"Auschwitz hin, Supermarkt her". Das musikalische Erschreiben der Gesellschaft der 1970er Jahre in Eckhard Henscheids "Die Mätresse des Bischofs"

Author(s): Martin Schneider / Language(s): German / Issue: 26/2017

The article interprets Eckhard Henscheids novel "Die Mätresse des Bischofs", first published in 1978, as an attempt to use musical writing in order to transform the German society of the late Seventies. The novel creates a textual score, in which different manners of contemporary social speech are interlaced with the memory of National Socialism, war and the Holocaust. In this context, the article relates Henscheid’s so far undervalued novel to the writings of Thomas Bernhard and the musical philosophy of Theodor W. Adorno.

"Bez tytułu i daty". O „szkicowniku myśli” Piotra Szewca

Author(s): Grażyna Maroszczuk / Language(s): Polish / Publication Year: 0

The subject of the article is notes by Piotr Szewc entitled "Bez tytułu i daty", published in “Kwartalnik Artystyczny” in the column of varia entitled "Z powodu i bez powodu". The sketchbook privacy is marked by writer’s mental state, the sense of an obvious bond with the events of a special personal meaning, discretely including notes into the area of emotion reactions. The author , being aware of the gaps of a memoirist form makes an attempt to order himself and drafts thoughts in his non-fulfillment, as well as fills in intuitions of the events reconstructed after years that are intensively close to him. A reflection on the past, that, according to the author is worth remembering, because otherwise, it would get lost without taking care of a tiny detail memory sticks to. Notes by Piotr Szewc point to a thematic dominance of the last achievements of the author of "Zagłada". The novel works are avoided here in favour of poetic and para-textual searches.

"Braut des hohen Liedes"

'Jüdinnenbilder' im Werk von Leopold von Sacher-Masoch

Author(s): Anna-Dorothea Ludewig / Language(s): German / Issue: 26/2017

In Leopold von Sacher-Masoch’s works, the so-called Ghetto stories occupy a special position; they reflect the author’s obvious and definitely positive interest in Jewish life in Eastern Europe. Also in this context, Sacher-Masoch’s images of women and Jewish women in particular are remarkable and will be examined carefully in this article for the first time.

"Czytadło" Tadeusza Konwickiego – interpretacja po latach

Author(s): Anna Szóstak / Language(s): Polish / Publication Year: 0

The article is an attempt to reconsider and reread the novel by Tadeusz Konwicki from today’s point of view and by means of research tools that has not been applied so far to this type of text. A confrontation of its character with a changed reality of the surrounding world becomes an occasion to reflect on coming to terms with tradition and ideas as well as myths of the Romantic provenience or, in a word, the whole symbolic heritage of the past while for the writer himself, also with existing hierarchies and literary conventions. In such a perspective the novel by Konwicki turns out to be an addition and supplement of "Mała apokalipsa" whereas its convention an ironic and prophetic harbinger of a direction the Polish literature goes in totally different conditions and circumstances than before.

"FIRE" AS THE "LOGO" OF THE ARTISTIC WORLDS

Author(s): Natalja Dyorina,Yuliya Yuzhakova,Liliya Polyakova,Tatyana Zalavina / Language(s): English / Issue: 3/2019

Fire as the ‘Logo’ of Artistic Worlds. The aim of the present paper is to analyse the image of fire created by two representatives, one of the Acmeist and the other of the Romantic school of poetry, N. Gumilev and S.T. Coleridge, revealing similarities and differences between their approaches. The obvious parallelism of the poets’ works is demonstrated, with particular attention paid to the fact that specific fire-related images were emphasised by Gumilev in his translation of Coleridge’s works. The attributes of the artistic universes of the Russian and of the English poet are shown: the continuity and constant interaction of their elements, the identity of the properties of the whole and of its various parts in each case.

"Ikaromenippos" – starożytny dialog o locie na Księżyc i do niebiańskiej siedziby bogów

Author(s): Dominika Budzanowska-Weglenda / Language(s): Polish / Publication Year: 0

Dominika Budzanowska-Weglenda’s chapter proposes an analysis of the Ikaromenippos or Voyage in Space, which is one of dialogues of Lucian of Samosata and probably the first literary description of the human trip to the Moon. The main character takes on this journey because of his aversion to philosophy. Lucian’s Ikaromenippos is a fantastic dialogue: a philosopher, probably the cynic, and satirist Menippus of Gadara, flies here “through the stars”. He takes two wings of large birds: the wing of the vulture and the wing of the eagle, and performs an incredible feat, worthy of Icarus: he reaches the Moon (from where he looks at the people and their actions on Earth), and then flies to Heaven—to the gods, “in upper Zeus’ rooms”. The story of Menippus’journey is like a swift current of the river, full of jocular tone, with a fantastic plot. But it clearly carries a deeper message: it expresses criticism of human attitudes and actions (adulteries, murders, conspiracies, perjury, betrayals among the closest to ones, war, courtship, piracy), meanness, false and mercenary piety, especially when stigmatizing bad behavior of philosophers, without sparing the representatives of any philosophical school. According to Lucian’s narrative, philosophers are lazy, quarrelsome, bloated, angry, grotesque, tumultuous, surly, unworthy people. The author reinforces the accusations of philosophers with the deity’s words, as the goddess of the Moon, Selene, having been encountered by the traveler, complains about them as well. She believes that philosophers are impostors, leading a shameful nightlife behind the scenes: they commit adultery, steal, and commit any other evil deeds. Ikaromenippos belongs to Lucian’s satirical works featuring reflective comedy. Correspondingly, Lucian postulates the liberation from the practical cognitive pressure of the logical rules and from the philosophical logic of cognition of the universe.

"KO HOĆE DA ŽIVI, NEK’ MRE" - SARAJEVSKI ATENTAT I DVIJE PJESME IZ KNJIŽEVNOSTI MLADE BOSNE

Author(s): Sanjin Kodrić / Language(s): Bosnian / Issue: 2/2016

The paper deals with the role of culture, especially literature, in conceptual and ideological preparation, implementation and, particularly, the later textual memorialisation of the Sarajevo Assassination. Special attention was paid to the so-called Young Bosnia literature and its tradition, especially to two poems: Prva proljetna pjesma [The First Spring Poem] (1914) by Ivo Andric and Umiranje [Dying] (1914/1915?) by Gavrilo Princip. These two poems are two extremely important early examples of the memorialisation of the Sarajevo Assassination and the Young Bosnia generation in what is the literary practice of the Young Bosnia and its tradition. Both texts reveal some of the essentially important Young Bosnia self-representations, but also some of the important aspects related to the issue of the conceptual and ideological preparation, implementation and later memorial textualisation of the Sarajevo Assassination and the Young Bosnian movement.

"Koralina" Neila Gaimana w realizacjach teatru lalek w Polsce

Author(s): Maria Janus / Language(s): Polish / Publication Year: 0

Maria Janus focuses on theatrical adaptations of Neil Gaiman’s "Coraline" in Polish puppet theatre. The analysed performances were directed by Włodzimierz Fełenczak in Teatr Miniatura in Gdańsk with a stage design by Mikołaj Malesza (opening 2009) and in the Białostocki Teatr Lalek with a stage design by Joanna Braun (opening 2011) and directed by Karolina Maciejaszek in Teatr Pinokio in Łódź with a stage design by Anna Chadaj (opening 2013). In addition, the Author discusses the performance of Rozalinda, written and directed by Krystyna Jakóbczyk in the Teatr Dzieci Zagłębia in Będzin (opening 2012), which was inspired by Gaiman’s novel. Janus presents this performance in the context of copyrights and difficulties of obtaining licenses for use of texts written by popular authors (especially from the Anglo-Saxon region). The author compares the adaptations of Neil Gaiman’s novel written by Fełenczak, Maciejaszek and the translation of the novel’s narration by Jakóbczyk (theatrical situations and visual narration vs. the narration performed live on-stage). Maria Janus also highlights theatrical references from the novel considering meta-theatrical elements that enhance the performance. Janus compares theatrical media used in performances from Gdańsk, Białystok and Łódź with special consideration to the stage design and puppetry techniques. In the second part, the author focuses on the popularity of Neil Gaiman’s Coraline among theatrical directors despite little interest in horror fiction. Puppet theatres in Poland do not produce performances based on modern epic literature, especially those nbased on fantasy. Classical fairy-tales and modern dramaturgy containing fairy-tale motives are still more popular. Furthermore, Janus reflects on the possibility of a change of the herein discussed situation. She further refers to the arguments of Bruno Bettelheim, Stanisław Grzelecki and Katarzyna Slany considering young spectator benefits from the contact with theatrical representation of youth horror literature.

"Krytyka" Wilhelma Feldmana o literaturze rosyjskiej

Author(s): Elżbieta Tymoczko-Tichoniuk / Language(s): Polish / Issue: V/2000

"Le Tramway" de Claude Simon : une vanité postmoderne ?

Author(s): Mokhtar Belarbi / Language(s): French / Issue: 8/2018

The theme of vanity occupies a prime place in Claude Simon's "Tramway". In this text, he has adopted a new conception of vanity. Certainly, the author has always evoked themes intimately associated with vanity, such as the theme of death, the theme of melancholy, the theme of war, etc., but the “finitude” has always been for him a crucial phase for the return to the primordial and the origin for the beginning of a new cycle of life. In "The Tramway", the vanity of the world is presented in a tragic way. No reference to the primordiality or the cyclical return of things. The author insists on updating in the memory of the time of death. A large number of metaphors and symbols highlight this theme of death; it is as if the author throws to the reader a memento mori from someone on the point of experiencing this fatal experience which is irremediable and definitive. This gives the text a tragic and undeniable human dimension.

"Mimeza procesa" u romanu Zlatna bilježnica

Author(s): Aida Džiho-Šator / Language(s): Bosnian / Issue: 10/2015

This paper deals with the literary technique of metafiction in Doris Lessing’s novel The Golden Notebook and with some of the ways of its realization. The paper attempts to analyze the problem of presenting the truth in novel writing, or the representation of reality in fiction, which is one of the main preoccupations of the novel’s protagonist, Anna Wulf.

"Najistotniejsza kwestia, jaka może być”. Odpowiedź na artykuł E.A.J. Honigmanna (przełożyła Karolina Kowalska)

Author(s): Hildegard Hammerschmidt-Hummel / Language(s): Polish / Issue: 16/2011

This text is a reply to E.A.J. Honigmann and presents another point of view on Shakespeare’s Catholicism. H. Hammerschmidt-Hummel defends her thesis and tries to convince that her book is based on reliable studies and historical sources. She proves that a secret Catholic code in his plays is the most important key to understanding his whole output. Her arguments are based on two evidences: the known or presumed “Catholic sympathies” of the dramatist’s family, friends and patrons and the “Catholic attitudes” embedded in the plays.

"Nebibliografinë" Jono Bretkûno Postilë (1591): Vlado Daumanto egzempliorius

Author(s): Ona Aleknavičienė / Language(s): Lithuanian / Issue: 06/2004

In this article I describe the copy of Jonas Bretkûnas' Postilla (1591), which is kept in the Kaunas Art Gallery of Mykolas Žilinskas (this is a division of the National Art Museum of Mikalojus Konstantinas Èiurlionis), in the section of Archival Documents and Photographs (call number: Tkr. 148). Until 1944 the copy was kept in the private collection of Vladas Daumantas. For a certain period after World War Two it was unknown to scholars. The copy was included neither in the Lithuanian Bibliography (Lietuvos TSR bibliografija, 1969; LB I), nor in the supplement volume (Papildymai, 1990; LBP). This is the tenth copy of Bretkûnas' Postilla kept in Lithuania. Daumantas' copy is not defective, but is in good condition. There are, however, certain errors of pagination. Certain circumstances attest that this copy was the property of Vladas Daumantas: (1) an inscription in purple pencil on the title page "VDaumantas" (cf. Fig. 1); (2) an inscription "VDaumanto kolekcija" in the accession book of the Art Museum of Mikalojus Konstantinas Èiurlionis; (3) a description of the Postilla in the manuscripts by Petras Jakðtas (a contemporary of Daumantas; they both were members of the 27 Book Lovers Society).

"NOMEN EST OMEN" ILI UNUTARNJA DIMENZIJA EPSKOG JUNAKA

Author(s): Sead Šemsović / Language(s): Bosnian / Issue: 1/2016

This article examines the relationship between remembering the names of epic heroes without their appearance and the characteristics of their internal dimensions, of which we learn from those poems in which the heroes appear as participants of events. Since the introduction of the epic hero by the epic poet is based on the poet’s own experience or knowledge of the hero’s features and characteristics the presented knowledge and narrated experiences not only constitute one epic biography, but also reflect the internal dimension of the hero. Moving from particular examples towards the very source of this reflection, one can identify certain aspects of differentiation of the epic hero in relation to other heroes as well as to his own self as experienced and perceived by different poets. In that way,this approach to the epic world promotes a top-down view of the hero,which has been completely denied in some traditional approaches. The very name is mentioned in several possible varieties and determined by whom, how, where and when it is mentioned. Furthermore, the variety depends on whether the name is mentioned in poems from the hero’s cultural sphere or a different one. Finally, the reasons for the appearance of the names without their bearers are indicative of the ways in which individual stratifications within complexly constructed epic worlds maybe decoded.

"Pan Lodowego Ogrodu" Jarosława Grzędowicza, czyli o (nie)możliwości utopii

Author(s): Anita Całek / Language(s): Polish / Publication Year: 0

The chapter by Anita Całek makes illustrative attempts to demonstrate how the literary utopia has shaped Jaroslaw Grzedowicz’s novel, "The Lord of the Ice Garden", and why this utopia is created in the context of its primary meaning—a “non-place”. An analysis of the dystopian features of the four countries; The Ice Garden, The Garden of Earthly Delights, The Amitraj and the Valley of the Lady of Sorrows, delves into their subversive nature towards the utopian intentions of their authors. Without exhausting the material of analysis, the ease of world-building is further revealed. An unlikely candidate-world for a utopia-in-the-making is the isolated planet, Midgaard, which happens to be subjected to quarantine by terrestrials. This planet can not only make the realization of any dreams possible but is also adaptable to new paradigms. These planetary characteristics create a utopian impulse amongst the scientists working on the research station. These scientists must tread carefully because they are well aware that they do not know under whose influence they are operating nor who the important movers and shakers of this planet really are.

"Późne lato" Johna Crowleya jako postmodernistyczna wizja procesualnej koncepcji tożsamości

Author(s): Małgorzata Gancarczyk / Language(s): Polish / Issue: 1/2018

The article John Crowley’s “Engine Summer”: A Postmodern Vision of the Processual Construction of Identity analyses the eponymous novel as pivoted around the narrative’s role in constructing both individual and collective identity. Drawing from Mieke Bal’s narrative theory, as well as a number of establi­shed (such as paratextuality) and emerging theoretical concepts (Piotr Kubiński’s emersion), Gancarczyk emphasises the multifacetedness of novelistic references, including the stereotypisation of the Other and top-down control of social relationships. Furthermore, Engine Summer is interpreted he­re as drawing the reader’s attention to the medium itself and to the embodied text which co-creates narrative identity, allowing for its inscription and transmission—an idea literally realised in a postapocalyptic world of the novel. Finally, Gancarczyk shows how Campbell’s concept of monomyth reverberates in Crowley’s narrative, proving pivotal for the overall interpretation, indicating the active role of the medium and narrative subjectivity in constructing the meaning.

"Pодовое гнездо" Здзъяхоўскіх

Author(s): Wiaczasław Rahojsza / Language(s): Russian / Issue: VI/2001

"Sanatorium" Rafała Wojaczka. Próba lektury po czterdziestu latach

Author(s): Magdalena Boczkowska / Language(s): Polish / Publication Year: 0

The article is devoted to "Sanatorium" by Rafał Wojaczek or a prose book of a poet, published for the first time as a whole (although with a removed motto) in 2010. The author, analyzing such, phenomena as (among others): the problem of suicide and split personality, an identity split of the main character, loss of subjectivity that are very typical of the poets defined traditionally as “damned”, shows above all a difficult reception of this prose. Hence, "Sanatorium" can be read today in different ways but it should be underlined that it is first of all a novel about fear, illness, stagnation and battle fought with the world and him/herself.

"Skretnice" Jasmine Musabegović – retorika hetero-povijesti u Povijesti:

politika/etika preživljavanja i (ne)moguće kodiranje doma

Author(s): Mirela Berbić-Imširović / Language(s): Bosnian / Issue: 5/2015

This paper analyzes the novel Jasmina Musabegović wrote in 1986. The path of identification through coding female gender means going back home, but only after it has been decontaminated ideologically. Bearing in mind that every topos represents a point in cultural discourse and that rails represent borders and perspectives of gender and cultural prefiguration, what we are interested in is whether Fatima is active in chaotic historical time-space, situated within those transitional topoi (period between the two wars and during WWII); are switches a skeptically colored, failed trope which cannot be transcoded onto female gender, since she lives a life of statics and not a life of changeability, or Fatima’s reversibility towards home tells us about the need for acknowledging the stigmatically and conventionally secondary topologies in authenticating oneself? Is the narrator, disregarding the fragile, but present poly-glossia, imprisoned in her own andro-text, corresponding with the following: what is the position of a woman in collective identification and strong positioning, can a woman be a formalized subject in history, and/or she follows a different path of identity coding through family politics/poly-ethics, togetherness, caring? In other words, doesn’t Switches omit unexpectedly, but intentionally Fatima’s settling down in the historical space, enabling her to preserve her self, without its isolation, but through protecting it in the difference of the marginal, leaving room for the empty (De Certau)?

"Smutek rzeczy" czy melancholijny uśmiech. O odczytywaniu nastrojów i walorów estetycznych w dalekowschodnich utowrach poetyckich oraz ich współczesny

Author(s): Małgorzata Wielgosz / Language(s): Polish / Issue: 3/2014

The article aims to describe how reading aesthetic qualities and artist's moods in the Far East poetry looks from the perspective of a Western scholar, how they are imitated in European works. The publication concerns the analysis of these aspects in haiku and waka. For works of such type the characteristic trait is the sense of melancholy, arising from awareness that the world and the subject that is learning it are both elusive. The impression of constantly changing environment and the transience of time characteristic of haiku and waka has its roots in the Buddhist belief in the impermanence of things that contributed to the formation of a specific type of perception: experiencing beauty with pain. It is from the Buddhism that the term mujökan derives from, later used to describe the emotional perception of reality. The Japanese expanded this experience even more, adding to the awareness of impermanence the feeling of painful beauty. The author argues that the inhabitants of the Land of the Rising Sun understand the concept of beauty completely differently from us, that they have different aesthetic categories, and yet European artists attempt to imitate them.