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Славянофильский подтекст романа А. Платонова «Чевенгур»

Author(s): Aleksandr Dyrdin / Language(s): Russian Issue: 2/2006

The article discusses the philosophic Platonov’s novel "Chevengur" and analyzes the position of this writer as the successor to Slavophiles, since Slavophile views in the novel are presented in various contexts whose logical connection is different. Like Slavophiles, A. Platonov seeks to reveal the objective essence of the world, combining nature and spirituality. The writer's worldview contacts Slavophilic views in his efforts to distinguish between the Russian type of the fugitive of the truth, which accumulated the faith "as a power of mind" (A. Chomiakov). In the novel Chevengur A. Platonov portrayed various manifestations of the national character and developed a generalized image of the Russian Orthodox Church. The author of the article assumes that the concept of the unique spiritual concept of the Russian people and culture mission can be described, albeit not fully, by the creative philosophy of Platonov.

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Kunigo drama: tarp pašaukimo ir metafizinio maišto (Vinco Mykolaičio-Putino Altorių šešėly ir Georgesʼo Bernanoso Po šėtono saule)

Author(s): Vytautas Bikulčius / Language(s): Lithuanian Issue: 4/2018

The paper deals with the influence of the Catholic revival (le renouveau catholique) in France on Vincas Mykolaitis-Putinas’ novel In the Shadows of Altars. The novel is a natural continuation of Lithuanian literature. It is no coincidence that the author, while primarily focusing on the psychological side of the novel’s protagonist, at the same time demonstrates the tradition of the classic (the Balzacian or the Stendhalian) novel. When Liudas Vasaris begins his studies at the Theological Seminary he realizes that a calling to serve God is his life problem – there is a clash between the priesthood and his ambition to be a poet. But he is not likely to rebel against God as he does not perceive the priesthood to be his own life’s path. Thus, the priesthood does not become Liudas Vasaris’ existential experience, he confines himself to the earthly milieu. In this way Liudas Vasaris differs from the protagonist of George Bernanos’ novel Under Satan’s Sun, Father Donissan, who dares to rise above earthly life and stand up to God and perceive it as a metaphysical revolt. Mykolaitis-Putinas, who probably knew Bernanos’ novel, most likely saw it as an additional material that demonstrates a priest’s path.

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Literackie (kraj)obrazy Jane Austen a angielska estetyka malowniczości

Author(s): Sylwia Borowska-Kazimiruk / Language(s): Polish Issue: 2/2019

The main inspiration for the article dedicated to aesthetics of picturesqueness in Jane Austen’s novels is W. J. T. Mitchell’s Introduction in Landscape and Power, where he defines a landscape not as a noun, but as a verb. In this context, this term becomes a cultural medium, by which the new political and social meanings of the epoch are transmitted and sanctioned. Selected parts of Austen’s works, in which long descriptions of nature have been replaced by dialogues about a landscape as an artistic, picturesque object, will allow to describe the consequences of the reconceptualization of the nature within English theory of aesthetics.

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Jane Austen (dla) Josepha Conrada

Author(s): Karol Samsel / Language(s): Polish Issue: 2/2019

The understanding of Jane Austen was for Joseph Conrad (probably) the condition of the understanding of the English soul as such. And, even if we roam around fascinating hypotheses, it is worth formulating them – mainly because they are a new key to the reading of the works of the author of Lord Jim. His problems with the literary heritage of Austen could be affected by different, numerous factors: 1) the growing popularity of Janeites; 2) the authority of, appreciating the author of Mansfield Park, Henry James; 3) the feeling of being lost of the Polish writer in the situation of the late novelist debut; 4) the literary tradition of the Ukrainian School in the Polish Romanticism, in which he was raised and he formed his personality. Conrad could make an attempt of dealing with, incomprehensible for himself, Austen in the 1910s, in the period of jubilees of the editions of her novels. In this spirit, it is worthy to read again such prose texts of Conrad, as: Zwycięstwo (1915) and Ocalenie (1920), but above all – the earliest from this group – Gra losu (1913).

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Drugie życie Dumy i uprzedzenia. Tennant – Austen

Author(s): Aleksandra Budrewicz / Language(s): Polish Issue: 2/2019

The article is a comparative study of Sense and Sensibility by Jane Austen and the contemporary novel by Emma Tennant Pemberley, which is a continuation of the story of Austen’s characters. Tennant enriched the description of certain protagonists of Sense and Sensibility; for example, the new information about Elizabeth come from the sources which are connected to the biography of Austen herself (letters, memoirs). The theoretical background of the paper is based on research of A. Fulińska, A. Stoff etc.

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Jak znaleźć męża między żywymi trupami a krwiożerczymi ośmiornicami? Mash-up, czyli „klasyczne romanse z okresu regencji” z domieszką elementów nadnaturalnych (na przykładzie Pride and Prejudice and Zombies oraz Sense and Sensibility and Sea Monsters

Author(s): Iwona Przybysz / Language(s): Polish Issue: 2/2019

In this article, the author confronts two mash-up novels (novels, in which new motives and elements are added to the masterpieces of world’s literature) – Pride and Prejudice and Zombies by Jane Austen and Seth Grahame-Smith and Sense and Sensibility and Sea Monsters by Jane Austen and Ben H. Winters. The author shows how the new elements (zombies and sea monsters) are added to Jane Austen’s novels and underlines which elements have to be left in their original form, and which can be changed. The author also describes how the development of the new motives affects the ways of describing the world of the novel and its characters.

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Teoria, nostalgia, alt-right: amerykańska Austen w XXI wieku

Author(s): Mikołaj Golubiewski / Language(s): Polish Issue: 2/2019

In July 2017, some American scholars accused alt-right groups of appropriating Jane Austen’s works for extreme-right propaganda. How could Austen’s texts – an author associated with the beginnings of feminism – be used by blatant misogynists? This clash of perceptions reveals a dispute between Austen’s broad reception as classically romantic romances and a whole range of narrow theoretical academic readings. In the analysis of this dispute, the paper outlines long-lasting threads of Austen’s interpretation in AngloAmerican culture, whose ideological reconstruction of the last few decades clashes with a nostalgia for imperial order.

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L’Histoire et l’identité selon Leïla Sebbar

Author(s): Małgorzata Kamecka / Language(s): French Issue: 4/2019

Leila Sebbar, since the beginning of her literary work, has been describing her identity experience connected with her mixed family origins: the writer’s father was Algerian and her mother French. This prevailing thread in her texts demonstrates the weight of the (re)construction of identity, frequently incoherent and delicate, in order to confirm her ethnic and cultural affinity. The author of this article is interested in problems, so close to the writer, of identity and history. The point of departure of the reflection on Sebbar’s attitude towards mother tongues of her parents is the analysis of her autobiographical novel “Je ne parle pas la langue de mon père” (2003). “We are not born with one identity, an identity is always gained, built”, maintains Sebbar and through this statement she confirms the role of the cultural baggage in the broad sense of the word, in the life of an individual coming from a culturally diversified environment. The questions of the ignorance of the Arabic language also lead the writer to define not only the picture of the individual family history but also common history, the history of the inhabitants of Algeria during the French colonization. The Seine Was Red: Paris, October 1961 (1999) is a story in which its author continues to exploit, tirelessly, the issue related to the history of its two countries: Algeria and France. For Leïla Sebbar, to return to the traumatic events of the massacre of dozens of Algerians in Paris on October 17, 1961 means to enter into incessant dialogue with the painful past. It seems that the writer’s will to confront the past is one of characteristic qualities of her works. In an original, far from stereotypical, way she tries to disclose errors and fights the oblivion and repression of uncomfortable events from history. The aim of the article is to analyze the non-stereotyped strategies that Sebbar uses to build his characters and to reflect on the modes of representations of History and identity.

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Home: The Sacred and the Profane in John McGahern’s Novel That They May Face the Rising Sun

Author(s): Linara Bartkuvienė / Language(s): English Issue: 4/2019

The article seeks to answer the question what it is about the place which is called home in John McGahern’s novel That They May Face the Rising Sun (2002), i.e. what it is that substantiates it and being in it and a return to it. It argues that the homeplace in the narrative of the novel is defined by two symbolic planes: home is not only a physical and material and social place/ space within a certain geography in the novel, but also is of the ontological structure which is the meeting point of two trajectories that cross over: one of them is the vertical − the sacred, the other is the horizontal − the profane. The sacred puts into communication the three placial / spatial geographies in the narrative − heaven, earth and underworld; the profane marks the historical and the linear. It is within the homeplace in the narrative of the novel that existential being opens up through the tensions between the sacred and the profane. To build the argument, the paper draws on Mircea Eliade’s hermeneutics in The Sacred and the Profane (1959), Cosmos and History: The Myth of the Eternal Return (1954), and Images and Symbols: Studies in Religious Symbolism (1961).

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Lūžio žmogaus problema Vytauto Martinkaus romane Simonija: literatūros etikos aspektas

Author(s): Kristina Tutlytė / Language(s): Lithuanian Issue: 37(42)/2020

The author of the thesis uses Literary Ethics as a theoretical instrument and analyses the portrait of human dealing with turning-point in Vytautas Martinkus’s novel Simonija. The novel corresponds to the features of the turning-point literature marked in the dissertation of V. Katinienė: the thematic level emphasizes a change of historical (political) order and its existential problems; in thoughts, dreams, memories characters go back to the period of totalitarianism; the contrast between “homo sovieticus” and individuals of the free world is emphasized. The analysis of ethical conflicts in Simonija is presented, having in mind specific cultural context during the Soviet period and emphasizing the process of writing as a particular ethical situation and a way to reflect human’s experience. Vytautas Martinkus offers appropriate “snoumenizm” notion for summarizing human’s experience during the Soviet periodperiod. In essence, dehumanizing, painful experience of the Soviet era does not abandon human even in the period of freedom and forces him to go back to the past – physical presence in the world of restored independence does not free him from inner stagnation. In this paper, it is shown that Literary Ethics is asuitable theoretical instrument in order to analyze text about human’s experience at turning-point.

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Tijelo i identitet u stvaralaštvu Senke Marić

Author(s): Melida Travančić / Language(s): Bosnian Issue: 1/2021

Senka Marić, in her book of poetry Do smrti naredne and in her novel Kintsugi tijela, focuses on the body, i.e. the analysis and interpretation of changes in the body caused by illness. The aim of this paper is to confirm the assumption that the body can condition identity and show how this is achieved in the book of poetry Do smrti naredne and the novel Kintsugi tijela, works which best show what kind of change in the body and then female identity we are talking about. These works tell a story about the changes that take place in a woman and the manner that they manifest in the world around her. The changes in the body condition all other “life roles” of a woman and it is the best indicator of (self-)identification. Special attention in the paper is paid to the way the illness affects the body, to what a woman (before and after) is. The body itself is a part of identity and it often physically reflects all the experiences and all the situations that we are exposed to are often visibly manifested on the body, as well as the pain that is impossible to hide and (or) control.

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Особенности перевода русских субстандартных фразеологизмов на польский язык (на материале произведений Александры Марининой)

Author(s): Gabriela Wilk / Language(s): Russian Issue: 175/2021

The article focuses on selected aspects of the translation into Polish of Russian phraseological units that are beyond the linguistic norm. The research material has been excerpted from two Alexandra Marinina’s detective novels Requiem and Unwilling Killer and their translations by Alexandra Stronka. The research findings indicate that Stronka most often translates sub-standard phraseological units by means of idioms based on a different image, or lexemes, but these units not frequently differ from the original units in terms of expressive and stylistic colouring.

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Przypisy tłumacza w kryminale retro

Author(s): Ewa Białek / Language(s): Polish Issue: 174/2021

The study’s subject is the translator’s footnotes in specific crime literature – retro crime novel. The author discusses its genre features and analyzes the types of translator’s footnotes and its content. The translation includes linguistic, encyclopedic and editorial footnotes. Based on their analysis, we can speak of a particular strategy: striving to explain the general background of retro crime story (epoch), and to a lesser extent local (the city and associated with it proper names).

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Theater and theatricality in their relation to history and the arts in the novels of Vlafimir Sharov

Author(s): Amina Gabrielova / Language(s): English Issue: 173/2021

Vladimir Sharov (1952–2018), a distinguished contemporary Russian writer, published nine quasi historical novels. Each of his novels suggests a different semi-fantastical version of Russian history that is locked into continuing cycles or — to use Sharov’s preferred word — “rehearsals” of violence. Theater and performance are a recurring theme in Sharov’s prose. In Before and During [До и во время], one of the main characters is Alexander Scriabin. In The Rehearsals [Репетиции] Patriarch Nikon orders a play — a mystery-play about Easter — in which the amateur peasant actors are assigned roles from the Bible and replay these roles for generations. In Should Not I Spare [Мне ли не пожалеть], the opening section shows characters participating in Chekhov’s plays, and the main part of the narration tells the story of staging an oratorio. In the last two novels, several of the protagonists are theater directors. This article argues that for Sharov, theater is an apt metaphor for history and a basic ontological principle, because theater is an experience that can be documented but is never reproduced in exactly the same form. The article examines how Sharov brings out the power of the playwright, director, and actor to implement multiple and different scripts and life stories. Life and art in his works imitate each other through a constant multiplication of versions or rehearsals — “rehearsals” in its expanded sense as reinterpretations, revisions, rewritings, and continuations.

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Kolejka Władimira Sorokina w polskim przekładzie

Author(s): Jakub Bober / Language(s): Polish Issue: 172/2020

The article puts forward the translation issues of the linguistic phenomenon in Vladimir Sorkin’s novel The Queue. It analyzes the non-standard phenomena which constitutes a big challenge for the translator. The reasons behind this state of affairs should be sought within a selection of unconventional means of expression which revolutionized the perception of literature and its translation. Some excerpts of the novel are an attempt to provide an answer as to what degree the translator has managed to successfully portray the novel’s connotation in Polish with analogical linguistic measures.

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Śmieciowa codzienność konsumenta. Powieść Wiktora Pielewina Generation „Π” w świetle teorii płynnej ponowoczesności Zygmunta Baumana

Author(s): Bożena Żejmo / Language(s): Polish Issue: 170/2020

The purpose of the article is to analyze the novel by Victor Pelevin Generation “P” in the context of the theory of “fluid modernity” of the Polish philosopher and sociologist Zygmunt Bauman. Both the Russian writer and the Polish scholar point out the negative effects of the modern — unusually flexible, fluid, free from borders and conditions — commercial civilization on a person’s daily life, his mentality, value system, self-identification and self-esteem.

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What is to be done? by Nikolai Chernyshevsky. An attempt at “non-revolutionary” interpretation

Author(s): Grzegorz Przebinda / Language(s): English Issue: 170/2020

Geneza powieści Co robić? jest ściśle powiązana z faktem, w jaki sposób sam Czernyszewski pojmował rolę literatury w procesie historycznym. Literatura, jego zdaniem, winna być pośredniczką między nauką a życiem, wypełniając poniekąd rolę „służki nauki i historii”. Artystyczna fabuła stanowiła zatem dla autora jedynie punkt wyjścia do demonstracji idei z zakresu etyki i ekonomii. W sferze etycznej nauczycielami Czernyszewskiego byli myśliciele francuskiego Oświecenia i Niemiec Ludwig Feuerbach, którzy głosili idee „rozumnego egoizmu”. W dziedzinie ekonomicznej Czernyszewski szedł śladami dwóch kontynuatorów francuskiego Oświecenia – Ch. Fouriera i K. Owena, którzy w drugiej połowie XIX w. głosili i wcielali w życie zasady socjalistycznych stowarzyszeń. Wszyscy zaś powyżsi myśliciele, których Czernyszewski uważał za swoich nauczycieli, byli przeciwnikami walki klas i społecznych buntów. I właśnie w takim duchu rozumnego egoizmu i utopijnego socjalizmu, a jednocześnie w duchu nierewolucyjnym myślą i działają wszyscy czterej główni bohaterowie Co robić?: Wiera Pawłowna, Kirsanow, Łopuchow i Rachmietow. Jak mówił sam Czernyszewski, „komu podoba się furieryzm, temu komunizm się nie spodoba”. Czernyszewski jako „oświeciciel”, występując przeciwko wszelkiej ideologicznej stagnacji i rutynie, głosząc nowe antropologiczne, etyczne i ekonomiczne idee, nigdy wszelako nie pragnął wcielać w ich w życie przy pomocą „egoizmu” klasowego”, ani tym bardziej „walki klas”.

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Образ коллекционера в романе Михаила Шишкина Взятие Измаила

Author(s): Anna Skotnicka / Language(s): Russian Issue: 168/2019

The article is dedicated to the problem of the collector in Mikhail Shishkin’s novel The Taking of Izmail. Using the works by Krzysztof Pomian and Walter Benjamin, the author establishes that the term “collector” refers rather to the author and the narrator of the novel than to its main character. In the article, collecting is regarded as the attitude towards the world and is considered in the context of the main traits of Shishkin’s works, among which the author identifies longing for wholeness resulting from the experience of fragmentation of the world, palimpsestic nature, and intertextuality.

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Mogarycz i inni. Dramatyczne losy kanonu tekstowego Mistrza i Małgorzaty

Author(s): Grzegorz Przebinda / Language(s): Polish Issue: 167/2019

The starting point for my reflections, which ultimately aim to bring researchers and readers closer to the issue of the textual canon of The Master and Margarita, is the problem of the presence or absence of the famous passage about Mogarych in Chapter Thirteen of the novel. I have tried to demonstrate that the presence of this passage in the first Polish translation by Irena Lewandowska and Witold Dąbrowski, as well as its omission in the second translation by Andrzej Drawicz, are textologically justified. This is due to the fact that translators used different original editions as the basis of their work. My study, which is the first of the planned longer cycle, ends with a discussion of the most recent version of the text of The Master and Margarita, put forward in 2014–2015 by the indefatigable researcher of Bulgakov archives — Elena Kolysheva.

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Bułhakow zmanipulowany, czyli o „fachowym i wybitnym” przekładzie Mistrza i Małgorzaty

Author(s): Aleksander Wawrzyńczak / Language(s): Polish Issue: 167/2019

The main aim of this article is the analysis of the new translation into Polish the Mikhail Bulgakov’s masterpiece, The Master and Margarita made by Barbara Dochnalik and published in 2018. This edition also includes two interpreter’s afterwards. Both texts are full of controversial facts about the writer’s biography, even more, the majority of them are not proved with the documents about Bulgakov’s life and the story of the creation of his novel. Some interpretations of several motifs of The Master and Margarita, made by Dochnalik, are questionable, too. But the main doubts are caused by the way of translation and its quality. The translation made by Dochnalik includes some fragments, which were not written by Bulgakov and highly likely were put into the Polish text of the novel by the translator, probably to prove her own interpretation of The Master and Margarita. This article shows the most ridiculous samples of the translator’s manipulations with the Bulgakov’s novel, which could be called scandalous.

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