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ZIEMIA OBIECANA CZY ZIEMIA PRZEKLĘTA? OBRAZ MAROKA W LITERATURZE PODRÓŻNICZEJ KOŃCA XVIII W.

Author(s): Małgorzata Sokołowicz / Language(s): Polish Publication Year: 0

The present paper describes the image of Morocco emerging from three texts dating from the end of the 18th century: Recherches historiques sur les Maures et Histoire de l’Empire de Maroc (1787) written by Louis de Chénier, a French consul in Morocco; Histoire du naufrage et de la captivité de M. de Brisson (1789) by Pierre Raymond de Brisson, a French officer whose ship sank on the way to Senegal and who became a hostage of Moroccan tribes; and Voyage dans l’Empire du Maroc (1892) written in French by a Polish nobleman and traveller, Jean Potocki. The first part of the paper focuses on the climate and animals of the Empire and the second on its inhabitants.

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GRAAL, ORIENT, GROTA MIŁOŚCI. PODRÓŻ, UCIECZKA I WYGNANIE W ŚREDNIOWIECZNYCH NIEMIECKICH UTWORACH LITERACKICH MAJĄCYCH FRANCUSKIE ŹRÓDŁA

Author(s): Joanna Godlewicz-Adamiec / Language(s): Polish Publication Year: 0

The aim of the article is to look at the various topoi connected with travel and to consider whether the medieval idea of travel, as reflected in German texts and their French sources, contains the motif of return and to what extent such an element would help define the concept itself. The analysis concerns various types of travel: the one connected with love, with broadening one’s horizons as well as with exclusion and exile.

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PODRÓŻ DO GUIBRAY – NIE TYLKO KOMICZNA WĘDRÓWKA PO ŚWIECIE TEATRU

Author(s): Monika Kulesza / Language(s): Polish Publication Year: 0

In this article I briefly present the relationship between the 17th century comic novel and theatre. An example of such a work is an anonymous novel from 1704 entitled Journey to Guibray. It describes the journey and numerous adventures of two aristocrats dressed as jugglers. The meeting with travelling actors brings many references to theatre in the novel. In this article I am concentrate on the characters of real actors, the relationships between actors, quacks and jugglers, as well as reminiscences of the dispute about theatre. The journey through the world of theatre in the novel creates the impression of realism contrasting with the layer of adventure and allows the author to smoothly combine seriousness and comedy.

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PODRÓŻ JAKO POGOŃ I UCIECZKA NA PODSTAWIE WYBRANYCH POWIEŚCI MADELEINE DE SCUDÉRY: ARTAMEN, CZYLI CYRUS WIELKI ORAZ KLELIA, HISTORIA RZYMSKA

Author(s): Monika Malinowska / Language(s): Polish Publication Year: 0

The aim of the article is to present the purpose of countless journeys in selected novels by Madeleine de Scudéry. Thanks to continuous travels, readers may discover new, unknown places and experience real ancient stories, which undoubtedly fulfills the essential role of literary creation — teaching and playing. The journey can also be a constant pursuit of the beloved woman, a defection of admirers with an abducted woman or an escape from repression. It may also be a discovery of the world for pleasure or, in case of characters in love, a reflection of their souls.

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LE VOYAGE DE CÉLINE ÉVARISTE’A PARNY’EGO, CZYLI DAREMNOŚĆ PODRÓŻY

Author(s): Ewa Kalinowska / Language(s): Polish Publication Year: 0

Évariste Parny, a forgotten yet influential eighteenth-century poet, was born on the Isle of Bourbon, and then sent to be educated in France. As an adult, he acquired some experience of cultural differences from travels back and forth to Bourbon, to Brazil and India. Although Parny travelled a lot, but either distant lands or home island never took the sheen of a paradise in his works. It seems that Parny had no deep interest in different lands and cultures. The Voyage of Celine, one of his less known works, takes the eponymous heroine to many countries in Americas, Africa and Asia, but it finally concludes that staying in France is the most valuable resolution.

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The Tempest: Declan Donnellan and Oskaras Korsunovas Look Backwards into the Abyss of Time

Author(s): Maria Shevtsova / Language(s): English,Polish Publication Year: 0

A reinvigorated interest in The Tempest by world-famous directors has surfaced in the past few years to give Shakespeare’s play some rather unexpected twists and turns. The most notable among recent productions has been the work of Declan Donnellan (2010) with the Russian sister company of Cheek by Jowl, which he founded in Britain in 1981, and the concise, fist-in-the-gut appropriation Miranda, After Shakespeare’s ‘The Tempest’ (2011) directed by Oskaras Korsunovas with the OKT/Vilnius City Theatre, founded in 1998. The striking link between these two productions is the way they cast their gaze into the Soviet past, each director having a different relationship with it. Donnellan essentially achieves it through his Russian ensemble where, as noted in this article, he was helped by actors fully experienced in devising the performance material through the étude method characteristic of the Russian school of acting. Korsunovas’s is a direct, visceral relationship, which is expressed in the corrosive surrealism of his perspective. The latter is in some ways close in spirit to the satirical humour of Donnellan’s production, but the interest of putting these two productions side by side is to highlight the singularity of each, and to show how each operates within the framework developed for it.

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«Il n’y a point d’état plus immoral que celui de voyageur»: autour des contributions de Diderot à l’Histoire des deux Indes

Author(s): Jean-Michel Racault / Language(s): French Publication Year: 0

Borrowed from one of Diderot’s anonymous contributions to Raynal’s famed anticolonialist encyclopedia of travels (1770-1780), the quotation opposes strongly to a long-standing humanist tradition of travelling as a precious medium of education, especially for young men, established at the sixteenth century from classical sources. New eighteenth-century representations of travel as useless or even morally dangerous (Muralt, Rousseau) result in Diderot’s moral condemnation of the European traveller, mainly on political grounds. However, his so-called “anticolonialism”, highly rhetorical and ambiguous, may be seen both as an expression of his own dialogic turn of mind and as a kind of mock echo to Raynal’s personal ambiguities.

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Peut-on se fier au voyageur? Réponses de l’abbé Prévost dans les introductions de l’Histoire générale des voyages (1746-1759)

Author(s): Sylviane Albertan-Coppola / Language(s): French Publication Year: 0

The publication of the "Histoire générale des voyages", with its subtitle the "Nouvelle collection de toutes les relations de voyages par mer et par terre, qui ont été publiéesjusqu’à présent dans les différentes langues de toutes les nations connues", caused to Prévost a number of problems. The introductions, which open different parts (and books) of the "Histoire", show how the author copes with sources. Through his meticulous work of analysis a traveller figure takes shape. Prévost presents merits and weaknesses of travellers and brings about the question of the reliability of travel narratives he presents in his "Histoire".

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Le statut esthétique, ontologique et épistémologique du narrateur dans "Le Monde vrai" de Marivaux

Author(s): Izabella Zatorska / Language(s): French Publication Year: 0

Brought about by the reflections of the author-narrator of "Le Cabinet du philosophe" ("In The Philosopher’s Study"), Marivaux’s last jornalistic endeavour (1734-1738), the narrative fiction that occupies the last six issues, could make one puzzled, even disturbed. From the second episode, the title metamorphoses from "Le Voyageur dans le Nouveau Monde into Monde vrai [Suite du]" ("The True World [Continuation of]"), as if the narrator, with his own way of being and seeing, wanted to disappear behind the result of the changes in his vision of humanity. However, it is his triple status that determines what follows. Our analysis will therefore look at the status of the narrator-traveler, at his own perception of that status, at his evolution and at the commentary on it. Marivaux’s reflections could well have a universalist implication, even one that points towards the socio- and ethnological relations and their critiques of later centuries.

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Voyageur-historien ou romancier-philosophe? Quelques leçons du voyage imaginaire

Author(s): François Rosset / Language(s): French Publication Year: 0

The paper proposes a reflection on the relationship between real and fictitious travellers, between authentic and imaginary journeys. The discursive articulation that makes the traveller witness a subject of speech allows us to define the conditions in which the problematic relationship between the experience of the real world and its narrative is established. It is also on this relationship that the interdependence between the narratives of real journeys and the narratives of imaginary journeys is based. The journey, as an act of narrative, can then be perceived as a figuration or metonymy of fiction itself.

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Nicolas Klimius, Pierre Wilkins et Édouard Alfrède – quelle définition du voyageur?

Author(s): Stanisław Świtlik / Language(s): French Publication Year: 0

The existence of travellers in the 18th-century reality encourages to search the definition of their characters. Three examples of literary imaginary travels help to define the traveller who becomes an explorer, a master of a new land. The article is an attempt to show to which extend the definition of an usurper, a “providential man” and of a conqueror are relevant to the travels to the unknown lands by Nicholas Klimius, Peter Wilkins and Édouard Alfrède.

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Diderot promeneur solitaire à Bourbonne et à Langres (1770)

Author(s): Odile Richard-Pauchet / Language(s): French Publication Year: 0

Diderot’s Travels in Bourbonne and Langres, two small towns in his childhood’s countryside in the East of France, tell us about different matters he had to deal within the summer of 1770: marry his daughter Angelique to a gentleman from Langres, make friends again with his brother, run a love affair in Bourbonne, a famous spa town. Unfortunately, nothing happens as he has expected. Despite his efforts to write a scientific report from these two places, the encyclopedist fails to conceal his sorrow and lets his mood appear, in a near-Rousseauistic manner of writing.

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Éclairer la figure du voyageur à la fin des Lumières: du "Voyage à l’île de France" de Bernardin de Saint-Pierre au projet de sa réédition

Author(s): Alain Guyot / Language(s): French Publication Year: 0

It is now widely known that the Voyage à l’île de France (1773) by Bernardin de Saint-Pierre is no longer seen as an engineering thesis, but not yet as a literary work, mainly because of the far too little place given to the figure of the traveller. Nonetheless, it is less known that, in a reissue project which was never completed, the author intended to give to this figure a more important place. For what reasons? In what way? This paper will attempt to answer those questions.

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La figure kantienne du voyageur dans les "Lettres westphaliennes" de Charles de Villers (1797)

Author(s): Nicolas Brucker / Language(s): French Publication Year: 0

Charles de Villers, known as the French introducer of Kant’s philosophy, chose in his first Kant presentation to adopt the genre of “philosophical letters”. The traveller of the Westphalian Letters, published in 1797 in Berlin, is a French emigrant acquainted with German culture. His discovery of German cultural realities obeys the Kantian critical approach, especially through the abilities to feel and to know. Kant himself is presented through an allegory: intercultural transfer simplifies Kantianism for greater efficiency. Villers came to Kantianism through the detour of magnetism and homeopathy, which both proceed by desubstantializing material. Literature makes Kant travel from one country to another taking into account trade needs, even if it is not obvious at first glance. Finally cultural mediation stands as a collective work, as shown by the collaboration between Staël and Villers.

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Les russeries d’un peintre-voyageur au XVIIIe siècle: Le Prince vu par les critiques d’art de son temps

Author(s): Katalin Bartha-Kovács / Language(s): French Publication Year: 0

The aim of this paper is to examine some works of Jean-Baptiste Le Prince representing everyday life, and called russeries, through the Salon critics written primarily by Diderot. Adopting an aesthetic perspective, it aims to unveil the reasons for Diderot’s reserve towards the painter’s compositions, which can be traced, for the most part, to the discrepancy between the exotic subject matter and the idyllic manner of its representation according to the conventions of Rococo aesthetics.

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Vers une écriture de l’humeur inquiète: le Voyage musical en Allemagne et en Italie de Berlioz

Author(s): Aleksandra Wojda / Language(s): French Publication Year: 0

The paper is devoted to Hector Berlioz’s Voyage musical en Allemagne et en Italie (1844), which offers a particularly interesting variant of musical travel writing that emerges in nineteenth-century France. The analysis of the composer’s prose questions specific aspects of Berlioz’s creative imagination and literary poetics that disclose deeper anthropological and aesthetical implications. The representations of alternative, solitary paths of the wandering hero, the alternate syntactic rhythms and variable tempi of the narrative, the constant play with literary conventions appear as different articulations of new dynamics of the moving, “musical” modern identity that emerges through his writing. The palimpsest-like model of the composer’s creation, as well as his transgressive, eccentric deconstruction of topical representations of the visited countries, converge with these aspects of Berlioz’s poetics that seem to be constantly fostered by the dialectic tension between creative energy of the ever moving self and the necessarily well-delineated dimension of the work of art.

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Un voyageur qui peint, un voyageur qui écrit… Le double (?) regard de Gustave Guillaumet

Author(s): Małgorzata Sokołowicz / Language(s): French Publication Year: 0

The aim of this paper is to examine the relationship between text and image in the works of Gustave Guillaumet (1840-1887), a French painter, who – after having several times visited Algeria – started to publish in Nouvelle Revue short stories inspired by his travels. After his death, they were edited conjunctly under the title Tableaux algériens (1888) and constitute, altogether with Guillaumet’s paintings, an interesting example of intermediality. Following the brief presentation of the artist, three types of relationships between his texts and paintings are to be defined: equivalence, explication and correspondence. From those relationships emerges a particular type of traveller, the one who paints and writes, but who also carefully observes the world and tries to render it in his works, regardless of the medium chosen.

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„Bevor du deinen Prinzen findest, mußt du eine Menge Frösche küssen“

Author(s): Wolfgang Mieder / Language(s): English,German Publication Year: 0

In the German fairy tale Der Froschkönig the princess throws the ugly frog in disgust against the wall, upon which the animal changes into a handsome prince. In a variant the frog sleeps for three nights on the bed of the princess and then is changed into a prince. There are dialect variants in which the frog is transformed into a prince by a liberating kiss. With the exception of very recent children’s books, there is no kiss scene in the printed versions of the tale. The kiss has entered the folktale by way of the modern proverb “You have to kiss a lot of frogs before you meet your handsome prince.”

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Spielen wie die Götter

Author(s): Angelika B. Hirsch / Language(s): English,German Publication Year: 0

Gambling protagonists are characteristic of Icelandic fairy tales, while the act of playing itself is irrelevant to the plot. A closer look at the playing characters surprisingly reveals a deep understanding of ancient Germanic culture: gambling with each other is much more than pure leisure. Humans and Gods are building a communion and performing an ideal world.

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Vom symbolischen Spiel mit der Angst oder: Wie Märchen spielerisch Abwehrkräfte stärken

Author(s): Sabine Lutkat / Language(s): English,German Publication Year: 0

‘Märchen’ symbolise our dreams and desires, our fears and nightmares. Traditional ‘Kindermärchen’ with the motifs of devouring and being devoured have a striking similarity with early children’s games. The experience of going through a playful fright in these games or through traditional stories works because the frame is safe and secure. The thrill of experiencing fear in a secure environment accompanies the child’s development and helps to build up resilience and emotional resources.

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