„… gdzieś poza krzywizną ziemi”. Dyskurs wygnańczy w korespondencji Zygmunta Haupta – rekonesans

Author(s): Paweł Panas / Language(s): Polish Issue: 01/2014

The article is an attempt at a preliminary reconnaissance of the main elements constituting the issue of exile repeatedly occurring in Zygmunt Haupt’s work. The presented analysis is first of all focused on showing the sources of the originating discourse. To do this the writer’s letters to Józef Witlin and Mieczysław Grydzewski have been analyzed, as they are an extremely precious source concentrating both the author’s existential experience and the attempts he made to put it into the form of a narrative. The writer’s correspondence with the author of Orfeusz w piekle XX wieku (Orpheus in the Hell of the 20th Century) has not been published as yet, so the article also brings interesting discoveries connected with substance of the issue.

„…Anioł życia zadrżał we mnie” – romantyczne doświadczenie duchowości w liryce Juliusza Słowackiego

Author(s): Ewelina Szarek / Language(s): Polish Issue: 53/2016

It is chiefly literature that has shaped popular images of celestial beings, and so not surprisingly many works of different literary periods provide the motif of angels. During the Romantic period, the interests in angels grew significantly as people tended to believe in the power of feelings and intuition, and were concerned with mysticism and fantasy. Juliusz Słowacki, known for his angelological inclinations, derived his visions from many cultures and traditions, from the biblical through the mystical to the purely literary. Each of his angelic images is original and does not follow the established patterns of representation. The motif of angels, whose physical and psychological traits have been recorded over centuries, does not require detailed description or much complementing, yet it seems worthwhile drawing attention to the literary recreation of the motif and its functioning as an element of Słowacki’s spiritual philosophy.

„…jeżeli był młyn w Niałku, był młynarz w Niałku…”. Wypowiedź Teodora Parnickiego dla Stefana Szlachtycza

Author(s): Piotr Gorliński-Kucik / Language(s): Polish Issue: 1 (9)/2017

This research paper encompasses a commentary and a transcript of Stefan Szlachtycz interview with Teodor Parnicki (1908–1988) – an outstanding historical novel writer. During this 20-minute-long conversation Stefan Szlachtycz – a director of a movie based on Parnicki’s novel Tylko Beatrycze (1975) – asks the writer about narrative complexities and historical references. Parnicki’s answers are of a great value for literary studies as he presents his train of thought and intellectual horizons; he also unveils some aspects of his literary practices. This interview indicates the reasons why Parnicki’s novels are so complicated, multithreaded and improbable from the historical point of view.

„…megosztani vele a test történetét…”

Author(s): Gábor Bőhm / Language(s): Hungarian Issue: 10/2002

„…miféle szavakkal fogalmazzam meg, ami bennem történik?”

Author(s): Katalin Fehér / Language(s): Hungarian Issue: 12/2002

„…znana jest u nas zaledwie z imienia…”. Polskie XIX-wieczne edycje przekładów Pieśni o Rolandzie

Author(s): Marta M. Kacprzak / Language(s): Polish Publication Year: 0

The article written by the researcher of classic literature and its reception in the 19th century studies the editions of Polish translations of The Song of Roland which precededthe acclaimed translation by Tadeusz Żeleński (Boy), published several times since 1932.The author delves into the poetic translations authored by Seweryna Duchińska, néeŻochowska (1866) and Lucjan Siemieński (1878), and the prose translation by KazimierzKról (1903). She describes the circumstances surrounding their creation and portraysthe environments in which other Polish translations of The Song of Roland were created,and how they were aiming at particular readers. She analyzes the scholarly, literary andsocial goals of these editions, as well as their translatory, artistic, editorial and ideologicalprinciples. She explores their connection with the development in the 19th century ofknowledge of heroic and chivalric narratives, and considers the cultural significance ofthe chivalric ethos in the Middle Ages and later.

„სიბრძნე სიცრუისა“ და „სიბრძნე სიცრუისა“

Author(s): Teimuraz Doiashnili / Language(s): Georgian Issue: 11/2010

At the end of the 1920s, in the period of propaganda of ideologically motivated vulgar realism and aesthetic empiricism in Soviet writings, K. Gamsakhurdia publishes a fable type short-story with marked title – “The Book of Wisdom and Lies”. Repeating the conceptual title of the 18th century Georgian classic writer Sulkhan-Saba Orbeliani’s book of fables, the writer implicitly defends the status of invention (lies) and creative fantasy. S. S. Orbeliani’s fable “Italian Artists” serves as a direct source for Gamsakhurdia’s text, whose author not only shares the theory of mimesis but as a writer of late Renaissance (baroque) criticizes aesthetic empiricism from Aristotelian standpoint. “The game” of artists embraces the parodying elements of imitation principles as well, therefore revealing complaint towards the “untruthfulness” of mimetic art. Gamsakhurdia had perceived “Italian Artists” from the standpoint of criticism of mimetic art, which was essential for modernist writers. This serves as means for building bridges between two epochs, followed by modernistic interpretation of classical texts: as artists do play, and play is an irrevocable sign of crisis (Theodor Adorno, Walter Benjamin), modernist Gamsakhurdia detected the negation of mimetic, imitative lies in classic texts and tied it with the collapse of lies and western theories about the crisis of myth. In support of modernistic aesthetics, Gamsakhurdia worked out a witty strategy: under the political-ideological pressure he used the authority of classical heritage –under the mask of S. S. Orbeliani’s book of fables published a modernistic manifesto nourished with Nietzsche’s and Wilde’s anti-mimetic, non-realistic conceptions. Gamsakhurdia’s “The Book of Wisdom and Lies”, depicting the longing towards national roots of modernism, serves as fact for defending creative freedom under totalitarian regime.

「亡命」という選択肢 ―ニコライ・テルレツキーの『履歴書』をめぐって―

Author(s): Kenichi Abe / Language(s): Japanese Issue: 52/2005

「女性のエクリチュール」としてのB.ナールビコワのテクスト： 境界攪乱の戦略について

Author(s): Shiho Maeda / Language(s): Japanese Issue: 54/2007

『ボリスとグレープについての物語』における語句、«НЕДОУМѢЮЩЕ, ЯКО ЖЕ БѢ ЛЕПО ПРЕЧЬСТЬНѢ»の解釈について：中世ロシアにおけるキリスト教と異教の融合過程の研究

Author(s): Kiyoharu Miura / Language(s): Japanese Issue: 60/2013

『リゴフスカーヤ公爵夫人』における 視覚芸術的創作技法

Author(s): Asuta Yamaji / Language(s): Japanese Issue: 61/2014

『白痴』の現代的リメイクをめぐって

Author(s): Tetsuo Mochizuki / Language(s): Japanese Issue: 49/2002

『砂時計』あるいは世界の書物

Author(s): Ayako Oku / Language(s): Japanese Issue: 50/2003

…örökkévalóság.; …gyepfüvek.; …kihajít.

Author(s): János Géczi / Language(s): Hungarian Issue: 12/2015

…und wir erstarren ineinander

Author(s): Ágnes Seregély / Language(s): German Issue: 10/2006

short prose

ウラジーミル・ソロヴィヨフとオカルティズム

Author(s): Shuichi Sugiura / Language(s): Japanese Issue: 52/2005

シギズムンド･クルジジャノフスキイ『瞳孔の中』における表象／上演のテーマと視覚

Author(s): Yoko Ueda / Language(s): Japanese Issue: 55/2008

シクロフスキイ再考の試み ―散文における《複製技術的要素》について―

Author(s): Chitose Sato / Language(s): Japanese Issue: 52/2005

ソルジェニーツィン『煉獄のなかで』における声 -言語秩序と「身体」をめぐって-

Author(s): Junna Hiramatsu / Language(s): Japanese Issue: 51/2004

ダニロ・キシュと中央ヨーロッパ　―― 未完の短篇「アパトリッド」を通して ――

Author(s): Ayako Oku / Language(s): Japanese Issue: 55/2008

In 1979 Danilo Kiš left Belgrade and settled in Paris. Unlike Milan Kundera who was forced to move out of his country because he was deprived of his right to participate in public life, Kiš migrated to France of his own free will. His “voluntary exile” or “Joycelike exile,” was not only inspired by his quest for literature, but also by what he termed his “fate as a wandering Jew.” This paper focuses on Kiš’ “exile,” by analyzing his unpublished work “The Apatrid” (1980), and by examining how his understanding of the concept of “Central Europe” evolved.