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Wokół „Trenów” Jana Kochanowskiego. Szkice historycznoliterackie
8.00 €

Wokół „Trenów” Jana Kochanowskiego. Szkice historycznoliterackie

Author(s): Teresa Banaś-Korniak / Language(s): Polish

The monograph comprises a series of essays discussing various aspects of the elegiac poetry of Jan Kochanowski, whose most profound literary achievement were undoubtedly the “Laments”, dedicated to his departed thirteen-month-old daughter. Chapter One, “The Issue of Genetics” constitutes a discussion of the early elegiac poetry of Jan of Blackwood, particularly a text written in Polish and dedicated to Jan Tarnowski, a distinguished Polish commander. The author, quoting passages from a 16th-century scholar Julius C. Scaliger, proves that Kochanowski, by directing his poetic message to the son of the late commander, was inspired by the generic characteristics of consolation speech (Consolatio), discussed by Scaliger in his theoretical treatise. The two following subchapters of the first part of the monograph are respectively devoted to metapoetic themes in “Laments” as well as the issue of genology of the series of poems dedicated to Orszulka Kochanowska. The metapoetic themes which exemplify the poet’s creative awareness and his aspiration to compete with the ancient tradition (aemulatio) are present primarily in the “seminal” texts and include: the title, which references the ancient Greek literary tradition of laments; the dedication; the epigraph; the epitaph for his other departed daughter, Hanna, added to the cycle; as well as the opening poems in the cycle, especially “Lament I” and “Lament II”.The author, on the basis of the conducted analysis, postulates that the poet of Blackwood accepted the ancient rule of decorum but understood it in a different, innovative way, thus setting himself apart from his contemporaries as he suggested that each person had the right to individual opinions and values. The content of the dedication which precedes the “Laments” testified to the subjective relationship of the mourner to the close relative. Thus the little girl—the subject of “Laments”—is presented not from the perspective of social or general human judgments, but rather she is presented through the lens of the values characteristic of a given person. For the poet, that departed child was a prominent figure, worthy of the lofty style, as a poem about the suffering and moral quandaries of the humanist thinker practically demands that sort of style. Thus, both the “seminal” (delimitative) texts which accompany the “Laments” and intratextual utterances which are metapoetic in nature testify to the fact that Kochanowski, even though he accepted and applied poetic norms as dictated by tradition as well as the rules of poetics of that time, still insisted on searching for new poetic solutions and new interpretations of normative rules originating in the ancient times.The last subchapter on “the issue of genetics” concerns the genological characteristic of the “Laments”. Analysing various formal elements of the poem (the type of the lyrical I, the addressees, the character of the world of the poem, composition, versification, the perspective on the subject, and others), the author concludes that the text was influenced by various literary forms, e.g. philosophical poem, classical epicedium, ancient tragedy, psalm, ancient Greek lament. “Laments” are characterised by a peculiar syncretic form, and the thesis that one of the genological forms is superior to others constitutes only one avenue of interpretation.The aim of Chapter Two, “The Expression of Silence in the “Laments”,” is to discuss the function of one of the tools which Kochanowski draws from the literary tradition. The expression of silence constitutes a literary means of expression which was used successfully by ancient tragedians such as Aeschylus and later on was adapted for the purposes of the planctus in the Middle Ages, and both their influences can be seen in the “Laments”. Moreover, Kochanowski skilfully and tastefully adapted this poetic tool to let it reflect new meanings and allow for the posing of existential questions.Chapter Three, entitled “ ‘Understanding through suffering…’ In Search of the Tragic Formula in the “Laments”,” focuses on the issue of suffering and tragedy in the poem dedicated to Orszulka. The author attempts to reveal the conflicting mechanism of the poetic world of the “Laments”. This conflict is exemplified by the struggle, the act of choosing and the deeds of man—and it is precisely that which constitutes the essence of tragedy. These contradictions are noticeable even in the very construct of being, which the lyrical I of the “Laments” comes to recognise, in the chaos of various phenomena and the multiplicity of meanings of particular words and symbols emphasised in the work. These antinomies are present also in the human subject—the lyrical I, who struggles with himself as well as the ever-present, insidious evil. Thus, the mind of the subject shaped by the Renaissance principle of humanism, which emphasises the importance of order and harmony, experiences an internal battle between opposing forces. The shocking experiences and reflections of the lyrical I—the father—allow for the emergence of the will to overcome the tragedy, but at the same time they contribute to a certain intellectual scepticism on the part of the subject (see: the word “uncertain” at the beginning of the last verse of “Lament XIX”).In Chapter Four, “Towards Allegoresis. Allusions to Greek and Roman Mythology and Mythological Figures in the “Laments”,” the author discusses the allegorical dimension of Kochanowski’s references to mythological figures. The truth concerning reality, which exists on the allegorical level of the myth, i.e. the truth about the connection between the human life and the cycle of nature and the connection with earth, the truth about the inexorable passage of time and the inevitability of death regardless of age or experience—this truth remains unacceptable for the lyrical I. The confrontation of human, subjective logic with the logic of nature reveals the lack of acceptance on the part of the subject and certain rejection of the objective laws of the universe (“wretched Persephone”), which appears as mysterious, uncertain and impossible to understand completely by the human mind. The only thing which remains unsusceptible to death seems to be love (Orpheus), but love neither soothes nor eradicates suffering.The last chapter, entitled “Stone as a Motif and as a Symbol in Kochanowski’s Works,” is devoted to the analysis of the motif of the stone in Jan Kochanowski’s poetry. In the chapter, the author ventures beyond the elegiac texts and analyses not only the “Laments”, but also “Psalms”, “Songs”, “Epigrams”, “Forricoenia” (written in Latin) and other—less well-known—works. Comparing Kochanowski’s paraphrase of the psalms with other 16th-century translations of “David’s Psalter” testifies not only to Kochanowski’s excellent craftsmanship but also makes evident the peculiar and omnipresent symbolism of the motif of the stone in his poetry. The motif of an uncut stone as an element of nature or, in a broader sense, an element of creation, appears usually in his works which allude to the Judeo-Christian tradition. In “Psalms”, it reflects the power of God, and, as an element which supports the enormous weight of a symbolic edifice, it symbolises Jesus Christ. Moreover, the motif of the rock (pillar of strength, mountain) appears in “Psalms” far more often than in his other works. The rock, thus, comes to symbolise the holy place, the glory of God, safety and support which God grants righteous and pious men. On the other hand, the motif of a carved stone, one which has been adapted for everyday use, is present predominantly in poems which allude to the Greek and Roman ancient order. These poems are primarily metapoetic or meditative in character, but there are several elegiac or love poems among them as well. Similarly to the psalms, the symbolic nature of the stone seems to be vast, encompassing a variety of meanings. The stone can symbolise both values highly regarded by the human subject, and, on the other hand, the negative aspects of reality, including the evil present in the world.In “Conclusions,” the author emphasises that the rejection of schematic thinking expressed in the poems, as well as their apology of individual choices made by a subject, the preference for not only a particularly understood “virtue” but also subjective systems of values appear to have been so far mostly ignored by the literature on the subject. The author’s individualism is manifested not only in his search for new artistic solutions and his innovative attitude towards the literary legacy of antiquity (aemulatio). Quite the opposite, the content of his works also betrays a deep conviction concerning the necessity of respecting all human lives. Looking back at Kochanowski’s works from the perspective of the 21st century, when the threat of schematic thinking—for various reasons, including perhaps the influence of contemporary media—has finally become real, we can appreciate not only the artistry, but also the lyrical and meditative attitude, built on extremely strong foundations (Bible and the Greek and Roman antiquity), which remain omnipresent in the works of Jan of Blackwood—a poet, a sage, and a humanist.

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„Gdzie ziemia się kończy, a morze zaczyna”. Szkice polsko-portugalskie
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„Gdzie ziemia się kończy, a morze zaczyna”. Szkice polsko-portugalskie

Author(s): Magdalena Bąk,Lidia Romaniszyn-Ziomek / Language(s): Polish

This volume presents a collection of essays which deal with Polish-Portuguese literary connections. It aims at bringing back selected Polish texts, representing various literary genres and types of writing, whose authors refer to elements drawn from the Portuguese history, culture, art, and literature or focus on the geography, topography and architecture of this land, situated at the very edge of Europe. The works discussed in this volume include writings of such authors as: Aleksander Przezdziecki, Adolf Pawiński, Zygmunt Bytkowski, Maria Danilewicz-Zielińska, Franciszek Ziejka, Renata Gorczyńska, Zbigniew Kadłubek, Marcin Kydryński and Magdalena Starzycka. The aim is to identify how Polish writers of the nineteenth, twentieth and twenty-first centuries perceived Portugal and to establish the reasons why they referred to it. The Polish perspective dominates throughout the volume, since it is the Polish perception of Portugal that is the object of reflection here. There is one exception to this rule, though. A separate chapter is devoted to the reaction of the Portuguese to the January Uprising. Confident that their unrestrained and intense response merits a mention, the authors include its short presentation in this collection of Polish-Portuguese essays. The increased interest in the land situated at the far end of Europe, demonstrated by nineteenth century Polish writers, is thus placed in a broader context, which shows that this was by no means a one-way involvement.

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Polska piosenka pop jako tekst w tekście kultury. Na przykładach z pierwszej dekady XXI wieku
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Polska piosenka pop jako tekst w tekście kultury. Na przykładach z pierwszej dekady XXI wieku

Author(s): Piotr Pierzchała / Language(s): Polish

The thesis is an attempt at establishing characteristics of pop song as a genre. The pop song is easy to indicate intuitively by almost every participant of culture, yet its encyclopaedic definitions are nothing more than general. The analyses are based on the textological concept of reality in which the text examined – pop song – is a multicode message. The main aspects in question are lyrics, the CD covers and booklets, video clips, concerts as well as the image of the artist itself. The distinctive features of the genre are defined on the basis of the mutual interference of particular pop subtexts and the general concept of cultural text. The research material for the thesis are the works of the band Ich Troje and Dorota Rabczewska aka Doda. As the thesis tries to capture the socially functional type of message, high‑order text appearing in particular productions, the compositions selected for the analysis are model representations of the phenomenon.

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Odkodowana bliskość. Powieściopisarstwo Enrique Vili-Matasa, Antonia Muñoza Moliny i Alejandra Cuevasa w kontekście prozy polskiej po 1989 roku
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Odkodowana bliskość. Powieściopisarstwo Enrique Vili-Matasa, Antonia Muñoza Moliny i Alejandra Cuevasa w kontekście prozy polskiej po 1989 roku

Author(s): Katarzyna Gutkowska-Ociepa / Language(s): Polish

The monograph constitutes a comparative study of selected novels published after 1989 in Spain and Poland. Instead of focusing on translation or reception issues, which are generally more popular in the case of comparative literary analysis, the study consists of a structural and problem analysis of the works of five prose writers coming from two distant cultural backgrounds. The interpretative and comparative analysis is preceded by introductory remarks concerning the state of comparative studies as a discipline of modern literary and cultural studies, focusing on American, Spanish, Polish and German theories in particular. From the very first pages, the monograph reveals itself to be a site of an ongoing struggle and shifts in the scholarly focus, ranging from the work of literature itself to various contexts (gender, sociological, cultural, political, etc.) existing outside the realm of literature, as well as the return to literature understood as the center of literary comparative studies, however tautological this statement may be. In order to find her way in the multilingual tangle of statements and contradictions, the author combines several cohesive literature-centric perspectives, which allows her to create her own methodological model, which, in turn, enables her to conduct an ordered, controlled and theoretically sound comparative analysis of selected Spanish and Polish novels. The study is based on hermeneutics and intercultural literary theory proclaimed by Norbert Mecklenburg, Mieczysław Dąbrowski’s theory of comparative studies of the discourse and the discourse of comparative studies, Andrzej Hejmej’s understanding of the interdisciplinary nature of comparative studies, as well as the idea of “open comparative studies” developed by the most prominent comparative studies scholar of the 20th century, Claudio Guillén. The aforementioned concepts were created on the basis of the idea of the autotelic nature of the work of literary fiction; due to that fact, they propose a study of literature as an aesthetically autonomic form of expression which can be related to external contexts inasmuch as it contributes to a broader interpretation of the given work of literature. Another important context for the theoretical part of the monograph is genology, which points to the potential of the novel as the currently dominant genre, characterized by the greatest openness with regard to both the topics as well as structural potential. As a result, the novel-both Polish and Spanishis presented as not only a textual construct and genre framework, but also as a reflection of the postmodern hybrid culture, in which idealization remains in constant conflict with the esperpentic tendency for self-ridicule, and pompous pathos competes with everyday ordinariness, while literature, relegated to the popcultural peripheries, thanks to its constant use of metareflection, thrives and boasts one of its most creative periods since the end of the 19th century. Chapters two, three, and four constitute the interpretative and analytical part of the monograph. The research material has been ordered according to the thematic similarities between the novels, which resulted in three main axes of division: the first constitutes a literary duel with the past and tradition, the second poses a challenge to the world of art (mostly painting and photography), and the third encompasses a narrative encounter with the world of culture. The first category includes two highly intertextual novels: “Castorp” by Paweł Huelle and “París no se acaba nunca” (“Paris Has No End”) by Enrique Vila-Matas. In the case of these two authors, what is constitutive for their fiction is a particular fondness for various literary games revealing the complexity of character creation as well as multiplying the levels of autocreation, which can be seen in the overt inclusion of autobiographical or quasi-autobiographical elements into the fictional narrative. This dialogue with Nobel Prize laureates (Mann and Hemingway) in the form of a novel allows the authors to construe their creations on two levels: half-joking, half-serious. This, in turn, reflects their unique approach to the literary craft, which uses intertextuality and autothematism as a pretext for distancing oneself from taking oneself too seriously, oscillating between authenticity and mask, or even masquerade. This, in turn, allows them to add to the complexity of the fictional nature of their work and open for their readers gateways to different literary worlds created by novelists such as Fontane, Duras or Perec. Thus, both novels ultimately become a house of mirrors, in which the fictional “I” is allowed to perceive themselves from different sides and angles. Chapter three constitutes an analysis of the way famous paintings are utilized in “The Polish Rider” by Antonio Muñoz Molina and “The Last Supper” by Huelle, two novels whose construction-similarly to the previously analyzed works of literature-hinges on a dense net of intertextual references. The allusions to the traditional yet mysterious Rembrandt and provocative yet aesthetically saccharine Świeszewski are, in fact, subversive, since, even though in both cases it seems that-due to the paratextual references-the paintings become the foundation of the narrative, that assumption appears ultimately erroneous. “The Last Supper” constitutes a set of allusions to the holy books, cutting satire and ridicule of the contemporary vices of the society (mainly Polish society), as well as a manifesto of the lack of faith in contemporary art, divorced from any aesthetic aspirations and concerned primarily with the pragmatic and media aspect. Antonio Muñoz Molina, in turn, references “The Polish Rider” by Rembrandt, even though the world he creates in his novel differs significantly from that described by Huelle: it is much quieter, much more private and intimate, ruled by the digressive nature of memories. Rembrandt’s painting, then, appears to be a leitmotiv of sorts, which connects the story of the protagonist’s family with the subsequent stages of Manuel’s life in New York and Madrid, as well as brings together particular stages of Spanish history and culture, starting with the turn of the 20th century, through the 1960s, and ending with the last decade of the 20th century. Both “The Last Supper” and “The Polish Rider” constitute an expression of longing for a place of grounding in history, a verbal picture of the universal need to reconstruct the feeble link with the elusive here and now, which continues to be uncertain, changeable, and treacherous. Chapter four touches upon the comparison of two novels by younger writers: Ignacy Karpowicz (born in 1976 in Białystok) and Alejandro Cuevas (or: Alberto Escudero Fernández, born in 1973 in Valladolid). “Gestures” by Karpowicz and “Quemar las naves” (“Point of No Return”) by Cuevas constitute two surgically precise accounts of the downfall of the two protagonists: Grzegorz and Eurymedont. Cuevas and Karpowicz play with conventions and the expectations of their readers at every level of the narrative structure; due to that, the meaning of the text escapes clear-cut assessments and generalizations, exemplifying at the same time the complex nature of the relationship between a work of art and contemporary culture. On the one hand, it strives towards tradition and history (various biblical and mythological references), but on the other hand, it remains also deeply rooted in popular culture. The Polish and Spanish experience-even though alluded to from time to time in an ironic manner-is substituted in a very natural way with the universal experience, thanks to which both novels become parabolic accounts of a lost existential finish. Chapter five (“The Game of Reflections. Poland and Spain as Two Links of the Same Cultural Chain. Conclusions and Final Remarks”) serves to ground the earlier comparative analysis in the context of transculturalism-a term proposed by Wolfgang Welsch and signifying a fluid concept of contemporary cultural divisions. The heterogeneity of the European identity, the ability to adapt to outside influences, the openness and aversion to strictly imposed boundaries-as Bauman points out-further strengthen the common denominator between the compared Polish and Spanish novels. This comparison facilitates also a distinction between the approach to narrative strategies between the older and younger generations of writers: the older novelists (Vila-Matas, Munoz Molina and Huelle) often utilize the “grammar of memory” and construct a historicist cocoon around the protagonists of their novels, while the younger writers (Cuevas and Karpowicz) focus on the “I,” while treating history, politics and metaculturalism only as a background and context. The Geertzian idea of discovering cultural diversity while taking into account the contemporary progress of the world of culture calls for an observation that Spain and Poland, despite their differences-with regard to the literary and artistic aspect-function in a very similar way in the transcultural chain of the 21st century.

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Czytanie między językami. Szkice komparatystyczne z literatury polskiej i hiszpańskojęzycznej / Leer entre lenguas. Acercamiento comparativo entre la literatura hispánica y la polaca
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Czytanie między językami. Szkice komparatystyczne z literatury polskiej i hiszpańskojęzycznej / Leer entre lenguas. Acercamiento comparativo entre la literatura hispánica y la polaca

Author(s): / Language(s): Polish,Spanish

The monograph aims to investigate the intertextual relations between Polish and Spanish written literature. The authors analyze the following issues: links between art and everyday life in Wislawa Szymborska’s and Carlos Bousoño’s poetry; the quest for harmony in the work of both Zbigniew Herbert and Antonio Colinas; characteristics of the literary essay written by Zbigniew Herbert, Octavio Paz and Rafael Argullol; the literary pictures of the political transformation in Poland and Spain (Cercas, Pilch, Karpowicz); the problem of grammatical gender in Polish-Spanish translation on the basis of Michal Witkowski’s novel; Witold Gombrowicz’s presence in Argentinian and Latin American contemporary literature, in particular, in its autofictional aspects and, finally, literary innovations in Alejandro Zambra’s literary work. // Czytać to porównywać, ponieważ każdy akt poznania odwołuje się do zjawisk znanych z poprzednich doświadczeń. Porównując, nie tylko poszerzamy pola tego, co znane, lecz przede wszystkim stawiamy w nowym świetle kategorie już przyswojone, podając je w wątpliwość dzięki odświeżającym kontekstom inności. To wstępne założenie przyświeca prezentowanym szkicom, których celem jest przyjrzenie się wielości związków między literaturami języka hiszpańskiego (zarówno hiszpańską, jak i hispanoamerykańską) a literaturą polską. W tak rozumianym akcie porównania rachunek zysków i strat jest zawsze dostatni: teksty tracą wprawdzie najbliższy i najbardziej oczywisty kontekst (w którym skądinąd funkcjonują w jakimś sensie wygodnie, a w każdym razie naturalnie), ale zyskują nową przestrzeń lektury i nowe możliwości oddziaływania. // Leer es comparar, porque cada acto de percepción remite a objetos ya incorporados a nuestro conocimiento desde experiencias previas. Así, el acto de comparar significa no solo ensanchar el ámbito de lo conocido sino también, y tal sobre todo, arrojar luz sobre lo conocido, poniéndolo en entredicho revalorizando sus fundamentos.Desde presupuesto básico, los autores del presente libro pretenden acercarse a la multitud de relaciones que se cruzan entre la literatura hispánica y la polaca. En esta lógica de “comparación universal”, el balance de ganancias y pérdidas es siempre positivo: si bien los textos pierden su contexto de recepción más cercano y evidente -donde funcionan de manera acomodada o natural- ganan, en cambio, un espacio de lectura nuevo y posibilidades de resonar más poderosamente.

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K teorii ruské literatury a jejím souvislostem
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K teorii ruské literatury a jejím souvislostem

Author(s): Ivo Pospíšil / Language(s): Czech

From a theoretical point of view the Russian literature is highly inspiring in its specific development from the Middle Ages to the present. Based on the research of literary theory and history in the broader context of Slavic languages and literatures the author outlines in several related studies the concept of the theory and history of Russian literature viewed from positions of comparative and genre studies in the background of several other Slavic and European literatures. As a natural part of Slavonic Studies this work follows current attempts to reinvent the theory and history of Slavic literatures. The text can also be seen as a preparatory study for designing comparative history of Russian literature and Slavic Literatures.

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Pohádkové příběhy v české literatuře pro děti a mládež 1990–2010
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Pohádkové příběhy v české literatuře pro děti a mládež 1990–2010

Author(s): Milena Šubrtová,Ivan Nemec,Jitka Zítková,Martin Reissner,David Kroča,Miroslav Chocholatý,Naděžda Sieglová,Jiří Poláček / Language(s): Czech

Předložená monografie se věnuje problematice českého pohádkového příběhu v rozpětí od roku 1990 do roku 2010. Instalace svobodného knižního trhu, proměny ediční politiky se vstupem nových nakladatelských domů na českou literární scénu, konfrontace se zahraničními vlivy a především odlišné čtenářské kompetence současných dětí ovlivnily pochopitelně i žánrovou mapu současné literatury pro děti a mládež. Od 90. let 20. století se začínají rozvolňovat tradičně vnímané hranice, jimiž se literatura určená dětem vydělovala jako subsystém navenek, ale i hranice, které ji vnitřně žánrově i hodnotově stratifikovaly a čtenářsky kategorizovaly.

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Corporeality, power relations and contamination in eighteenth-century British culture
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Corporeality, power relations and contamination in eighteenth-century British culture

Author(s): Ana Maria Tolomei / Language(s): English

The purpose of the book "Corporeality, Power Relations and Contamination in Eighteenth-Century British Culture" is to reconsider and show how corporeality by which I mean various ways in which bodies are organized can reshape the physical but most importantly the non-physical body in critical circumstances. Recuperation and rejuvenation attempts of obsolete values, de-construction, re-construction or re-creation of the body under the siege of a contaminant will to power or the obsessive need of de-contamination are some of the organizing and organizational systems analyzed in this book. Two of the main chapters of this book deal with common grounds and border transgression techniques in and of literary and medical discourses of epidemic and endemic disease like plague, smallpox or gout, with physician and non-physician writers focusing on the 18th century British culture. A skillful conjunction between the two leads to a high degree of textual and contextual synchronicity at the verbal, metaphoric level, and at the non-verbal level of physiological and psychological communication which are intensively and extensively analyzed in this book. This work is intended to be a social, political, moral and spiritual pre-reading, reading and re-reading of the body as text having in mind the assumption that body and consequently disease are culturally and historically determined or pre-determined when referring to previous uses of the body in its various manifestations.

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Obrane okusa smrti
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Obrane okusa smrti

Author(s): Željka Matijašević / Language(s): Croatian

Into a loosely constructed love story, Željka Matijašević incorporates a dialogue between Id, Ego, and Super-Ego, and a quarrel between Freud, Jung and Lacan; an essayistic comparison of Julian Barnes and Gustave Flaubert, and many other, apparently, disparate elements. This hybrid novel was written as a structural homage to Barnes' Flaubert's Parrot. Plot-wise, it is a story about a couple who cannot realise their relationship. Mixing psychoanalytic theory with the ludic narration, Matijašević creates a wonderfully witty piece of writing. Željka Matijašević was born in 1968, in Zagreb. She graduated in Comparative Literature, and French Language and Literature at the Zagreb Faculty of Humanities and Social Sciences. She obtained her doctor's degree at the Trinity College of the Cambridge University. She is a full-professor at the Department of the Comparative Literature at the Zagreb Faculty of Humanities and Social Sciences. Her main interests are psychoanalytic theory and applied psychoanalysis. She is an author of six scientific books: Lacan: ustrajnost dijalektike (2005), Strukturiranje nesvjesnog: Freud i Lacan (2006), Uvod u psihoanalizu: Edip, Hamlet, Jekyll/Hyde (2011), Stoljeće krhkog sebstva: psihoanaliza, društvo, kultura (2016), Drama, drama (2020), and The Borderline Culture (2021). She also authored one novel, Defences with the Taste of Death (2019), and a lexicon Black Lymph/Green Heart: The Alternative Lexicon of Soul (2017). She is a member of La Fondation Européenne pour la Psychanalyse and the Croatian Writers Society.

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(Trans)pozycje idei w postjugosłowiańskim dramatopisarstwie oraz teatrze (1990–2020). Perspektywa transkulturowa
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(Trans)pozycje idei w postjugosłowiańskim dramatopisarstwie oraz teatrze (1990–2020). Perspektywa transkulturowa

Author(s): Gabriela Abrasowicz / Language(s): Polish

The Post-Yugoslav playwriting and theatre production constitutes a space which facilitates observation of the transposition of artistic, socio-political and philosophical ideas. Those phenomenon stems from cultural mobility, the integration of multiple components coming from different cultural backgrounds and involves the creation of new qualities. The fundamental research principles in this case are the perception of culture as a process of exchange and the implementation of the open connection networks model. The discussed artistic projects of playwrights and theatre directors active in the countries of the former Yugoslavia confirm that this phenomenon is still in the nascent stage. Its dynamic formula is a good starting point for reflection on the flows and ideological and aesthetic links that are becoming apparent in the drama and theatre of many European countries.

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Kameni spavač Maka Dizdara i ruska književna avangarda
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Kameni spavač Maka Dizdara i ruska književna avangarda

Author(s): Adijata Ibrišimović Šabić / Language(s): Bosnian

This book, in a way, engages in a polemic with texts which interpret avantgarde exclusively in the context of a destructive and negatory attitude toward tradition as such. It aims to present Dizdar’s best collection of poems as an exceptional, unique example of an avant-garde text, and to discuss Stone Sleeper from a somewhat different angle.As is known, the main task the avant-garde movement took on was to create a kind of art which would correspond with the basic principle of life – the principle of perpetual renewal; the stress avant-garde laid on the written word was informed by a deeply-held conviction that poetry is able to revive lost or forgotten worlds, but also to remember and in this way save worlds from disappearance and death. Stone Sleeper is a magical, lyrical inscenation which fulfils this task by placing trust in, and paying particular attention to the written word. Dizdar’s focus on the word, as one of the fundamental principles of avant-garde, is motivated, of course, by the subject matter of Stone Sleeper,its inspirational basis. The stećak1 is Dizdar’s fundamental artistic reference.In an attempt aesthetically to express the weight, hardness and substantiality of the stone and the facture of the sepulchral word and letter, Dizdar revives the petrified word of the Bosnian epitaph, masterfully demonstrating how creative potential of poetic language, from which an entire forgotten world emerges, is awakened.Avant-garde is also characterised by the principle of innovation. At first glance, and first glance only, this principle does not fit into Dizdar’s aesthetics.For, as has been said in one of the manifestos of the Russian literary avant-garde, “(...) New subjects and objects of creation do not determine its true novelty, and a new light cast on an old world may bring about a most wondrous play.” Stone Sleeper is one such spiritual delving into the silent primordium of Dizdar’s native land and culture. Instead of progressive movement toward future, amid the roar of time, in Dizdar, just as in Russian acmeists and some futurists (Khlebnikov), we find innovation asa recreation of direct, vivid experience of the world through primordial meanings of the words whose sense had either been petrified by prolonged everyday use and is thus in need of de-petrification, or completely forgotten and needs to be resurrected. Such words in Dizdar’s poetry are invested with power, or, as K. Prohić says, with “naturalness of elementary truths and unmediated experience.”

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Doticaji i suočenja III : Sidran, Ljubović, Cvijetić, Ćatić, Kulenović, Ćopić, Ibrišimović-Šabić, Fetahagić, Veličković, Čehov, Solženjicin, Selimović, Dostojevski, Bahtin
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Doticaji i suočenja III : Sidran, Ljubović, Cvijetić, Ćatić, Kulenović, Ćopić, Ibrišimović-Šabić, Fetahagić, Veličković, Čehov, Solženjicin, Selimović, Dostojevski, Bahtin

Author(s): Nazif Kusturica / Language(s): Bosnian

The diversity of the texts and topics of this book of essays, third in a row,titled Doticaji i suočenja III (the first one – Doticaji i suočenja – 1976, andthe second one – Doticaji i suočenja – 2002) comes out from the fact that those texts were emerging, were written and published in the Bosnian-and-Herzegovinian periodicals over the time period of several years and they represent a result of both the author’s literary-critical and literary-theoretical research and even intimate reading, as well as of a fascination with some writers and artists, or with their individual accomplishments.The first part of the book consists of the essays on individual pieces of artistic work, which according to the author, must not be neglected or left out concerning the critical reception. Among others, it deals with the novels of Sead Fetahagic Jednog dana jedna žena negdje (2001, and the 2ndedition 2003) and of Nenad Velickovic Otac moje kćeri (2000), which are combined, maybe, with a syntagma of the “war writing”. In the first part of the book the place also belongs to the texts written on the occasion of marking two important anniversaries – one of them dedicated to the hundredth anniversary of Chekov’s death, and the secondone written on the occasion of the death of the Russian Nobel Prize winner A. I. Solzenjicin.There are also the texts on Bosnian-and Herzegovinian poet writers,that is, on some of their poems. The essay Intepretativni zahvat u nizu Skenderovih soneta – ekfrazisa dedicated to the following Skender Kulenovic’s sonnets: Tarih za Karadjozbegovu džamiju, Tarih (II) za Stari most,Ničija već moja, with the topic on Mestrovic’s monument to Njegoš with a subtitle Tarih; two sonnets related to buildings (Sahat kula – and Tvrđava)and one sonnet, which takes a sculpture for its object of artistic reflections (Vaze). Dvije pjesme Muse Ćazima Ćatića is a text about two excellent works of this Bosnian and Herzegovinin a writer, about the pomes Reminiscenca and Teubi-Nesuh, whereas the theory of ecphrasis is used as a basis for interpretation of Abulah Sidran’s verses (the poem Hrast i knjiga – u ateljeu Ibrahim Ljubovića from Sarajevske zbirke, dedicated to painter Ibrahim Ljubovic and his canvases (the essay titled Iz slike u stih).

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Doticaji i suočenja I : Ljermontov, Gorki, Beli, Šolohov, Pasternak, Leonov, Kazakov, Voronski, Lukač, Stojnić, Dombrovska, Hlasko, Andrić, Sijarić, Cvijetić, Ramić
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Doticaji i suočenja I : Ljermontov, Gorki, Beli, Šolohov, Pasternak, Leonov, Kazakov, Voronski, Lukač, Stojnić, Dombrovska, Hlasko, Andrić, Sijarić, Cvijetić, Ramić

Author(s): Nazif Kusturica / Language(s): Bosnian

The first edition of this book under the title Contacts and Confrontations (originally Doticaji i sučenja) was published in the year 1976 by Svjetlost publishing house in Sarajevo. The largest number of the essays included in this selection, which are the result of the author’s research in literary criticism, as well as repercussions of his personal reading, have been written and published in Bosnian-Herzegovinian periodicals Izraz, Život, and Odjek One portion of the texts represents published prefaces and epilogues which have been written as accompaniment to the author’s books Numerous texts dedicated to Maksim Gorky have been the result of the author’s engagement in this Russian writer’s opus during his doctoral studies, as well as his engagement in thea esthetics and poetics of Gorky within the time of Gorky’s laudation, and contestation alike. In the second edition of Contacts and Confrontations I, which serves as the first part of the author’s critically essayistic trilogy, the texts have, within significant interventions, been left as whey were originally. The first part of the book Contacts and Confrontations I has been dedicated to Russian authors; more specifically, to the Russian literature do-main as the fundamental subject of study, which the author had been re-searching at the time of his career as a university professor. The text on Lermontov’s A Hero of Our Time, for example, has been written to serve as preface to the author’s own translation of this perhaps most prestigious of Lermontov’s works; prestigious that is to say, not only considering that the main character of the novel can be recognised as thes ummary of Lermontov’s lyrical subjects throughout his poetic opus with a strong bond to the author’s own self, but also considering the significance and meaning which this novel had for the evolution of the Russian prose in the 19th century. The following four essays dedicated to the person and opus of Maksim Gorky represent, to a degree, a concise study on this Russian classic at the brink of the 20th century: Facing Gorky Again, The Manifold Oeuvre, The Subject and Its Style in Gorky’s Opus, and Chekhov – Gorky: The Dramaturgical Counterpoint The study in question offers, throughout approximately forty pages, a versatile evaluation of Gorky’s opus, and the explanation of the place this Russian author holds in relation to the traditional Russian literature, as well as in relation to the changes the literature of the 20thcentury had brought within the specific historical, social, and ideological context Consequently, this work would later provoke various controversies, outlooks, as well as evaluations of Gorky’s opus.

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Doticaji i suočenja II: Puškin • Tolstoj • Dostojevski • Čehov • Gorki • Andrejev • Tinjanov • Šolohov • Bulgakov • Kaverin • Nabokov • Vojnovič • Ribakov • Selimović • Dostojevski • Popa • Dizdar • Begić
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Doticaji i suočenja II: Puškin • Tolstoj • Dostojevski • Čehov • Gorki • Andrejev • Tinjanov • Šolohov • Bulgakov • Kaverin • Nabokov • Vojnovič • Ribakov • Selimović • Dostojevski • Popa • Dizdar • Begić

Author(s): Nazif Kusturica / Language(s): Bosnian

The first edition of the second book of essays Doticaji i suočenja II (Contacts and Confrontations II) was published in the year 2002 by the Faculty of Philosophy in Sarajevo. The book begins with an essay dedicated to the 200th anniversary of the birth of Alexander Pushkin entitled In the Beginning Was Pushkin. Referring to the well-known critical evaluations of Russian researchers, who rightly call Pushkin Adam of Russian Literature and The Principle of all Principles, Nazif Kusturica shows why it is said that this great artist of words, originated in the era of romanticism, is the founder of Russian realism and modern, original Russian literature.In the essay On Tolstoy’s epopee the author explains the concept of the novel-epopee and talks about War and Peace as a unique novel, that did not find a typological relative before the novel Quietly Flows the Don by Sholokhov. Aware of his innovation in the novel structure, Tolstoy only found similarities with his work in Homer’s Iliad. Intending to show Tolstoy’s transition from epic to drama, Kusturica also talks about the features of epic in the drama The Power of Darkness, reminding that Tolstoy is also an outstanding playwright.Based on the statement that Dostoevsky’s realism is firmly marked by romance, the author shows, by the example of the novel Poor Folk, in which way Dostoevsky had rehabilitated (N. K.) the sentimental principle of his characters, on which realism challenged his right.From Gogol’s ‘The Overcoat’ to Chekhov’s ‘Case’ is an essay in which the author of the book tells about the development of the theme of the little man, comparing two typologically related models – Gogol’s Bashmachkin and Chekhov’s Belikov. Having described one of the most important themes of great realism in Russian literature in the previous essay, the author also brings an extremely informative essay about Chekhov’s stories.Chekhov dealt with topics that were of great importance for the further development of Russian literature, and some of them: the responsibility of a small man for his destiny, chameleonism, the banalization of the Russian intelligence...

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Prostor a jeho obývání: Zobrazení prostoru v díle Marie Noëlové, Suzanne Renaudové, Christiane Singerové a Sylvie Germainové
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Prostor a jeho obývání: Zobrazení prostoru v díle Marie Noëlové, Suzanne Renaudové, Christiane Singerové a Sylvie Germainové

Author(s): Václava Bakešová / Language(s): Czech

The publication summarizes the research results of various types of space in the literary works of four Christian inspired French authors, M. Noël, S. Renaud, C. Singer and S. Germain. Their literary texts cover the whole of the 20th century and show diversity in approaches to space, but also a difference in the literature of 1st and 2nd halves of 20th century. Methodologically, it proceeds from the phenomenological view of G. Bachelard on the intimate space of the home, through the open and sacred space according to M. Eliade's study, towards the geocritical analysis of the space, based on the almost unused B. Westphal's theory of geocriticism. The study of space shows that literature can not be separated from the outside world, on the contrary, it contributes to its better understanding.

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ПОРТРЕТЪТ В ЛИТЕРАТУРАТА НА МОДЕРНИЗМА : ОСКАР УАЙЛД, ДЖЕЙМС ДЖОЙС, ХОСЕ МАРТИНЕС РУИС – АСОРИН
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ПОРТРЕТЪТ В ЛИТЕРАТУРАТА НА МОДЕРНИЗМА : ОСКАР УАЙЛД, ДЖЕЙМС ДЖОЙС, ХОСЕ МАРТИНЕС РУИС – АСОРИН

Author(s): Teodora Tzankova / Language(s): English,Bulgarian,Spanish

The book explores the portrait in Modernist literature by focusing on the novels The Picture of Dorian Gray by Oscar Wilde, A Portrait of the Artist as a Young Man by James Joyce and Doña Inés (a love story) by José Martínez Ruiz – Azorín. In order to put the theme in the necessary cultural, historical and theoretical perspective, the first two chapters are dedicated to the autonomous pictorial portrait and to different types of portraits in literature. The remaining three chapters offer a close reading of the three chosen literary works from the point of view of the portrait: the diverse manifestations of the portrait are registered, their functions are pointed out and analysed, the relationships existing between them are established, and, finally, the problems that the portraits pose are determined. As a result, the comparative analysis of the novels of Wilde, Joyce and Azorín outlines their common commitment to the representation of a contradictory, constantly developing and self-reflexive human individual. The three protagonists reject the authorities, value their individual freedom highly and perceive their identity as subject to their past. By revealing the capacity of the portrait to expound the issues pointed out above, the research deems it an adequate embodiment of Modernist worldview.The present book is a revised version of a PhD thesis defended at Sofia University in 2012.

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Ruská literatura: setkání a konfrontace
28.93 €

Ruská literatura: setkání a konfrontace

Author(s): Ivo Pospíšil / Language(s): Russian

This monograph contains texts covering diverse topics, including the conception of Russian literature in the works of the two founders of Slavonic studies, Slavonic literary history, Karamzin’s construction of new Russian literature, the participation of “foreigners” in the formation of Russian classical and modern literature, and the leaders of Russian classical literature such as Alexander Griboyedov, Fyodor Dostoevsky, Maxim Gorky and long-neglected Nikolay Leskov. Czech views of more recent literature from the second half of the 20th century (Valentin Rasputin, Evgeny Vodolazkin) are also included, along with consideration of the participation of Russians or, more generally speaking, Eastern Slavs in interwar Czechoslovakia (Alfred Bem, Valery Vilinsky, son of Masaryk University adjunct professor Sergey Vilinsky) and the opinion of the time not quite precisely called “the period of stagnation” (in Russian “period zastoay”). Even at that time there appeared interesting discussions with axiological shifts of emphasis which have often had a crucial influence upon further developments in Russia. And then some specific features of Czech Russian literary studies (“A Small Reflection…,” Jaroslav Burian) including Wollman’s polemic with the Poles on Pan-Slavism which, in the Czech environment, has often been connected – incorrectly – only with Jan Kollár. The volume concludes with considerations on the problem of terminology applied only to Russian literature, and a treatise on the universality of Russian literature and Russian literary scholarship in connection with their reception by Czechs in the 19th–21st centuries, including various controversies. If today Czech-Russian relations are again becoming a focus of attention – most of all hot button issues of a political nature which have not been sufficiently revealed and recognised – this work stands as a modest invitation to Czech Russian studies and the deep research on the so-called Russian phenomenon in general comparative contexts and other intersections based on genre, thematic, ideological, sociological, anthropological and philosophical studies, i.e. in the framework of area concepts. And this book should also stimulate reflection on the past, which might inspire new views of the present and encourage more long-term interest than the impressionistic and emotional digressions we have seen to date. Let us take this volume as an attempt at a small contribution to such a view and understanding.

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Podoby české literární reportáže
28.93 €

Podoby české literární reportáže

Author(s): František Schildberger / Language(s): Czech

The thesis “The Ways of Czech Literary Reportage” constitutes an attempt to map the genre of reportage in Czech literature. In the introductory part of the text, the methods of literary studies – originally conceived for analysing fictional narratives – are applied to reportage texts, with the aim of establishing whether (and to what degree) the genre of reportage fits the criteria concerned. Further on, the thesis contains profiles of key figures and phenomena in the evolution of Czech-language reportage, from the 19th century antecedence of the genre to the peak of its development in the 1930s and 1940s, following through to the 1980s. The examples featured are used to illustrate both the inspirational and the constricting influences of the literary and social developments in the Czech environment on the genre of reportage. The crux of the thesis lays in its endeavour to demonstrate the manner in which the key literary figures – all considerably diverse as artistic types – reacted in their writing to both the progress and the constricted possibilities of creating reportage. The thesis emphasises the variety and diversity of creative approaches to reportage which resulted from these circumstances.

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Implicating Environments: The Earlier Work of Paul Carter and J.H. Prynne in the Context of Related Aspects of Later Modern Neo-Pastoral
61.98 €

Implicating Environments: The Earlier Work of Paul Carter and J.H. Prynne in the Context of Related Aspects of Later Modern Neo-Pastoral

Author(s): Stephen Hardy / Language(s): English

The book seeks to examine and explore aspects of contemporary and historical natural, social and cognitive environments through a series of partly comparative readings of pertinent aspects of philosophy, environmental studies, literary criticism, poetry, cultural history and literary, cultural and spatial theory. Writers whose work is focused upon include Peter Ackroyd, Andrew Bowie, Paul Carter, Gilles Deleuze and Félix Guattari, Edward Dorn, Michael Hardt and Antonio Negri, David Jones, Niklas Luhmann, Andrew McMurry, Charles Olson, Camille Paglia, J.H. Prynne, Baruch Spinoza, and Raymond Williams.

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Myśleć Kafką. Teksty i konteksty
14.00 €

Myśleć Kafką. Teksty i konteksty

Author(s): Mariusz Jochemczyk,Józef Olejniczak,Miłosz Piotrowiak / Language(s): Polish

Kafka and his work cannot be interpreted unequivocally; his texts cannot be assigned to any of the currents of modern literature (or more broadly — art). Such an unambiguous interpretation and strict assignment would immobilize the potency and dynamics still inherent in this work. Kafka would then become yet another dead butterfly on a pin, placed in the glass case of a collector of butterfly corpses, fascinated by the natural world and running around the meadows with a net… This is what we wanted to avoid in the sketches collected in this book. Did we succeed? The essay is an approximation, “circling around”; it is a testimony of attempts to come closer, and also attempts to tame. The movement of thought here takes place essentially within two separate intellectual circuits. Indeed, the volume constitutes a two-part whole, combining a detailed analysis of selected works by Franz Kafka (interpretive approach) with a broad overview of contextual themes (somatic experience, pacifism and attitude to war, transformations, flows/influences, metamorphoses, aporias, paradoxes of modern knowledge, etc.).

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