Polański, a worldwide known director and the author of an autobiography, becomes an example of a Polish immigrant who unravels his trials of finding a place in the United States of America.

Being in-between - the Ontology of Newcomer (Wojciech Nowicki's Salki)

O SYTUACJI BYCIA POMIĘDZY - ONTOLOGIA PRZYCHODŹCY (NA PRZYKŁADZIE SALEK WOJCIECHA NOWICKIEGO)

Author(s): Kinga Siewior / Language(s): Polish / Issue: 2/2015

Keywords: Recovered Territories; migration; belonging; Wojciech Nowicki; Edward Said;

In the first part of the article the author presents: (1) a few crucial anthropological concept’s connected with the the problem of the migration experience such as „being between” (Edward Said’s idea of the contrapunctual identity) or „non-belonging”, migrant’s nostalgy, etc; (2) crucial historical information about the so-called „Recovered Territories” and the Polish experience of resettlement, in particular its traumatic aspects connected with the problem of the cenzorship and socialist politics of memory. The subcejct of the second part of article is the story Salki by Wojciech Nowicki. In this book the author tried to show the migration’s condition of his family in the perspective of so-called „postmemory”, the article is the intepretation of crucial figure’s of „non-belonging” presents in Nowicki’s book.

Between Rashi and Thomas à Kempis: Aleksander Wat Known and Unknown

MIĘDZY RASZIM A TOMASZEM Z KEMPIS: ALEKSANDER WAT SWÓJ I OBCY

Author(s): Michala Benešová / Language(s): Polish / Issue: 2/2015

Keywords: Aleksander Wat; Jewish religiosity; Christianity; kabbalah; sacrum; intertextuality; literary hermeneutics;Polish poetry;

This text is an attempt to trace up some signs of Jewish and Christian religiosity in the poetry of Aleksander Wat concentrating on mystic structures and emblems deep-rooted in Jewish religious, mystic tradition and also on some Christian motives, for example the figure of Jesus Christ. We deal mainly with the Jewish roots and circumstances of Watʼs poetic and itʼs relationship with sacrum, with a kind of intertextual dialogue with many cultural symbols and concepts associated with Jewish mystique or the Christian tradition.

Jáchym Topol – his own and strange

SVŮJ I CIZÍ JÁCHYM TOPOL

Author(s): Ivo Říha / Language(s): Czech / Issue: 2/2015

Keywords: Czech and European literature of the nineties; contemporary Czech prose; contemporary European prose; critical reception of contemporary prose

The article offers a picture of how the reflection of Jáchym Topol´s work developed during the last twenty years. Ivo Říha focuses on the Czech literary and linguistic discourse while taking into account essays written by foreign authors, as well. He proceeds chronologically from the first half of the 1990s (the beginning of Topol´s career as a novelist) to the present. He tries to reflect various fundamental aspects that are explored by Czech and foreign bohemists. In a comparison of Czech and foreign reception of Topol´s works, the author concludes (inter alia) that if there is any visible difference between domestic and foreign professional reception of Topol´s works, then it lies in the fact that foreign literary scholars and linguists are much more considering the author's work as a whole – and / or they are trying to view it in a geographically broader context. On this count Ivo Říha emphasizes the importance of the text by Katharina Raabe „Když se zvedla mlha“ (When the fog lifted) – as well as other texts. Ivo Riha based the preparation of this study on his own work on the book Open Wounds. Selected Studies on Jáchym Topol´s Work (Torst, Praha 2013).

Constant filiation or „damnatio memoriae”. The many forms of memory in Magdaléna Platzová’s Aaronův skok

NIEUSTANNA FILIACJA CZY „DAMNATIO MEMORIAE”. FORMY PAMIĘCI W POWIEŚCI MAGDALÉNY PLATZOVEJ AARONŮV SKOK

Author(s): Dorota Żygadło-Czopnik / Language(s): Polish / Issue: 2/2015

Keywords: Magdaléna Platzová; history; memory; post-memory; recollection; witness; identity

The subject of this analysis is a novel written by the Czech writer, Magdaléna Platzova (b. 1972), who belongs not to the second, but already to the third post-Holocaust generation. The author makes an attempt to touch upon the issues of identity and memory in the context of the Holocaust experience from witness’ point of view. The goal of this article is to present the history of the family and friendship of the octogenarian Kristýna Hládkova, one of the three protagonists in Magdaléna Platzova’s novel, Aaronův skok (2006), which is particularly interesting to us as an example of an area, where history and memory intertwine and influence each other.

Two novels – one subject: Jaroslav Durych’s Boží duha and Vladimír Körner’s Adelheid

DWIE NOWELE - JEDEN TEMAT: BOŽÍ DUHA JAROSLAVA DURYCHA I ADELHEID VLADIMÍRA KÖRNERA

Author(s): Aleksandra Pająk / Language(s): Polish / Issue: 2/2015

Keywords: categories of strangeness/familiarity; Czech-German relations; contemporary prose; Jaroslav Durych; Vladimír Körner

Jacques Le Goff’s thesis (from his recent book entitled History and Memory), which joins eventful history of our epoch with the sensitivity to differences, multiplicity of cultures and to others, became a starting point of the article devoted to the introduction of two novels - Jaroslav Durych’s Boží duha and Vladimír Körner’s Adelheid. The author, referring to this ascertainment as well as to the reflections of German phenomenologist Bernard Waldenfels, follows various writing strategies in the texts, at first sight linked by almost everything: subject, genre and publication time. Only deep analysis of both works allowed to notice two different approaches to complicated Czech – German relations in the period following the expulsions. Durych, one of the first prose-writers who had approached this subject already in the 50s, does not expose traces of otherness, avoiding, for instance, linguistic differentiation of his nameless characters. It makes the nature of the text more universal similarly to an allegory about wine and forgiveness. On the contrary, Körner, approaching the same subject of the encounter of Czech man with German woman, underlines various origins of his characters through naming them and through referring to different literary tradition. Also different course of events makes Adelheid a text about the impossibility to reconcile two various nationalities which history condemned to coexist.

To be “in between”. On Renata Putzlacher’s work

BÝT „MEZI“. NAD DÍLEM RENATY PUTZLACHER

Author(s): Libor Martinek / Language(s): Czech / Issue: 2/2015

Keywords: Renata Putzlacher; poetry; essays; drama texts; Polish literature; Czech literature; style; literary relations; peripheral phenomena; borders; values; authenticity

Renata Putzlacher (15 June 1966, Karviná, Czech Republic) studied at a Polish grammar school in Český Těšín and went on to earn a degree in Polish Studies at Jagiellonian University in Krakow. Till 1997 she worked as a literary manager of the Polish scene of the Těšín theatre. She represents a generation affected by the moral and political crisis of the 1980. At the start of her literary career, Renata Putzlacher lived on the periphery, on the margin, with “margin” being often understood as something that does not take part in the creation of values. This article argues that Putzlacher’s collections of poetry, drama texts as well as her essays reveal the “margin” as something that generally supplements the cultural context and – in a deeper sense – forms an alternative to the predominant and preferred centre, as something that disrupts “self-evident” truths, thus helping to preserve the authenticity of writing. The style-oriented reading of Putzlacher’s work illuminates some time-bound literary relations and expressions, points to peripheral phenomena and relativizing margins and borders which should be taken into account by literary critics.