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Vorliegender Beitrag untersucht aus der Perspektive der Hypertextualität die Brecht-Rezeption in der frühen Lyrik der rumäniendeutschen Dichterin Anemone Latzina. Anemone Latzina gehört zu den ersten Autoren der rumäniendeutschen Lyrikszene der endsechziger Jahre, die Brechts Dialektik und sein sozialkritisches Engagement in ihren Versen aufgegriffen hat.
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The scope of the article is to highlight the importance of the latest poetry production of the Sicilian poet Nino De Vita, considered to be one of the most original among the narrative and lyric voices of dialectal poetry and of Italian literature. The present contribution focuses upon De Vita’s poem A ccanciu ri Maria published in 2015 which coincides with the publication of the poet’s bilingual Antologia, which has been considered a truly significant literary event. The publication covers more than thirty years of lyric and narrative production, marked by a continuous interweaving of life experience and clandestine writing.
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The author of the sketch reads the Diary as a work behind the origin of which there is a sense of disappearance of life in the passing time, typical for Mieczysław Jastrun. In the context, the diary – filled, among others, with a register of small, everyday activities – seems to be a record through which Jastrun attempts to defy the nothingness and preserve his individual existence. The recording of everyday life is, however, not enough to fulfill this task on its own. Formulating remarks on Jastrun’s attempts to record his own existence and consciousness, the author references a text by Georges Gusdorf, in which the French philosopher discusses the goals and assumptions of autobiography, such as: creation of a coherent outline of one’s fortunes, interpretation and understanding of events and experiences of life, discovery of the truth of one’s own personality. Smuga światła [Streak of Light] is surely such a record. The uniqueness of individual consciousness is, however, expressed most fully in Jastrun’s metaphorical images, found not only in his poetry but also in the Diary and the Streak of Light. The author of the sketch, referencing and juxtaposing specific fragments of Jastrun’s poems, autobiography and diary, reads the meanings and connotations of one of these images – a beautiful woman entering a house – simultaneously showing the coherence of the subject’s imagination and sensitivity. Tracking of these distinctive images in the poet’s works and decyphering of their meanings resembles exploration of a “self” having a specific identity included in the texts. These images encompass an interpretation of the subject’s existence, express its distinctive metaphysical convictions, whereas their repeatability and permanency constitute the subject’s identity, preserving its existence in the volatile time.
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The ancient Greek tradition talking about the relationship between man and the world so often, has been becoming for ages the basis for the efforts of explanation of man’s place in the universe. Such an effort is visible in the literary works of Zbigniew Herbert and Albert Camus. The purpose of that sketch is to demonstrate the Promethean myth reception in the works of both writers in a way that provokes thoughts about literary parallels that unites those two writers. In Prometheus, asking about the human conscience, memory and solidarity, as in Camus, as well as in Herbert, the author,Joanna Roś, sees some kind of a symbol that would connects „parallel lifes” of Zbigniew Herbertand Albert Camus.
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The article is devoted to the analysis of Daniel Quinn’s After Dachau novel, still not translated into Polish, in the context of Holocaust studies, historical and cultural memory, as well as psychoanalytic concepts of Bracha L. Ettinger and the category of the affective impact of works of art. Quinn presents a world in which the crime of the Holocaust has been oblitereted and culturally repulsed, because in this world the Third Reich has won World War II. After Dachau is an alternate history novel and, as such, it provides a significant contribution to the discussions about the obligation to remember historical traumas—including the Shoah and wider, the history of genocide. Quinn problematizes the issues of a painful individual process of disremembering and impelling the society to recall the rejected memory of crimes. And since in the novel the process of recollection of cultural memory is induced by works of art, this analysis utilises Ettinger’s concepts of affect and matrix.
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The present paper offers a comparative analysis of Robert Browning’s poems “Fra Lippo Lippi” and “Caliban upon Setebos,” wherein the main point of interest is the interplay between religion and art. I will investigate how religion is depicted and how it influences the artistic viewpoints espoused by the eponymous characters, emphasizing the role these two concepts play in shaping the speakers’ self-presentation and sense of identity. In the case of “Caliban upon Setebos,” I will also delve into Browning’s source of inspiration, Shakespeare’s The Tempest, so as to understand how Browning’s own character can be likened to, or contrasted with, the Renaissance playwright’s. Whereas Lippi the monk justifies his own penchant for naturalistic art through religion, Caliban takes to more rudimentary forms of art to assuage the fury of an unjust and wrathful deity. However, what seems to drive their definitions and redefinitions of artistic and religious discourse is an apparent lack of agency, which spurs them into rebelling against the limitations set upon them by external forces.
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The article in the opening section foregrounds theoretical debate on autobiography with particular reference to women’s writing in South Asia. Subsequently, it presents motivations for recent interest in the genre amongst women writing in Hindi and, eventually, it looks into the narrative strategies employed by Krishna Agnihotri (Lagtā nahī ̃ hai dil merā (‘My heart is not in it’), 1996; Aur, aur... aurat (‘And, and… woman’), 2010) and Maitreyi Pushpa (Kasturī kuṇḍal basai (‘Kasturi and Her Jewel of a Daughter’), 2002; Guṛiyā bhītar guṛiyā (‘A Doll within a Doll’), 2008). Agnihotri and Pushpa authored two volumes of autobiographies and the article further analyses their various strategies of constructing their ‘narrative selves’ and of particular arrangement of their life stories in two separate volumes.
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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.
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In this article I presented a general assumption of hermeneutics as a theory of literature and a research attitude. I used its various elements in my interpretation of the poem Blues o Wielkim Ptaku of the modern Polish poet, Kazimierz Świegocki. I put the general hypothesis of interpretation and then I verified it by examining the specific elements of the text. I discussed the role of the title and date of creation, the way of speaker’s creation and the lyrical hero, the importance of symbolism and shape of the world presented. I described this poem as referring to issues of cosmogony, ontology, metaphysics and hermeneutics as explaining the order of the universe.
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Reprezentacje doświadczenia utraty w kulturze współczesnej
Death and mourning in the modern world are taboo subjects. However, in recent years a lot of works inspired by experience of loss have been released. In this essay two works are analyzed: the book "He died on me" ("Umarł mi") by Inga Iwasiów and the film "33 Scenes from Life" ("33 sceny z życia"). In both a secular version of experience of death and loss of a close person is presented. Mourning experienced in the urban atheistic area is detached from spirituality and sacrum. Therefore we can speak about a specific paradigm of loss of spirituality in the face of death of close people.
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The author of the article analyses the most important and most controversial fragments of Radishchev’s work paying particular attention to “The Project for the future”. “The Project” partly expounded in “Hotilov” does not constitute in the work a closed system. In the introduction resembling to a certain extent a manifesto, Radishchev presents a picture of the ideal society (excepting serfdom), which through the contrast with the reality of the eighteenth century acquires a satirical quality which is in accordance with the traditional function of utopia. The fundamental part of the “Project” is a discourse on the paradox of serfdom and an appeal to the feeling of brotherhood. Radishchev proves that no positive histori cal evolution is possible due to the existence of serfdom. Then utopia presented in the introduction cannot be realized. It is confirmed by the continuation of the considerations on serfdom and its abolition in “Vidropusk” in which we are also presented with the description of the psychological and sociological mechanisms determining the mutual relation of monarchy and nobility. This description shows the scepticism of Radishchev in relation to the reforms proceeding from superior authority. In this situation one cannot be astonished at the laconism and cursoriness of Radishchev’s reflexions on the transitory means aiming at the abolition of serfdom which are by no means belittled by him. The conducted analysis of the problems and formal features of both parts of the Travel in the full sense of the word proves then their integrity with the work, and what is more, their essential importance to the whole of Radishchev’s work and of the socio political ideas of the author.
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The article deals with the activities of an important fraternity of pastors from Spiš (Szepes, Zips) region founded in 1204 who resided in Levoča (Lőcse, Leutschau), especially with the work of one of its members, Christoph Petschmessingsloer. In addition to providing information on the life of the author of The Praise for the Art of Poetry (Laudes artis poeticae) from 1461, the study describes the circumstances of the origin of this work. The greatest attention is paid to an analysis of the text of this lecture on the art of poetry and an assessment of its rhetorical characteristics that represented an introduction to Satires by the Roman satirist Decimus Junius Juvenalis. For its first part, the poetic praise of art and poetry is characteristic; the second part speaks of rhetorical and poetic technique, verse forms together with terms of poetic expression. The work is concluded with a mythological story inspired by Ovid's Metamorphoses about nine muses that represent nine human activities and methods of the acquisition of knowledge.
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Amongst the possible linguistic-stylistic polarities for Italian narrators (monolinguism/standardised language and multilingualism/regionalised Italian), which are clearly outlined by De Roberto in his well-known "Preface" to "Documenti umani", Santo Piazzese and Domenico Seminerio move with care and remarkable metalinguistic consciousness, drawing on Sciascia in different ways. Their different writing practices, far removed from Camilleri’s linguisticstylistic choices, seem oriented towards what Testa (1997) called a “simple style” with a focus on “local colour” that is part of Piazzese’s refined rhetorical and investigative play and, in the case of Seminerio, is functional to the expressive rendering of the interlacing of History, magic, and mystery. In both cases, it is thanks to this specific attention to linguistic facts that the defining principles of detective stories are renewed. The aim of this article is to systematically trace the two different ways of stylistically rendering the sociolinguistic reality narrated by Piazzese and Seminerio, with the first oriented towards the cautious mimesis of regional dialogue, the second, towards the diegetic pole of reproducing indirect and traditional narrative modes.
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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.
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The volume contains texts discussing the extent to which literature has been and is politically and socially involved, what its part in social debates is and can it be considered influential in the socio-political sphere of German society during the period considered. The authors also try to answer the question if and to what degree the aesthetic of literary texts serves political themes.
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Katsenelson’s Elegy – one of the most famous literary documents of the Shoah – was created in the Vittel internment camp, where the poet had been transported as part of ‘the Hotel Polski affair’. In this “last song of the last Jew” Katsenelson links his personal fate with the fate of the whole community, paying tribute to “the murdered Jewish people”. The authors focus on the mythopoetic aspect of the poem: on its goal – as a personal and national biography – to save the remnants of sense in an absolutely tragic and hopeless situation.
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German literature, European literature, political involvement, Germany, politicsThe volume contains texts discussing the extent to which literature has been and is politically and socially involved, what its part in social debates is and can it be considered influential in the socio-political sphere of German society during the period considered. The authors also try to answer the question if and to what degree the aesthetic of literary texts serves political themes.
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A translation series reflects the tensions between the original and the translation, as well as between different translation solutions. The article discusses two Czech translations of Leśmian’s "Dziewczyna" and "Szewczyk" – Jan Pilař Děvče and Ševčík, and Vlasta Dvořácková Dívka and Švícko – and one Slovak translation: Juraj Andričik’s Dievča and Čižmárik. It concentrates on the shifts resulting from the different renditions of one particular element of the poetic system – metaphor.
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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.
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