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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 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 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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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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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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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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Der Beitrag setzt sich mit Bertolt Brechts filmischem Schaffen auseinander und beleuchtet den Werdegang des Drehbuchautors, Filmtheoretikers und Filmkritikers Bertolt Brecht beginnend im Berlin der Zwanziger Jahre und endend im amerikanischen Exil. Es werden darin Bertolt Brechts erfolglose Bemühungen analysiert, einen neuen Filmdiskurs durchzusetzen, der den kommerziellen Prinzipien der bürgerlichen Filmindustrie trotzt. Zugleich wird darin auf Bertolt Brechts Hollywood-Welterfolg – den Film Hangmen also Die – in der Regie Fritz Langs eingegangen.
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In the Andrzej Kalinin's article I portray the effect of Soviet’s invasion on human life in Poland. I try to show the truth of people’s loneliness who were forced on Soviet labour camps. The purpose of the article is to show the hero towards the space, towards others and in the relationship with God and also to show that fate of hero is a generalization fate of Polish deportees.
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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.
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Медный всадник это плод второй болдинской осени (1833 г.). В статье дана попытка представления в сравнительном плане сумарного взгляда на Медного всадника и Отрывок III части Дзядов с обстоятельным использованием работ как польских исследо вателей (В. Спасович, Ю. Третьяк, В. Ледницкий, М. Якубец, С. Фишман, В. Кубацкий, Б. Гальстер и др.), так и русских (Д. Д, Благой, Б. П. Городецкий, Ю. Б. Борев, Н. А. Рябинина, Н. В. Измайлов, Л. С. Сидяков, Е. А. Маймин, В. Кантор, П. И. Ивинский, Д. П. Ивинский и др.). Поочередно рассмотрены такие проблемы, как: символика обоих произведений, вкутренние их связи, полемическая преемственность историографии и историо софии, мотивов, картинных зарисовок и образов. В Медном всаднике несколько раз появляется имя польского поэта, несмотря на тогдашний запрет цензуры. Вступая в литературную дискуссию с Мицкевичем, певец России стремился выразить свои взгляды на деятельность Петра I, а также на взаимоотношения „общего” и „частного”, на трагическое противоречие государственности и личности, что так ярко выразилось в картинах наводнения и бедствий города, и особенно в контрастных сопоставлениях Петра I и Евгения. Медный всадник это своеобразный узел в творчестве Пушкина. Произведение творчески связано с предшествовавшими ему дра мами Борис Годунов и Каменный гость, а также со стихотворением Моя родословная. Отпечаток истории о сумасшедшем Евгении нашел свое частичное воплощение в Пиковой даме, а также в поэмах Анджело и Полтава.
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The text discusses the play about the last hours of life of the Rosenbergs titled Juliusand Ethel, the history of the trial, passing the sentence and the execution of Julius and EthelRosenbergs carried out on June 19, 1953. Besides Senator Joseph Raymond McCarthy’s“witch-hunt”, this is the second most famous example of the American anti-communistatmosphere of the early 1950s, which led to the crisis of the democratic order and itsinstitutions in the United States. The case took place at the beginning of the Cold Wardivision of the world and the nuclear arms race, which put the world on the brink of selfdestruction.For the US radicals and the left-wing intellectuals, the Rosenbergs belonging to the US Communist Party are victims of the right-wing witch-hunt, creating anti-communistatmosphere, however they are also perceived as patrons of antiwar movements, precursors ofthe nuclear weapons opponents movement (the espionage, which they had never confessedto was to concern passing secrets about the US nuclear weapons programs to the Russians).For conservative America this will be a story about the efficiency of the legal, politicaland moral system facing a real threat in the fight against communism – dangerous for theentire civilized democratic world.How does the socialist realism work by Leon Kruczkowski appear against this background?
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