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Die Arbeit behandelt Brechts künstlerische Beziehung zur Schweiz nach seinem amerikanischen Exil. In der Schweiz werden fünf große Stücke von Brecht gespielt, die vom Publikum und von der Kritik zwiespältig aufgenommen werden. Als Brecht einsieht, dass er in der Schweiz keine Heimat finden würde, geht er 1949 notgedrungen nach Ostberlin. Der Schweizer Schriftsteller Max Frisch, ein ehemaliger Brecht Schüler, wird die künstlerische Begegnung mit Brecht in seinen Tagebüchern verewigen. Darauf wird in dieser Arbeit auch eingegangen.
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A purpose of the article is to provide characteristics of comparisons appearing in Juliusz Słowacki’s poems exemplified by the constructions where comparans refers to the world of animals. Lexical material has been excerpted from eleven works written by J. Słowacki in the pre-mystic period. They include the following poems: Arab, Beniowski (songs I–V), Jan Bielecki, Lambro, Mnich, Ojciec zadżumionych, Podróż do Ziemi Świętej z Neapolu, Poema Piasta Dantyszka,Wacław, W Szwajcarii and Żmija. Non-gradation comparative structures possessing standard comparison indicators have been analyzed. The article mainly focused on: 1) discussing a formal shape of studied constructions, 2) semantic classification of comparans contained in comparisons referring us to the animal kingdom, 3) emphasizing multitude of “animal” lexis connotations used by the poet, 4) discussing basic subject areas the excerpted comparisons belong to with regard to the meaning of a descriptive chunk, and 5) the most important functions of these clues. It has been established that the analyzed comparative constructions have an explicitly anthropocentric character since they, most of all, serve a suggestive illustration of a human’s psycho-physical condition.
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The article concerns the occurrences of the lexeme soul in contemporary Polish poetry. Due to the extensive amount of material available for analysis, it concentrates on volumes that were awarded or nominated in the selected Polish poetry contests in 2010–2015 (Wisława Szymborska Award, “Nike” Literary Award, “Silesius” Wrocław Poetry Award, Kościelscy Award, “Orfeusz” K. I. Gałczyński Poetry Award, “Gdynia” Literary Prize and “Złoty Środek Poezji” Award). The article presents the contexts of occurrence of the lexeme dusza (soul), as well as the related lexemes duch (spirit) and duszyczka (small soul – animula), it characterizes the term in relation to its both religious and non-religious aspects, and shows what functions it serves in poetic texts.
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The author of this article reflects upon the ways of creation of the world in Polishrural prose, which enforce bodily activity on the narrators and characters. What is analysed is the relation between everyday agricultural handwork – organising the plot of the pieces – and its preservation in the narration. The description includes the structures that make it possible for the writers to interlace the work of hands with the work of language when weaving the action, the events, and the story. The author also makes remarks on the axiological character of handcraft, fist fight, and the motif of a hand as inherent elements involved in the world creation that define rural prose, with a special emphasis on the works by Stanisław Czernik, Tadeusz Nowak, and Wiesław Myśliwski.
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The term ‘genius’ induces to fictionalize the special person, who is considered to be a ‘genius’. As a consequence, it is often difficult to distinguish between fiction and truth. Therefore ‘genius’ is often used as a tool to convince somebody of a specific idea in literature. This thought pattern of ‘genius’ is formative since the 1700s until today. In these premises the English poet William Shakespeare is an incisive example: he is fictionalized as a ‘genius’ for the purpose of idealization and stylization or to analyze contemporary issues in Herder’s (1773) and Friedell’s (1911) essays about Shakespeare. Herder utilizes Shakespeare for his poetological scheme to underscore a new and progressive type of poet in the epoch of Sturm und Drang. Friedell tries to exemplify by reference to Shakespeare an entire era in contradistinction to his present age at the beginning of the 20th century.
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The conversation with one of the most distinguished researchers of the world literature sheds light on both his personal approach to the notion and the place of the world literature in today’s comparative studies. The world literature’s relation to the literary canon, to the changing concepts of center and periphery and to the readers’ personal taste is also being explored.
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The theme of this paper is Aleksader Fredro’s Husband and wife – one of the most valued performances in the works of Bohdan Korzeniewski. The author reconstructs the actual performance based on reviews, director comments and remarks preserved in the prompter’s copy and proves that superimposing these perspectives shows the emancipatory potential of stage play. The author concludes that interpreting Husband and wife in a libertine spirit matches Korzeniewski’s directing strategy which can be described as Wallenrodic.
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The article presents Tzveta Sofronieva, who was born in Bulgaria and who writes in German, Bulgarian and English, and her collection of short stories „Diese Stadt kann auch weiß sein” that was published in 2010 by Hans Schiler Publishing House. The collection consists of 15 short stories published in the period 1995–2010 in a number of German editions. Most of the texts were inspired by the author’s memories and experiences in Bulgaria that draw parallels between the own self and otherness in search of identity.
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The foundations of the current study are the documents from the archive of the Committee for disclosing the documents and announcing affiliation of Bulgarian citizens to the State Security and the intelligence services of the Bulgarian National Army. It discusses facts about the Criminal case №8 of the Sofia city court`s 1974 docket, so called Solzhenitsyn`s case. Analyzing discourse structure using lexical cohesion of the various type of texts, such as prosecutor`s speech, the expertise assigned to three staff philosophers and the defense counsel’s pleadings, the author is trying the build a basic memory for events and facts tightly connected to the history of the Russian emigration in Bulgaria.
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The present article is a textual‑perspective interpretation of the novel Sońka by Ignacy Karpowicz, a multiple finalist in the Nike Literary Award competition. The aforementioned literary work evokes three, seemingly mutually exclusive, text types – literarygenres and their aspects, but also various kinds of artistic expression, including drama,dramatic performance or imaging techniques referring to a different medium (film).This renders the final work which transcends the limitations imposed on literature, astonishing with its multidimensionality and polyphony of forms, and requires a holistic analysis that takes into account a wide spectrum of means of expression together with their contexts. The aforementioned artistic strategy has been employed in the most recent work of the writer – Sońka (2015). The aim of the article is therefore to indicate the textual elements which have allowed Karpowicz to achieve the effect of text hybridity, combining distinct artistic worlds in a single work. The observations refer to textology instrumentation, including the research perspective that emphasizes the problem of intertextuality.
More...![„[...] Едно пътуване [...], което не бе завръщане“ За структурата на паметта в „Гласовете от Маракеш“ (1967) на Елиас Канети](/api/image/getissuecoverimage?id=picture_2018_41011.jpg)
Die Stimmen von Marrakesch (1967) is one of the characteristic texts produced by Bulgarian-born Austrian writer and Nobel prize winner Elias Canetti. On the one hand, his Aufzeichnungen nach einer Reise (A Record of a Visit) lays the foundations of the aphoristic style of his multi-volume “records”, and, on the other hand, is imbedded in the European tradition of travel writing as a genre dedicated to memoir culture. The paper traces the rhetoric of memory as a narrative principle, unifying the impressions of the traveller as a by-standing observer of the real journey, his reflections on the stories further developed in his imagination and his rhetorical devices for the articulation of universal human ideas.
More...![„[…] mała apologia pro domo sua […]”. O Domu na Rozdrożu Ewy Bieńkowskiej](/api/image/getissuecoverimage?id=picture_2013_28084.jpg)
The article is about Dom na Rozdrożu by Ewa Bieńkowska and concerns problems with contemporary female autobiography written ‘inside family.’ The author of the article interprets this flashback narration, which is actually autobiographical essay, by posing questions about such issues as: family relations – especially cultural and social discourses of female family connections – also individualism, subjectivity, emancipation and experiences of performing family members as well as in private space.
More...![„[…] nec si rationem siderum ignoret, poetas intellegat [...]”, czyli czy poeci znali astrologię?](/api/image/getissuecoverimage?id=picture_2015_27578.jpg)
This article aims to demonstrate – using selected examples of English Medieval poetry as well as Polish Renaissance and Baroque works – the way poets applied their knowledge of astrology, which modern researchers define as metaphor. Astrology, the study of the geocentric Cosmos, today a historical science, was ultimately formulated in Ptolemy’s time. As one of the seven liberal arts (septem artes liberales) it constituted the basis of education from late Antiquity to Medieval universities, surviving until as late as the 18th century. The literary works produced from ancient times till the modern era, whose authors use their knowledge of astrology, can be divided into three groups. The first includes the works which in rhymed form convey the knowledge of the Cosmos, for example, the Phaenomena of Aratos of Soloi, Aratea by Cicero, by his brother Quintus, by Germanicus and by Avienus as well as the lost Aratea of Ovid, Hyginus’s De astronomia, the poem Astronomicon of Marcus Manilius, and also Keter Malkhut written by the Andalusian Jew Solomon ibn Gabriol, known as Avicebron. Ovid’s Fasti and Metamorphoses belong to the second group in which the knowledge of astrology is accompanied by the mythological prototypes, that is, Greek gods and heroes, of planets and constellations and also by explanations of mythological stories in relation to the appearance above and disappearance below the horizon of the celestial bodies which bear their names; there, too, we find the system of calendar holidays and annual rites. The planets and constellations in these works are the Greek gods and heroes “transferred onto the sky” as a reward for their service and virtues on earth (Greek katasterismos). The third group embraces writings in which the structure of the Cosmos itself has become the basis for composing a poem. They are defined as stories embedded in a Chinese box structure. The characters and their tales form chains linked in imitation of astrological treatises, each chain opening with a planet or a sign of the zodiac. The precursor of such stories was an Andalusian Jew, Pedro Alfonso of Huesca, who was baptised in 1106 and subsequently resided at the court of Henry I in London, where he wrote his Disciplina clericalis. In this group of Medieval writings the most famous are The Canterbury Tales by Geoffrey Chaucer and Boccaccio’s Decameron. The knowledge of the Cosmos is also reflected in such works as Sir Gawain and the Green Knight, the Arthurian tales, including the celebrated quest for the Grail, Le Roman de la Rose, and naturally Dante’s Divine Comedy and Milton’s Paradise Lost. In each of these groups the static spherical Earth is the central point of the Cosmos, around which there rotate seven planets and the sphere of the fixed stars, or Greek constellations; movement to them all is imparted by the Primum Mobile, in the Middle Ages identified with God the Father. The Cosmos is built of four elements which have their equivalents in the form of the four humours in the human body, four temperaments, etc. In its annual travel the Sun moves across the twelve constellations, that is, the twelve signs of the zodiac. In the development of Polish poetry on this subject an important role was played by Jan Kochanowski, who translated the Phaenomena of Aratos of Soloi, adding an invocation to God. In Mikołaj Rej’s Life of an Honourable Man, a poem modelled on the Zodiacus Vitae by Palingenius, we find an invocation to Divine Providence. Naturally, Ovid’s Metamorphoses were known to the Polish poets of the 16th and 17th centuries, such as Kasper Miaskowski, Mikołaj Wolski, Jan Gawiński, Zbigniew Morsztyn, Wacław Potocki, Wespazjan Kochowski, Wojciech Stanisław Chrościński, who translated Lucan’s Pharsalia into Polish, and Stanisław Słupski. In astrological treatises the planets and zodiacal signs formed chains of mnemonic associations, this additionally finding reflection in rhetorical dissertations, for instance, in one written by Kazimierz Jan Woysznarowicz. Man’s interest in the sky has accompanied him ever since he assumed an upright position and saw what was above his head. The Old Babylonian stories about Gilgamesh, about Gilgamesh and the Bull of Heaven in particular, as well as cosmological references in the Bible, the Egyptians’ practical knowledge based on the observation of the sky, the knowledge of the sky viewed from a philosophical perspective by the Greeks – from Plato, Aristotle and the philosophers of late Platonism onwards – and the Apocalypse of St John are incessant returns to this subject. The place where Christian, Muslim, and Judaic cosmological thought converged was Andalusia from the 10th to 13th centuries. That the catechumens in the 4th century knew more about the Cosmos than about the new Christian religion is testified by the sermons preached to them by St Zeno of Verona, who for mnemonic purposes assigned the figures of Christ, Mother of God, and the apostles to the signs of the zodiac. It was on the basis of cosmological knowledge that Pseudo-Dionysius the Areopagite wrote his works. The influence of the late-Platonic philosophy of Plotinus and Proclus as well as references made to the writings of the mythical Hermes Trismegistus found response in medieval mysticism, and the Cosmos became a subject for contemplation. This is best testified by the writings of Hildegard of Bingen and of the blessed Jan van Ruusbroec, the latter being a precursor of devotio moderna. Pierre d’Ailly in his Advent sermons preached from 1385 and also Jan Szczekna, confessor to Queen Hedvige (Jadwiga), wife of Ladislas Jagiello, referred directly to the Chaldeans, who were believed to be the earliest representatives of astrology. Fascination for the Cosmos did not end in the Middle Ages, but has accompanied the mystic trends within the three main religions and a variety of sects up until our times – witness the New Age of Aquarius.
More...![„[D]ie Erinnerung [ist] das Einzige […], was uns aus dem Paradies der Gegenwart vertreibt.”](/api/image/getissuecoverimage?id=picture_2016_28494.jpg)
Zu Aushandlungsprozessen von Vergangenheit in der Gegenwart der dritten Post-Shoah-Generation: Ramona Ambs Die radioaktive Marmelade meiner Grossmutter (2013) und Channah Trzebiner Die Enkelin (2013)
This paper provides an analysis of two novels of Ramona Ambs i Channah Trzebiner, representatives of the third generation after the Shoah. Both novels expound on issues related to the conflict-prone process of transmitting the memory of the Shoah to the contemporary context of the 21st-century reality. The works of these two young German-Jewish writers reflect the complicated and tensioned borderline situation of the young generation. With the declining number of those who have directly witnessed the Holocaust it seems necessary again to redefine their identity and to find new ways of dealing with memory.
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Books review: 1: Дора. Фрагмент от анализата на един случай на хистерия. Превод от немски Теодора Карамелска. „КХ – Критика и Хуманизъм“ и „Стигмати“, С., 2009. 2: Човекът плъх. Бележки относно един случай на натраплива невроза. Превод от немски Нина Николова и Светла Маринова. „КХ – Критика и Хуманизъм“ и „Стигмати“, С., 2010. 3: Малкият Ханс. Анализ на фобията на едно петгодишно дете. Превод от немски Теодора Карамелска. „КХ – Критика и Хуманизъм“ и „Стигмати“, С., 2011. 4: Председателят Шребер. Психоаналитични бележки върху един автобиографично описан случай на параноя. Превод от немски Анета Иванова и Владимир Теохаров под ред. на Нина Николова. „КХ – Критика и Хуманизъм“ и „Стигмати“, С., 2012. 5: Човекът вълк. Из историята на една инфантилна невроза. Допълнение от Рут Мак Брънзуик. Превод от немски Светла Маринова, превод от английски Антоанета Колева. „КХ – Критика и Хуманизъм“ и „Стигмати“, С., 2013.
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The study investigates the question of transculturalism in the novel of Ursula K. Le Guin ’The Left Hand of Darkness’. It focuses mainly on topics like the inner dimensions of cultures, the relationship between the oppressor and the oppressed, the non-violent forms of interference between cultures, the strangeness of ourselves, and the hybridity in social and biological sense. Through the dynamic relation of its main characters the novel by Ursula K. Le Guin shows us how an alien planet can become a transcultural site for the visitor, namely Genly Ai. At the end of the novel Genly Ai, the envoy of the Ekumen gaines not only information about the inhabitants of Planet Gethen but a new and deeper understanding of himself.
More...![„A jednak oczyma / [m]oimi patrzycie...”. O doświadczeniu sztuki w doświadczaniu przestrzeni](/api/image/getissuecoverimage?id=picture_2017_41046.jpg)
The paper discusses specific literary form of the cultural prefiguration of spatial perception – seeing landscapes and other spaces through the filter of one’s experience of art. In the examined texts by Jacek Dehnel’s and in Julia Hartwig’s poems spaces perceived by the subject are juxtaposed and correlated with the afterimages of masterpiece paintings or memorable and identifiable styles of various artists.
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Lajos Nagy (1883–1954) is one of the most outstanding personalities of the 20th century Hungarian prose. He worked for the endurance, artistically significant not only in belle letter, but also in the genres of publicities. He came up with his brief, humoristic stories about animals in the beginning of the 1920s and in 1922 a collection of these short humoresques was published under the title Nonsensical Natural History (Képtelen természetrajz). Even after the first publication he made a great number of these humorous sketches – which enchants the reader with their fresh ideas and witty jokes. Not only the ingenious descriptions are making easier the reception of the reader, but also the fact that those typical texts he mocks are well known by both the reader of his age and that of the recent years. In the first part of my paper I examine the genres of Lajos Nagy’s sketches – the connections between his texts and the genre of the text in the encyclopaedia and in the bestiaries. In the second part, I intend to highlight the method he makes this kind of thinking ridiculous by using these disguised fables as subterfuge to mock the human thinking and behaviour building on schemes and schematic thinking.
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