„Aer de diamant” și „zori de rubin”. Imaginarul mineral al lui Mihai Eminescu

Author(s): Giovanni Magliocco / Language(s): Romanian Issue: 2 (26)/2017

In her essay Mihai Eminescu o dell’assoluto Rosa del Conte, reflecting on the chromatic sensibility of Mihai Eminescu, remarked that in modern literature only Charles Baudelaire could be placed next to the Romanian poet for his almost morbid passion for all glittering materials: metals, crystals, precious stones. In this contribution we propose to begin a systematic study of the Eminescian mineral imaginary by focusing our attention, this time, only on the “crystalline reveries”. By analyzing the symbolic valorizations of the crystal, considered in all the hypostases disseminated in the Eminescian texts (diamond, emerald, ruby, sapphire, pearl), we will show that for Eminescu the crystal does not represent only the image of a world in the world containing individual destiny, but also a “space-light” which, in its inorganic fixity and imperishable stability, materializes an “oneiric space-time” of eternity.

„Ale jaki to człowiek stylowy! […] zginął, aż ziemia zadrżała”. Dwa polskie samobójstwa: Wołodyjowski – Wokulski

Author(s): Dorota Samborska-Kukuć / Language(s): Polish Issue: 4/2015

There is more to the literary polemic between the author of "The Doll" and the creator of "The Trilogy" than merely Prus’ contradictory review of Sienkiewicz’s "With Fire and Sword". It also includes "The Doll’s" multifarious allusiveness to "Fire in the Steppe", manifested in particular in the meaningful, symbolic ending, whereby both protagonists blow themselves up, literally and metaphorically cornered in old buildings. Prus converses with Sienkiewicz in a discreet manner, though the careful reader will spot contentious issues. These include the struggle for a different type of protagonist – not a hero, but an individual entangled in romantic myths, paralysing their life forces; a different perception of the past, rational and fair rather than glorified and martyrological; finally, a different outlook on the present and the future, promoting entrepreneurship and economy as tools for the development of Poland as a European partner, rather than the idealistic focus on the utopian, foregone concepts of military achievements. The text highlights the similarities in the characters of Wokulski and Wołodyjowski, with special emphasis on the final scenes and the demise of the world after the protagonists’ respective disappearance. The two famous literary suicides, patterning after the deed of Ordon as depicted in Mickiewicz’s poem, have been parodied (e.g. by Mrożek) and adopted, thus becoming literary weapons in the struggle with the Polish mythopoeia, xenophobia, and exaggerated patriotism.

„Alfurkan tatarski” Piotra Czyżewskiego – opis zabytku (grafia z elementami fonetyki)

Author(s): Anetta Luto-Kamińska / Language(s): Polish Issue: 50/2015

This article discusses Alfurkan tatarski [Tartar Al Furqan] published by Piotr Czyżewski in 1617, which probably is the second expanded edition of the work. Based upon analysis of two copies of this early printing work, it presents some graphic features of the book. Phonetic and dialectal phenomena, which allow us to draw conclusions about the nature of the author’s language and its regional features, remain in close association with some of the print’s graphic elements.

„Alle Revolutionen kommen aus dem Magen“ – digital turn und sein Einfluss auf die Textsorte ‚Restaurantbewertung‘

Author(s): Karolina Waliszewska / Language(s): German Issue: 1/2018

As a result of the so-called digital revolution – or digital turn – and the increasing mediatization of our everyday culture, valuable public communication channels are created on the Internet for almost every aspect of life, including gastronomy. The aim of this article is to present the changes digitisation has brought to broadly defined restaurant criticism – no longer limited to experts and open to laypersons. Our attention is focused on the emergence of a new communication practice – the “restaurant review”, which should be seen as an independent and legitimate form of restaurant criticism. This research is based on restaurant reviews collected between July 2018 and January 2019 and published on international hotel and restaurant rating portals TripAdvisor and Yelp Inc. Qualitative analysis of the research material was carried out with MAXQDA software and systematised using discourse analysis.

„ALTWERDEN" ALS THEMENWAHL ZWEI GEGENWÄRTIGER DEUTSCHER AUTOREN VARIANTEN, MÖGLICHKEITEN, PROBLEME

Author(s): Kalina Minkova / Language(s): German Issue: 2/2010

The article deals with the theme of old age and the collision between old age and youth in the novels of Annette Pehnt and Daniel Kehlmann.

„Amerykańskie Wilno”. O przyrodniczych zamiłowaniach Tymoteusza Karpowicza

Author(s): Magdalena Kokoszka / Language(s): Polish Issue: 2 (10)/2017

The author of the article compares the writer‘s poetic and horticultural activity. She is interested in Vilnius heritage (especially that connected with Stanisław Bonifacy Jundziłł), which shaped the natural sensitivity of the poet, and the famed home garden at Oak Park (the suburbs of Chicago), or, as Ryszard Sawicki suggested, Karpowicz’s “American Wilno”. The author of the text asks about the discord between the consciously worked-out lack of sensuality of the poet‘s poems and the sensual richness of the gardener who describes his attitude to nature in interviews and letters. She also propounds the thesis that Karpowicz’s poetry can be interpreted as a conceptual escape from the garden and sensuality, from the imposing and never overstretched nature of nature, and from this perspective it may be viewed also as yet another form of Karpowicz’s “creative negation”. Karpowicz-creator breaks with referentiality embedded in a concrete, sensual experience; he shifts attention from what is found to what is potential. He does not seem to think back to the “place on Earth”; he rather actively creates its own “place in existence”. He creates it − like his “American Vilnius” – from scratch.

„Anchetatorul fals serafic”, „torționarul robot” și „torționarul fanatic”- tripla proiecție a terorii în romanul exilului eliadesc

Author(s): Mihaela Rusu / Language(s): Romanian Issue: 2/2016

In the aftermath of World War II, the Eastern European cultural space is dominated and controlled by the Stalinist ideology of the communist regime. Postwar Romania is, consequently, profoundly traumatised by the repressive apparatus of this totalitarian regime, whose quintessence was the myth of Securitate – an occult, all-powerful organisation manipulating the individual and collective consciousness.Taking advantage of his condition as an exiled writer, Mircea Eliade publishes in 1955 the novel Noaptea de Sânziene (The Forbidden Forest), a vast historical fresco of the interwar and postwar Romania, in which he infiltrates the character of the Securitate officer in a literaturised form, through the image of “the robotic tormentor”, face to face with “the fanatic tormentor”, both doubled by the image of the “deceptively seraphic investigator” who inquiries into the case of the failure defector, the philosophy teacher Petre Biriș.

„Angosta”: el miedo de todos los miedos

Author(s): Adriana Sara Jastrzębska / Language(s): Spanish Issue: 2/2016

The crime novel, which in modern literature has become a kind of a new social novel dealing with topics such as different expressions of violence, crime or corrupt societies, is hardly ever separated from its true realistic and urban Aesthetics. However, in order to build a scenario of a noir novel and convey the air of terror and threat, some authors resort to a repertoire of narrative aspects typical for a horror story, thus transforming the reality into a thriller or giving it some fantasy touch. The following article analyses the space configuration presented in “Angosta”, a novel by Colombian writer Héctor Abad Faciolince and it proposes to interpret the story as a sort of universalistic thriller in which various human fears of an era of globalism and late capitalism get together.

„Annales Budissinenses“ – nowe žórło k serbskim stawiznam zažneho nowowěka

Author(s): Madlena Malinkec / Language(s): Sorbian languages Issue: 2/2016

The “Annales Budissinenses” represent an as yet unevaluated source for Sorbian histo- riography. The chronicle, which is preserved today in the diocesan archive of the Dres- den-Meißen bishopric in Bautzen, was recorded in the 16th Century by three scribes connected to the collegiate chapter of St Petri in Bautzen. The Sorbian cleric, Jurij Hawštyn Swětlik, made a partial copy in the 18th Century. The following thematic fields of the “Annales” are relevant for Sorbian history: 1. The “Annales” contain the oldest reliably dated sentence in the Upper Sorbian language, possibly the oldest documented Sorbian sentence ever. This is contained in an entry from the year 1534, in which building works for the tower of the Petri church are described. The Sorbian civil oath of Bautzen, which up until now has been thought to originate from before the Reformation or in 1532, is now regarded as a text which originated after the Reformation, in all probability some considerable time after 1532. 2. The “Annales” contain the names of four clerics who conducted pastoral care for Sorbs in Bautzen in the 16th Century.

„Anykščių šilelio“ politekstas: autoriteto suspendavimas ar įtvirtinimas?

Author(s): Paulius V. Subačius / Language(s): Lithuanian Issue: 80/2007

Contemporary discussions of ‘whatness’ of the text refer to the problems related to the system of notation, qua a set of instructions for iterability of the text. Those theorists who question Nelson Goodman’s distinction between authographic and allographic arts and his understanding of the role played by notation, have referred to examples from the sphere of music, when the author records the same work through differently notated versions. In order to study textual ambiguities and the complications involved in different notations, one may find helpful the analysis of various versions of the poem The Forest of Anykščiai by a 19th century Lithuanian poet Antanas Baranauskas. The author has published the poem himself in Weimar in 1882, as part of the brochure Ostlitauische Texte, arranging its text into two different versions, each corresponding to a different system of notation, printed on the facing pages of the book. One of the versions represents the text of the poem in the author’s own dialect. The system of notation of the other version is a complex one: it was created by Baranauskas himself as an instruction that enables one to read the poem in every one of the eleven dialects of the Lithuanian language. The paper discusses the way in which this particular case of unique notation of a poetic text supports the concept of textual instability. In the analysed example, the fluctuation between different readings and the document itself is presupposed by the document not in an accidental, but in a fundamental way. Does the paradoxical suspension of authority in phonetics, one of the areas, testifies to the erosion of authority as a whole? Perhaps, on the contrary, it is an attempt to control at least 11 types of reading at once? It is beyond doubt, however, that Baranauskas relinquished that cultural principle according to which one dialect or the standard version predominates. Even if we parenthesise the standpoint of the author himself, we cannot but view the right-hand pages of the Ostlitauische Texte, and especially the totality of the multiple edition, as a pre-programmed polytext.

„Archaizmy” w szkole podstawowej – o metodach pracy nad językiem dawnym

Author(s): Małgorzata Chmiel / Language(s): Polish Issue: 52/2007

Preparation of students to work with old Polish in primary school is necessary because schoolchildren, from the beginning of their studies, have contact with literary works from the old epochs, and the recent research shows that they have considerable difficulties with understanding the texts. There are numerous methodological works witch do not help to introduce schoolchildren into the old texts, neither do they help the schoolchildren to comprehend them. During the methodology course in Polish my students familiarize themselves with linguistic methods of bringing pupils to understand the old texts, witch should prepare them for independent work planning with literature of the past epochs.

„Ars bene dicendi” in the service of the word test analysis on the eight Baptismal Catechesis of the saint John Chrysostomos

Author(s): Nicoleta Penel URSUȚU / Language(s): English Issue: 25/2018

In the modern age, the hermeneutics of the sacred text knows a differentiated approach, defined by the belonging to a certain school or exegetic group, researchers being more and more interested from an analytic point of view in the strong connection between history and theology, in its phenomenology. For specialized research, the interdisciplinary approach introduces new and surprising perspectives to the results, as the thematic of the Catechesis underlines not only the interest rejoiced of by the fascinating the Holy Father John Chrisostomos poetics, but also the analytic interest in their complexity, and most of all in the divine message, the historical, social and ecclesial context in which they were written. The subject of this present paper is relevant since it attempts to highlight the answer of the Church to the numerous and more and more insidious postmodernist challenges, complex and tragic through its desperate effort to limit its own disintegration, but also as a stage in a metaphorical redefinition which is beyond the scope of human knowledge.

„ARTA NEAGRĂ”: ȚARA ÎNDEPĂRTATĂ A LUI TZARA

Author(s): Vasile Spiridon / Language(s): Romanian Issue: 40/2018

According to an evolutionist hierarchy established in Europe at the end of the XIXth century, the non-Western cultures were considered to be in a ”primitive” stage of evolution. In view of this devaluating judgement, they lacked historical and existential complexity. Therefore, Tristan Tzara set out to rediscuss all the traditional values, completely erasing the existing artistic norms and ideals, directing his interests at the African continent’s art and culture. The discovery and study of the artefacts belonging to the cultures considered by the West to be barbaric and archaic represented for the creator of the Dada movement the alternative to the artistic crisis, suffocated by academic conventions. This paper will highlight the fact that the African culture was not a mere adaption of the exotic elements, but a meaningful intention of breaking the barriers of the European artistic genres and conceiving –stimulated by there far-away cultural realms- new materials, shapes and techniques for the personal creation (such as ingenuity, expansiveness and spontaneity).

„Autobiographie in der Literatur und den Künsten“. Humboldt-Kolleg an der Jagiellonen-Universität Kraków, 19.-22.10.2017

Author(s): Maja Dębska / Language(s): German Issue: 1/2017

„AUTOMOBILU NIE MA. ALE JEST ROWEREK I STARUSZEK Z ROWERKIEM”, CZYLI KILKA SŁÓW O NOCNYM CYKLIŚCIE Z UMARŁEJ KLASY TADEUSZA KANTORA

Author(s): Magdalena Skrzypczak / Language(s): Polish Publication Year: 0

PL: Nawiązując do definicji i etymologii bio-obiektu, autorka analizuje jedną z egzemplifikacji tego osobliwego tworu – postaci Staruszka z Rowerkiem. W Umarłej klasie Kantor reinterpretuje tę postać, przydając jej zabawkę z dziecinnych lat. Tekst jest próbą odpowiedzi na pytania, w jakim sensie hybrydyczna postać Staruszka z Rowerkiem jest sygnałem niemożności scalenia „resztek” przeszłości oraz czym był dla Kantora ten „potworny okaz antropologiczny”? W Umarłej klasie nocny cyklista – więzień jednego gestu – skazany jest na wieczny powrót i powtórzenie. Jaką zatem funkcję pełnią Staruszek i jego Rowerek? EN: The article makes reference to the definition and etymology of the bio-object in order to analyze one example of this peculiar creature – the character of the Old Man With a Bike. In his play The Dead Class, Kantor reinterprets this character, giving him a toy from his childhood years. The text is an attempt to answer the questions, in what sense is the hybridized form of the Old Man With a Bike a sign of the inability to merge “remnants” of the past and what did this “monstrous anthropological specimen” mean for Kantor? In The Dead Class the nocturnal cyclist – the prisoner of a single gesture – is doomed to eternal return and repetition. What therefore is the function of the Old Man and his Bike?

„Autor to właśnie ja”: Gve Flaubert, czyli pisarz-rękopis

Author(s): Yvan Leclerc / Language(s): Polish Issue: 19/2012

The article attempts to present and discuss the juvenile works of Gustave Flaubert. Though the writer never allowed these juvenile works to be published, being extremely critical of their aesthetic value, the works such as November, Memoirs of a Madman or the diary-form Cahier intime de 1840–1841 still make important texts that provide a sizeable amount of information on the writer’s literary workshop. Interestingly enough, these early works show the writer’s attachment to the manuscript (tantamount to the dislike to the written word) and the author’s tools (pen, ink and paper). These juvenile attempts, in the main autobiographical in nature, are thus penetrated by the metatext element that is a key input in providing an opportunity for a reflection on the way the text itself does exist: this element also informs us on Flaubert’s growing maturity that ultimately defined his role of a fully-fledged author. The paratext elements (epigraphs, dedications, inscriptions, dates and signatures) in his juvenile works seem to be just as important as they allow us to follow, step by step, the way to the birth of a writer-manuscript and thus a writer who gets his fulfillment and the very existence exclusively in a text of a manuscript character.

„Aż tu dostałem się w potrzask na równej drodze”. Ateologia polityczna Witolda Gombrowicza

Author(s): Piotr Sadzik / Language(s): Polish Publication Year: 0

The present article undertakes the reading of the works by Witold Gombrowicz,primarily of Ślub (The Marriage) in the context of the attempts at the critical evaluation of “political theology”, considered as a hidden structure of modernity. Attributing to the notion of “state of emergency” the role of the basic axis around which the writing of the author of Kosmos (Cosmos) continually evolves, the author of the present article thereby attempts to demonstrate that the most important feature of Gombrowicz’s world is the radical obliteration of the clear‑cut boundaries between law and lawlessness, norm and exception, etc. The work by Gombrowicz, making use, among others, of the Baroque drama matrix, in a perfect, although unconscious way, fictionalizes the theoretical remarks of Walter Benjamin fromhis The Origin of German Tragic Drama, and other polemics with the work by Carl Schmitt. Considered from this point of view, the work of the author of Ślub (The Marriage) turns out to be an endeavour to develop different modernity, i.e. such that neither seeks transcendent legitimizations, nor trusts immanent, radical disenchantment.On this basis one could also discern the trace of “postsecular” ethical moment, which seems to constantly haunt the writings of Gombrowicz. Taking into account the fact that the task of disarming the political‑theological doctrine constitutes one of the most important elements of philosophical projects of such thinkers as Giorgio Agamben, Jacques Derrida, or Roberto Esposito, the writing of Gombrowicz appears to be still a remarkably valid, fascinating, and insufficiently recognized philosophical project.

„Baczność! Przeczytać i zwrócić dla zniszczenia”. Porządki archiwum a korespondencja intymna Racheli Auerbach z czasu wojny i getta – pytania i problemy

Author(s): Karolina Szymaniak / Language(s): Polish Issue: 1/2017

The article is an attempt to answer the challenges posed to the author’s own academic writing by the intimate correspondence in Polish written by Rachel Auerbach (1899–1974) during the period of the Nazi occupation and the Warsaw Ghetto. Auerbach, a bilingual Yiddish-Polish writer and survivor historian, was one of the three surviving members of the Warsaw Ghetto underground archive. By analyzing the history of Auerbach’s personal archive and the institutional framework within which her personal documents were made available to the public—in spite of the fact that many of them were labelled: “to be destroyed,” the author asks questions about the blurred boundaries between the public and the private and about the ethics of interpretation and publication. She tries to capture the tension present in the text between the desire to destroy and erase and the need to document and salvage traces of an individual existence that gains importance with the changing conditions of the occupation and of Auerbach’s situation as a Jewish woman. These changes are also connected to changes in the model of communication inscribed in the texts, which led a series of letters to transform into an autobiographical collection, a sort of diary, and finally into a part of a public archival collection.

„Bakłażan” i „oberżyna” – pierwotne wspólne pochodzenie nazw psianki podłużnej

Author(s): Przemysław Dębowiak,Jadwiga Waniakowa / Language(s): Polish Issue: 3/2016

The article deals with the origin of two names of the eggplant (‘Solanum melongena’), commonly used in contemporary Polish: "bakłażan" and "oberżyna". A detailed study of the history of both terms in the wider context of other European languages allows for the explanation as to why they are synonymous.

„Balkansprachbund“ und „Baltoslawische Sprachgemeinschaft“ – gemeinsame Züge eines europäischen Sprachbundes?

Author(s): Helmut Wilhelm Schaller / Language(s): German Issue: 1 (15)/2012

The “Balkansprachbund” and the “Baltoslawische Sprachgemeinschaft” show some features which connect Balkan Slavic languages not only to East and West Slavic languages, but also to Baltic languages. So we find common word-building patterns with the numerals from 11 to 19 in all Slavic languages, as well as in most Balkan languages and in Latvian (but not also in Lithuanian). There is also analytic comparison in Slavic languages and Balkan languages, whereas it occurs only to a limited extent in Baltic languages. There are features that are not typical of the Balkansprachbund, but of Slavic and Baltic languages, e.g. the predicative instrumental and the genitive of negated direct objects. The vocative form is typical of Balkan languages and of most Slavic languages. The question is how these common features developed and whether they are to be regarded not only as Balkan common features, but also as “Europeisms.”