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Books are the final product of the process, which consists of the phase of an individual or collective creative process, production phase implemented in the enterprises of the printing industry and the service phase consisting in the dissemination, distribution and commercialisation of the product. The whole process is therefore very complex due to its alternating intangible and material nature, which, apart from the economic dimension, also has a social dimension. Therefore, the product is highly sensitive to the processes occurring in the broad culture susceptible to national environmental influences determined by global processes. The goal of the work was a general description of the book market presented in a strategic perspective in the light of dynamic changes taking place in its environment. The use of the scenario method of environment conditions for analysing the book market was used to better identify the macro -environment components that can have a decisive impact on the functioning of the book market. Based on the results obtained, it seems that there will probably be a further increase in access to the texts, based on modern technologies. The key factor determining the further development of all links in the book market will be the socio -cultural factor, which is associated with the transition towards information society (hypertext) in which information itself and the convenient medium of its message are important.
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This paper aims to remind readers of the achievements of one of the pioneers of the Polish theory of the fantastic in literature, Andrzej Zgorzelski (1934-2017). The paper first discusses the researcher’s methodological approach. He regards himself as an “essentialist” or “substantialist” and subsequently summarizes his most significant works devoted to fantastic literature and its theory. Then, it describes Zgorzelski’s theory of the fantastic and the model of the supra-genological types of fiction that are based on it.
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The article introduces the reader to the phenomenon of the so-called world-centeredness as well as to the world-centered turn in contemporary narrative theory. Having delineated cultural, economic, and transmedial aspects of the turn in question, the author discusses the problem of academic discrimination against fantasy, science fiction, and similar genres in Polish literary theory of the 20th and 21st centuries. This aims for redirecting the focus of literary theory towards more neglected aspects of artistic production such as world-building (instead of storytelling), immersion (instead of closereading), and performatic worldplay (instead of backgrounding the diegetic world). All these new phenomena are suggested for inclusion in postclassical narrative studies applied to analysing fantasy, science fiction, and other forms of fantastika across the media.
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The article examines the influence of the avant-garde prose of American writer Djuna Barnes on the work of contemporary Polish artist Ewa Kuryluk, directing particular attention to the intertextual play between the novels Nightwood (Barnes) and Century 21 (Kuryluk). Barnes’ writing, which is, to put it after Julie Taylor, a representation of “affective modernism,” a style of emotion behind the experienced and experiencing body, becomes for Kuryluk one of the main sources of portraying trauma and love. The contemporary Polish writer treads in the footsteps of Barnes: both at the level of language and imagery, as well as subject matter and symbolism relating to issues of femininity, motherhood and sexuality. The artist captures Barnes’ visual and photographic imagination, which is in correlation with other artists of the first half of the 20th century (e.g. Hans Bellmer), to build an image of love at the end of the 20th century.
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The article presents a reception of a social realist volume of Mieczysław Jastrun’s poetry, entitled Poemat o mowie polskiej [A poem on the Polish speech], from a point of view of Czesław Miłosz, who was a migrant at that time. His review study dated 1953 not only comments on this book but also uses it as a ground for presenting the fundamental features of “positive” lyric poetry created from 1949 to 1953. The author of the article points out three basic principles which organise the statement of Miłosz. These are: the principle of ostensible identification, the principle of desired objectivism and the principle of assessment ambivalence. The reflection on the text of Miłosz is, for the sake of the lecture order, preceded by an overall description of the Poemat… and by a comment to its critical reception in the 1950s.
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This article is an analysis of Wisława Szymborska’s style of reading used by the poet in her quasi-reviews collected in Lektury nadobowiązkowe [Non-compulsory readings]. The ludic poetics of the book is closely related to the author’s inclination towards curiosity and nonsense humour which expresses her typical “sense of oddness”. The aim of the reading is thus to reveal in radically diverse texts (a floristic compendium or a popular guidebook How to live more comfortably side by side with Montaigne’s Essays or Nietzsche’s Aphorisms) some uncommon details, humorous paradoxes and unexpected facts and incidents. Szymborska’s way of reading, animated by the spirit of a sophisticated play, has also its source in the historic concept of cabinets of curiosities, reflected here in the Bibliotheca Curiosa as well as in Julian Tuwim’s device cicer cum caule structuring his famous collection of “useless knowledge”.
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The article is an attempt to interpret the poem Masmix (written by Tomasz Pułka) in terms of the relationship that the piece makes with other author’s poems (especially those published on the Internet) and the works of Stanisław Barańczak or Philip Larkin. Due to the contextual reading it is revealed that the most important subject of the discussed text is the problem of space, which is later examined in reference to the Plato’s and Derrida’s category of Chora.
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This essay approaches Russian Formalist theory from the perspective of the digital humanities. It focuses on the approaches to quantitative poetics made by several members of the Moscow Linguistic Circle: Boris Tomashevsky, Roman Jakobson, and particularly Boris Yarkho. A special emphasis is made on Yarkho’s invention of what Franco Moretti later referred to as “distant reading” – a comparison of a large number of texts by a limited number of formal features.
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The paper presents the conceptualization of the functional changes that have shaped the development of the verse-form phenomenon and, as well, the poetic enjambment inseparably related to it. By dividing the forms of poetic discontinuity into kinetic and semantic enjambments, it shows the transition from earlier, more archaic forms of incompatibility of the syntactic and verse orders, related to the verse synaphy (over-verse continuity), to subsequent forms of poetic overflow with inherent, independent sign properties and artistic motivation founded on the semantization of the poetic movement called semantic enjambment.
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The characters imagined by Urmuz in "Pagini Bizare" (Weird Pages) are hybrid creatures resulting from the grafting of animal or robotic elements onto a structure that vaguely resembles a human being. As mechanical beings that operate under the rule of automatisms, they are captive in a never-ending present. The space in which they lead their larval existence is a reflection of their own corporeality: a place of perpetual imprisonment from which they can only escape through annihilation. This article aims to demonstrate, by applying Derrida's principle of hospitality, that beyond the overt hostility of display (grotesque beings, nightmare visions, thanatic obsession, to name just a few of the elements from Urmuz`s arsenal of hostility), the textual space can be extremely welcoming, thanks to the levers employed by the author. Such levers are : humor, which captivates the reader, parody that undermines from within, but above all, the fact that the (non-)heroes are, as Nicolae Balotă saw them, essential, permanent personas of human destiny, suffering from Freudian complexes, experiencing existential dramas, caught in the grip of a petty, limited universe. When the host swaps roles with the guest through a translation-like process, the paradigm of hospitality is modified.
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The article offers an interpretation of Olga Tokarczuk’s story, The Visit, in which the writer portrays the epoch of man in the costume of a futuristic clone community. The Anthropocene, shown by the Nobel Prize winner in a distorted mirror, appears as a mixture of discourses based on language, image, and body, confronted with the egocentric, introverted personality profile of the protagonists of the work. In the context of post‑humanist thought (R. Braidotti, D. Haraway, T. Morton), this complexity becomes, paradoxically, a condition for the survival of humanity.
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The death of academician Radomir V. Ivanovic is a great loss for the science of literature. His departure awakens memories, pictures of his boocs, revives his voice. The indispensable monographs and studies on Njegoš, Marko Miljanov, Stefan Mitrov Ljubiša, Mihailo Lalić, Dušan Kostić, Ivo Andrić, Kosta Racin, Blaže Koneski, Slavko Janevski, Aco Šopov, Mihail A. Šolohov, Tomas Mann, Umberto Eko, Gabriel García Márquez appear in memorry. From the perspective of literary theories, Ivanovic has been dealing with great literary names and their works for decades, as well as the processes of writing literary works. There is a long chain of scientific disciplines that academician Ivanovic dealt with: literature, comparative studies, aesthetics, psychology, sociology ... Academician Radomir V. Ivanovic always had before him a great task and the great joy of writing.
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Radomir V. Ivanović offered us a selection from a rich literary and scholarly production, divided into four sections. The first section includes contributions to the literary and theoretical approach to literature and is dedicated to theoretical issues and aporetics. The second section features a literary-historical approach to literature which sheds light on the diachronic development of the history of literature and the problems of literary historiography. These are followed by a literary-critical approach encompassing the history and theory of literary criticism, and finally, a comparative approach to the works of South Slavic, European and authors who belong to the vast body of world literature. Already at the beginning it becomes clear that at the level of abstraction Ivanović's magnum opus can be interpreted as a kind of four-dimensional coordinate system that includes four development directions of literature scholarship, and in which at the level of concretization the paradigmatic axes of Montenegrin, South Slavic and authors belonging to the corpus of world literature intersect (encompassing thus four corners of the world), which opens the possibility for their intertwining at the level of the macrostructure.
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In this work, the author is presenting the contribution of Radomir V. Ivanović to lalićology. In his scientific research work, lasting over sixty years, academic Ivanović had devoted a number of works to comprehending and studying the works of Mihailo Lalić, enabling us to follow an analysis of creative procedures, commitments and values within the plentiful scope of this Montenegrin writer and a proper polygraph. The main part of our work deals with the last project devoted to this writer, as conceptualized by academic Ivanović, that is, the book whose content encompasses conversations by Mihailo Lalić on the subjects of his works, other writers and literary creativity as an artistic form of modeling and modifying reality. The compositional organization of the book "Conversations about books, writers and literature" consists of a six-part structure (Foreword, Part I: Conversations about books between 1962 and 1984 – the writer's selection, Part II: Conversations between 1954 and 1980, Part III: Conversations between 1980 and 1994, Appendices and Afterword), in which the parts dedicated to the conversations represent the chronological flow of the writer's interviews and statements on mainly literary and literary-theoretical, but also social, anthropological, psychological, ethical, historical, philosophical and other topics.
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The research has been focused on the monograph Miteme i poteme Tomasa Mana, by academician Radomir V. Ivanovic, the first book of the opus, which was the result of an analytical one-decade project, called by the author The Four Sides of World Literature (2002–2012). Pointing to the solid logic of the content, which is the result of methodological experience, the author of the paper tries to establish not only the meaning and relationship of myth and poet but, also, Ivanović's mythological, aesthetic, and theoretical supports. Using the term myth, Ivanović depicts traditional realistic prose, based on mythology, and dedicates the first part of the monograph to them, while poems, in which a new connection between reality and creative myth was analyzed, were dealt with in the second part of it. Ivanovic took the novel Doctor Faustus as an example of a transitional form, and a mythological poem. Ivanović points out that Man, unlike other great storytellers who were his contemporaries and who radicalized the literary process, perfected integral realism and innovated and modernized existing creative processes within its framework. Through mythological, narratological, and hermeneutic analysis (where the greatest attention is devoted to the interpretation of Man's philosophy of time, that is, time and story in the direction indicated by Paul Ricker), Ivanovic showed that T. Man cultivated absolute trust in the Ancient Story, which he used to transform The Story into History and history into The Story, affirming the ethical principle that all authentic stories represent endless Life Stories.
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In the narrative fiction of the Serbian writer Milorad Pavić, the theme of time plays a crucial role in constructing postmodernist discourse. The present study will take into account the work of literary critics Mark Currie and Ursula Heise on the topic of time and then examine the ways in which temporal relationships fashion the fictional discourse in Pavić’s The Inner Side of the Wind: Or, the Novel of Hero and Leander (1991). Our investigation will consider the variety of temporal strategies used in the novel such as: alternating chronology with temporal discontinuities; occasional lapses of explicit temporal indications; temporal fragmentation; the presence of flashbacks; prolepsis, and retrospectives. We will discuss this impressive variety of temporal strategies in the context of postmodernist poetics.
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Notre texte, qui représente un fragment d’une étude plus ample, porte sur les mémoires posthumes écrites par le plus connu théoricien roumain de la littérature: Adrian Marino. J’ai beaucoup apprécié (et j’apprécie ancore) ses études Introducere în critica literară / Introduction à la critique littéraire, Critica ideilor literare / Critique des idées littéraires, Hermeneutica ideii de literatură / L’hérméneutique de l’idée de littérature, Biografia ideii de literatură / La biographie de l’idée de littérature, Littérature roumaine. Littératures occidentales. Rencontres, Étiemble ou le comparatisme militant. Mais, tout en lisant ses mémoires posthumes, je me suis rendu compte qu’il y a un grand écart entre celui qui a écrit tant de livres aussi importants et l’homme qui s’est caché derrière les lignes rédigées. En fait, l’homme Adrian Marino était en guerre contre tout le monde.
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The article discusses the criticism of civilization presented in the interwar travel literature. The author points out that the critical attitude towards European civilization is directly related to the modernist para- digm. Interwar writers-travellers express their views using existing rheto- rical figures, treating the modern city as a metonymy of civilization. There- fore, they use simple contrasts, such as culture-nature, disease-health, old age-youth, dirt-cleanliness, etc. They seek escape from civilization on the city outskirts or in places perceived as exotic. Tadeusz Dębicki and Kazimierz Nowak combine anti-civilization attitudes with anti-colonial views, unlike Ferdynand Ossendowski, who, while critical of the situation in Europe, simultaneously expresses his enthusiasm for the actions of the colonizers.
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The tragic Romantic anthropology entailed a rebellious conflict with the world, other people and even with the self. Its integral part is a mental wound of Romantics, whose anthropological and philosophical contexts are presented in the article. The author attempts to establish a set of factors which led to the ethical, social, religious and psychological anxieties of the French post-revolution generations. To that end the author uses various approaches that encompass psychological aspects of different kinds of aggression aimed at God, the world and the self, psychoanalysis as well as philosophy (especially Kierkegaard’s thought). The strong Romantic subject appears to be a lie, and its tragedy resides in the demand for authenticity, which in itself posed too big a challenge for homeless newcomers in a completely transferred reality.
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