"Я перш за все думав про українську культуру…": Володимир Олександрович Щепотьєв

Author(s): Lyudmila Babenko / Language(s): Ukrainian / Issue: 2/2015

The article reveals the lifespan and professional activity of a well-known poltavian, professor VolodymyrShchepotiev. He is highly acknowledged in history as a talented pedagogue, who experienced the growth from a teacher of the Ukrainian literature to the professor, rector of Poltava institution of Folk Education. Being a person with encyclopedic knowledge, as well as being keen on the history of the Ukrainian language and folklore V. O. Shchepotiev applied the folklore patterns and samples in his work. V. O. Shchepotiev was a talented scholar, researcher, and organizer of scientific lifestyle of the region. He wasthe first who initiated establishing of Poltava scientific society, was on good terms with Ukrainian Academy of Science in Kiev, as well as with scientific establishments in Kharkiv. He was the one who organized and subsequently maintained the regional archive while systematizing documents and ordering personal archives. Professor initiated the onset of local history investigations. He personally headed the department of folklore and language in regional museum and at that time he developed the structures of expositions, and systematized the museum collections. He would numerously visited the villages of Poltava to discover historical and cultural as well as ethnographical items and to convert them into museum display objects. V. O. Shchepotiev played an extremely significant role in establishing and developing the theatre and music arts in Poltava region. He was in charge of one of the part of Poltava drama theatre and was one of the talented stage director. He gave his educational lectures to people before the concert programs of the choir "Boyan" which were devoted to folklore and local history. The contemporaries would estimate V. O. Shchepotiev’s music talent, who wrote music compositions, played different music instruments. He, ultimately, was the first who started the scientific investigation of M.V. Lysenko’s biography and creative heritage. The translations of poetry and prose from French, Polish, in particular the poetry by Beranger, libretto for several operas composed an integral part of his literary heritage. His creative and scientific activity was broken down with political repression of the power of the Soviet Union. He was arrested and convicted to administrative exile according to a trial case of SVU and afterwards he was shot away in 1937.

150 rocznica urodzin Mychajła Hruszewskiego. Kilka słów refleksji polskiego historyka

Author(s): Teresa Chynczewska-Hennel / Language(s): Polish / Issue: 3/2016

Mykhailo Hrushevsky, a Ukrainian historian and politician, was born at Chełm on 29 September 1866, died on 25 November 1934 at Kislovodsk. He is the author of a ten-volume synthesis of History of Ukraine-Rus’, published in Lwow and Kiev in 1898–1936. In his work, he separated the history of Ukraine from the history of Russia. Living and working in specific national and social conditions of Ukraine at the turn of the 20th century, he disapproved of the role of Poland and Polish people in the history of Ukraine. The response of the Polish historiography of that time to Hrushevsky’s work was very negative – he was accused of having politicised history. Those opinions and polemics concerning Hrushevsky and his publication have been gathered and presented in a book by Ł. Adamski Nacjonalizm postępowy. Mychajło Hruszewski i jego poglądy na Polskę i Polaków [Progressive Nationalism. Mykhailo Hrushevsky and His Opinions of Poland and Poles], published in Warsaw in 2011. There is also a debate among Ukrainian historians. Since 1997 the History of Ukraine-Rus’ is being published in English (The Hrushevsky Translation Project), thanks to The Peter Jacyk Centre for Ukrainian Historical Research Canadian Institute of Ukrainian Studies. The project is headed by Professor Frank E. Sysyn. The last, tenth volume, is entitled: From the Death of Khmelnytsky to the Union of Hadiach (Edmonton–Toronto 2014). The English edition is supplemented with a full and comprehensive critical apparatus and rich literature on the subject.

95 години от рождението на Микола Демянович Малярчук

Author(s): Olha Soroka / Language(s): Bulgarian / Issue: 27/2013

AKTYWNY ROMANTYZM. ESTETYKA LITERACKA WAPLITE W ŚWIETLE DOKUMENTÓW PROGRAMOWYCH

Author(s): Albert Nowacki / Language(s): Polish / Issue: 5/2017

WAPLITE is one of the literary groups, which took an active part in shaping the face of Ukrainian literature in the 1920s. On the one hand, their vision of literature was the literature con-elating with the socialist model, on the other hand, the literature resonating with the most important trends in European literature. The main ideologue of the new aesthetics called “a romance of vitslism” was a co-founder of the group, Mykola Khvylovy, but Oleksa Slisarenko, Oles Dosvitnii, Yuri Yanovsky and Alexander Dovzhenko contributed much as well. This article is based on the analysis of the programming documents and literary works.

Andrzej Gil, Ihor Skoczylas, Kościoły Wschodnie w państwie polsko – litewskim w procesie przemian i adaptacji: Metropolia Kijowska w latach1458-1795, Instytut Europy Środkowo – Wschodniej, Lublin – Lwów 2014, ss. 683

Author(s): Teresa Chynczewska-Hennel / Language(s): Polish / Issue: 2/2015

Boris Poplavsky and Eugeniy Malaniuk: Typology of Expatriation as an Aspect of Cultural Allotropy

Author(s): Olha Chervinska,Yulia Vilchanska / Language(s): English / Issue: 94/2016

Exile existential accents are not considered to be a completely focused object. There are factors in history of cultures which are easier for understanding, proceeding from the current reality: the presence of certain culture in other cultural structure when the creative person faces an indispensability of self-identification (as motivated in the philosophical platform of Julia Kristeva, i. e. in the essay “Strangers to Ourselves” (1988). In the culture study aspect anyone of conventionally homogeneous cultures (or using the expression by Sorokin – “socio-cultural bodies”) in the context of its development inevitably faces, or will face in future, with a situation where the homogeneity ceases to be obvious.In particular, the experience of integral culture collapse of the Russian Empire, at first glance, gives very significant examples related to the so-called allotropy factor (the literary lexicon virtually lacks the concept, although it is appropriate to use this ancient scientific term containing commonly known Greek roots αλλος – other, τρόπος – feature). We mean the various forms which presented the existence of representatives of individual national cultures of Russia after the October Revolution generating the emergence of various known today diasporas – such as the Armenian, Russian, Ukrainian and others. In this synchronic time span the formation of the various “post-imperial” Diasporas (the first wave of emigration) is of great interest. Their main point becomes a creation of the corresponding ideological clamp. In this respect it is interesting to trace typological samples on the most revealing examples.The given article examines the work of two poets-emigrés: Boris Poplavsky (Russian diaspora) and Eugeniy Malaniuk (Ukrainian diaspora). It is a question of typologically polar transformations of biographical experience in the Diaspora ideology outlook.

Bruno i Benn, czyli pokrewieństwo po tamtej stronie śmierci

Author(s): Damir Šodan / Language(s): Polish / Issue: 5/2015

When one compares the lots of two great European authors of the first half of the 20thcentury – the German poet Gottfried Benn (1886–1956) and the Polish-Jewish fiction writer Bruno Schulz (1892–1942) – at first sight their lives seem quite different and incomparable. Still, it is enough to reach under the surface of the so-called historical facts to realize that in some respects the two writers are indeed close to each other. Asregards politics and history, a common denominator of their biographies was Nazism as an emanation of pure evil from provincial East-Central Europe, and its belief that human nature may be improved which the historical process makes it possible to develop great geopolitical systems, even at the cost of suspending all ethical principles. A starting point for that daemonic parochial activism is mostly the “provincial spirit of utopia” or,to be precise, its irresistible “realistic nihilism,” to borrow a term coined by the Serbian philosopher Radomir Konstantinovic.

Bruno Schulz i realizm magiczny

Author(s): Jan Wolenski / Language(s): Polish / Issue: 4/2014

A list of the main magic realists includes Isabel Allende, Jorge Luis Borges, Alejo Carpentier, Julio Cortàzar, Günter Grass, Gabriel García Màrquez, and Salman Rushdie, and among Polish authors, Stanisław Lem, Olga Tokarczuk, and sometimes Witold Gombrowicz. Can Bruno Schulz be called a magic realist as well? Magic realists attempt in their worksto grasp the essence of the things, phenomena, situations or relations which they referto. The way he or she does it cannot be determined by philosophy, but must be based on some specific idea of literature. In the case of Schulz, narration combines together radically different dimensions of reality, which allows the author to call him a magic realist, too. Woleński places the classic elements of Schulz’s fiction, such as experimentswith time and the mythicization of reality, with the magic realism and phenomenology as its philosophical underpinning. The final question asked in the text is how would Schulz have described the Shoah, if he had a chance to survive it.

Bruno Schulz jako krytyk – figury wyobraźni

Author(s): Jerzy Jarzebski / Language(s): Polish / Issue: 2/2013

Bruno Schulz used in his critical essays metaphors and imagery which createda uniquely organized world. Its elements and their arrangement, just as those of his stories, always have some value and exist in time, which means that they have an inner dynamic and contribute to a mythic history. Therefore Schulz’s critical idiom shouldbe studied in terms of its mythological overtones. Schulz transfers his private experience first on other writers and then on the “historical reality.” Still, the center of his repertoire of critical metaphors is occupied by the metaphors borrowed from biology. Whatever belongs to biology has a positive value and spiritual or aesthetic values mustbe ultimately tested by the body and through the flesh. Biological metaphors stress thework’s and author’s connection to real life as well as the temporality of the world and existence approached either as the private experience of life and death or as the history of society.

Bruno Schulz w Poznaniu

Author(s): Piotr Sitkiewicz / Language(s): Polish / Issue: 5/2015

For the last several decades Schulz’s oeuvre has been a kind of “work in progress.” Although he has been long dead, more and more of his texts, drawings, and paintings seem to come down to us from the hereafter – both known from more or less credible testimonies, andquite unexpected and never before acknowledged. Certainly the most impressive findingsof the recent years are Schulz’s frescoes from Landau’s villa in Drogobych, discovered bythe German filmmaker, Benjamin Geissler, in 2001 and then partly removed to Israel to cause an international scandal. As it turns out, however, to find new traces of Schulz’s lifea nd work one does not have to penetrate into inaccessible archives or count on a miracle. In the Poznań newspaper "Nowy Kurier", an interview with Schulz and a review of his "Sanatorium under the Sign of the Hourglass" have been just found, both never reprinted or commented upon. The present paper changes this state of affairs.

Być Żydem w niepodległej Polsce

Author(s): Henri Lewi / Language(s): Polish / Issue: 4/2014

Henri Lewi’s book, "Bruno Schulz or, Messianic Strategies", published in 1989 in Paris, is an attempt to read the fiction and correspondence of Schulz as a record of his individual lot and the collective condition of Jews in the pre-Second World War Poland. The author interprets Schulz’s writings, in which the writer resorted to myths and metaphors and avoided direct autobiographical confessions, as a disguised presentation of his personal experience. Lewi tries to prove that even though Schulz did not openly refer to his Jewishness, he drew from the Judaic tradition and his most important myths are deeply rooted in the Old Testament.

Chrześcijańskie korzenie kultury ukraińskiej

Author(s): Stefan Kozak / Language(s): Polish / Issue: 2/2015

The article by Stefan Kozak is devoted to the beginnings of the rooting of Christianity within culture of Kievan Rus. This early stage was very important for the subject of the article and makes the starting point for tracing its continuity in the next historical and cultural epochs. In a concise way the author presents the most important old-Russian Christian roots of Ukrainian culture, including the sources essential to the shaping of tradition of Christianitas in Ukraine, while a component of its success was the very development of culture itself. The author emphasizes the fact that through the centuries the Ecclesia semper reformanda set directions for the development of literature, culture and arts.

CHWYLOWY CZYTA WYNNYCZENKF;. DYSKURS KOLONIALNEJ ZALEZNOSCI

Author(s): Pawel Krupa / Language(s): Polish / Issue: 2/2014

The article focuses on the analysis of Wynnychenko’s novel Entrepreneurs Harkun- Zadunajsky in the context of Khvylovy’s pamphlets. The main aim of the present article is: to reconstruct historical and literary background of the Harkun-Zadunajsky figure as well as to study postcolonial critic of Ukraine culture of 20th century.

Ciągłość szyn, ciągłość rynków i ogrodów. Wspólne przestrzenie Romana Jaworskiego, Stefana Grabińskiego i Brunona Schulza

Author(s): Marek Wilczynski / Language(s): Polish / Issue: 8/2016

The paper is an intertextual analysis of the selected works of three Polish modernist authors: Roman Jaworski, Stefan Grabiński, and Bruno Schulz. The world of their fiction– all of them in one or another world were related to Galicia, the south-eastern part ofthe prewar Poland – shows significant affinities even though none of them was a realist.Their poetics was predominantly oneiric and fantastic, yet what connects their shortstories are representations of railroads, central squares of small Galician towns, andgardens. Schulz was no doubt the most outstanding of them all, yet it can be legitimatelyargued that, on the other hand, he belonged to a company that shared certain representationaldevices, rhetoric, and in some cases style.

Construction of the image of Taras Shevchenko as a part of national memory

Author(s): Larysa Buryak / Language(s): English / Issue: 2/2015

The image of Taras Shevchenko is considered as an integral component of national memory, which was formed in the 1920-s. The content, structure and mechanism of constructing of Taras Shevchenko’s image are analyzed according to the social-political and cultural transformation, creating new collective identity.

Czy Bruno Schulz jest znany w Drohobyczu?

Author(s): Andrzej Pietruszka / Language(s): Polish / Issue: 8/2016

The paper analyzes the results of a research on the popularity of Schulz in today’s Drogobych, conducted there in 2014 as a basis of the M.A. thesis titled "The (Un)knownSchulz. Reconstructing the Memory of Bruno Schulz in Drogobych" [(Nie)znany Schulz.Proces odtwarzania pamięci o Brunonie Schulzu w Drohobyczu]. It shows the knowledge of the town’s present population about Schulz. The respondents answered a number of questions concerning his life and work, as well as their personal attitude toward thewriter. The information obtained provides an answer to the title question: “Is Bruno Schulz well-known in Drogobych?”

Czytanie bibliografii

Author(s): Wioleta Dereszewska / Language(s): Polish / Issue: 3/2013

The author is interested in the results of reading a writer’s bibliography. She approacheda chronological record of publications in an unusual way. As a rule, bibliographies are made for those readers of a given writer’s output, who are interested in his/her career and look for less known works. Still, reading a chronological register which focuses on cause-and-effect links connecting publications, one may discover in a writer’s career fascinating facts. Jerzy Ficowski’s bibliography also reveals a number of interesting questions. A meticulously ordered list shows a number of his avatars – those of a Schulz scholar, a poet, an expert on the Gypsy culture, and a social and political activist.

Demiurg jest dwoistością. Alfred Kubin i Bruno Schulz – próba porównania

Author(s): Krzysztof Lipowski / Language(s): Polish / Issue: 2/2013

Both Bruno Schulz and Aflred Kubin moved freely between image and word. In their artistic quests they first turned toward the iconic and only then chose the verbal art.In Schulz’s work, the relationship between woman and man is reduced to adoration. Schulz’s man knows that the beauty he admires is beyond his reach, while Kubin reaches further. For him, the sexual act means loss of masculinity. The Austrian draughtsman approaches sexual desire as difficult to control, sometimes animal in its forms, whilefor Schulz desire is subtler and more sublimated. Both Schulz and Kubin addressed theproblem of limited and imperfect reality which sustains the artist’s imagination while he tries to improve it. Both also surprised the audience with their teriomorphic ideas.In the age when most painters preferred chromatic richness, both Kubin and Schulz chose drawing and etching. They preferred techinques which stressed the realtionship of light and color. White and black, making an ascetic combination, let them achieve the maximum of expression. Their works are visions of somnambulists.

Die Semiotik des Raumes in Dovid Bergelsons Opgang

Author(s): BEÁTA NINK / Language(s): German / Issue: 3-4/2006

This paper presents a novel analysis of the work entitled Opgang by the Soviet Yiddish writer Dovid Bergelson from the point of view of the semiotics of space. Born as the reflection by a linguistic and cultural minority to the social changes around the 1917 revolution, the novel has a non-linear structure, and hence, the semiotic interpretation of the recurring central motifs might bring closer to a deeper understanding. The paper aims at answering two main questions. First, do the motifs known from mythology—in this case, the semiotic spaces, such as forest, village and house—change their meaning, and if yes, how does this happen? Second, following Lotman’s semiotic analyses, what is the connection between the spaces and the central characters of the work? The semiotic analysis has issued two main results. First, the meanings of the semiotic spaces have been surprisingly reversed compared to their traditional meaning in mythological and later Russian literary sources, thereby creating a unique mythology within the work itself. Second, using Lotman’s methodology shows also for the case of Bergelson’s novel that the interpretation of the spaces and of the characters cannot be separated from each other. The two protagonists form together a peculiar “двойник character”, one of which is shown by the analysis as an unusual Jewish Christ crucified by the old traditions and their alteration in the changing world of the early Soviet era. All these observations allow for associations with parallel phenomena in arts, such as paintings of Marc Chagall.

Dlaczego Bruno Schulz nie chciał być pisarzem żydowskim (o „wymazywaniu” żydowskości w „Sanatorium pod Klepsydrą” i „Sklepach cynamonowych”)

Author(s): Stefan Chwin / Language(s): Polish / Issue: 4/2014

The absence of the Drogobych synagogue in Bruno Schulz’s fiction suggests his strategy of erasing all the traces of his cultural identity. Next to that absence, one can notice his significant choice of names – to realize that, it is enough to compare Schulz’s short storieswith Julian Stryjkowski’s novel, "Austeria". Apparently, Schulz eliminated from his represented world all Jewish connotations. His use of foreign words, borrowed from different languages, may be explained as an effort to make his fiction as cosmopolitan as possible.This refers not just to the represented reality, but to the very structure of Schulz’s imagination and his linguistic sensibility. The writer did not renounce his Jewishness, but wantedit to be only one component of his fiction. Biblical references and the paraphernalia ofthe Jewish culture were to be just one piece in a multicultural narrative mosaic which tended toward universality.