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This article is devoted to Guillaume Apollinaire original poetic experience’s who tried to found a synthetic art combining heterogeneous semiotic systems such as painting and poetry. We propose, then, to study the various complementary relationship, polysemy or counterpoint established between the letters, poetic text and pictorial images.
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The aim of the study is to analyze Bataille’s Story of the Eye (1928) and Buñuel’s An Andalusian Dog (1929) as accurate examples of artworks that were broadly inspired by images from subconsciousness. Both authors are particularly fascinated by the ‘eye’ which becomes an object of obsession in their output. The ocular reference is however often replaced with the image of the egg, by the process of metonymy that has its origin in Bataille’s imagination and early compulsions. As such, both eye and egg, initially being almost divine, gradually become deformed, abject and, ultimately, annihilated. The image of eye and egg, symbolically the birth of universe, becomes paradoxal in the textual layer, as it’s constantly being deformed by obsessive thoughts from the past.
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Marguerite Yourcenar’s novel The Work in Black provides descriptions of artwork. Fingerprints artistic figurations in his novel become both a text and materiality of Intermediality Ut Pictura poesis. How is formed the symbiosis of the diegesis and Ekhprasis in the novel by Marguerite Yourcenar? Mannerist processes allow the author to play on two different display modes: the text and the image called by the text. How is this transposition within the Work in Black, a novel supposed to represent social circles of the Renaissance by taking the idea to Breughel and simultaneously echo the turpitude where there the contemporary world. Communication between the image and the text does not only nesting but also a representation that is created as a space, an "inner distance" in the words of Georges Poulet, which makes the work a bet abyss in the search for the essence the art work, the philosopher's stone which is the original experience of vision. The curveball opens an "inner space" as Claude Edmonde Magny-analysis allowing the novel to open and expand this optical illusion, create connections, secret architectures. We will try to develop these problems merging form of osmosis The work at Black Yourcenar, at the intersection of disciplines and critical approaches that think the work of art in its many meanings and semiotic richness.
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Roland Barthes was not only a literary theorist, a critic or a semiotician. Above all, he was concerned with signs, symbols and representations which shape the everyday life and nourish both identities of the individual subject and the social group. As the world celebrates in 2015 the centenary of his birth, the question of his intellectual and literary legacies has never been more relevant. In the large scope of his works, L’Empire des signes, published in 1970 following several trips to Japan, is rather a particular piece which hinges on a specific combination of text and images. By looking at the structure of Barthes’s work and the relationship between the author’s discourse and the meanings released through the images, this paper aims to highlight the poetics of the image as a founding element in L’Empire des signes. The study of three categories of images used in the volume and their confrontation with the author’s developments shed new light on the contribution of the iconographic element towards a valuable understanding of signs and significations.
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Among all pictures present in Albert Skira’s series « les sentiers de la création », the reframed ones are worth considering. A personal eye appears through the details that become their main subject. What thoughts on detail do the reframed pictures express? They show a particular way of borrowing and quoting other people’s work. The way of inserting those pictures in the text are various and sometimes, the detail seems to be diverted from its original function or meaning. How are other people’s works quoted in those books? What is at stake in pictorial quotation when, being part of an author’s reflection on his own creation, the picture passes, through reframing, from an imaginative world to another. This paper will focus on the books containing “reframed details” that is to say those written by Pierre Alechinsky, Yves Bonnefoy, Michel Butor, Octavio Paz, Gaëtan Picon, Elsa Triolet and Claude Simon.
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In Marguerite Duras’ works the boundaries between text and image become fluid. This is particularly evident in The Lover, where descriptions of events and characters resemble yellowed photographs, constantly evoking images. The author strives to recreate faithfully certain past incidents, particularly from childhood and youth, such as meeting a Chinese millionaire, which was of paramount importance in her life. However, she is inconsistent in this and does not always follow typical rules of writing a semi-autobiographical work. She attempts to reconstruct the story of her life, emphasising the image in text and its perception by the character and the reader. Breaking of the "autobiographical pact" by blending fact and fiction, truth and falsehood implies a novel narrative technique, visible e.g. in the characteristic duality of the narrator, who is also the protagonist, present in the first and third person, either the subject or an object. This is an intriguing vision of reality, understood as an image locked in memories, created with original narrative solutions, where the reader becomes a spectator.
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Narrative developments often stem from images in Dany Laferrière’s work. On the other hand, some of the narration in Laferrière’s fiction and nonfiction is synthesized in narrative snapshots that resemble descriptions. Temporal dimension plays a key role in this constant shift between image and imagination, because, as Didi-Huberman has shown, images carry an anachronistic element. This element also allows Laferrière and his narrators to use mainly simple present tense, even when the content of the narration is set in the past. Nevertheless, images are never explained or rationalized in Laferrière’s work, which keeps the mystery and ambiguity that characterize visual representations.
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Lorette Nobécourt is a living French writer (shewasbornin 1968). In herworktakes place a quest of the « Word », the holynameshegives to literature. A great feeling of spiritualitycomes out fromhertexts.From 1999 to 2012 shewrotethreetexts about threedifferent pictural works : La Raie by Chardin (french painter), L’Ordre du monde by Sujata Bajaj (indianartist) and L’Usage des jours by Guillaume Bardet (french designer). Troughhertextsappearsherliterary and spiritual evolution. Literatureproved to be a spiritual ritual, like a memento mori, but also an real prayer, an hymn in praise of the « living life ».
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This article aims to investigate the role of the image in Quignard’s writing. Image is always present in his works, either directly, with the use of images taken from ancient art, or indirectly, thanks to the images that arise from his use of certain metaphors and expressions. In particular, here we take into consideration his Sur l’image qui manque à nos jours, in order to show how his discourse on the image takes the shape of a philosophical speculation on the missing images in our life. Indeed, for Quignard, we always live with the presence of the missing images, that is all we cannot see but we can imagine, for instance that of our conception. Moreover, the author analyses in this work four ancient images and four ancient texts. In so doing he confirms – even if partially – the Horatian formula ut pictura poesis, i.e. the link between these two forms of art. For him, the writing has the purpose of explaining the sense and the discourse that images represent. His way to present this to the readers is original and it does not belong to any other literary or artistic tradition of the past.
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The aim of the article is to examine the figure of an artist in the novel Charlotte by David Foenkinos. With his text, he desires to pay homage to Charlotte Salomon, a Jewish painter murdered at age twenty-six in Auschwitz. The Salomon’s biography and works became famous thanks to the novel by Foenkinos. The great merit of his book is to make the painter recognizable to a wide public. The interpretation of the text in which central figure is a painter should include a question about the generic status of the novel, thus the reflection about the Künstlerroman, and about the status of the image in the text, the narrative processes used to make the text more plastic, the ekphrasis, etc. The problem seems interesting because Charlotte does not correspond with the traditional definition of the Künstlerroman. The narrator refers the reader to the extradégétique reality in order to make a connection between the reader and Charlotte’s painting; therefore, he focuses his story on the conception of the image and not on the image itself.
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Comprehensive information on the literary work of Ahmed Sudi, who lived in the 16th century, is contained in a monograph by Namir Karahalilović and Munir Drkić, published by the Faculty of Philosophy in Sarajevo. It is a publication which portrays the life’s work of Sudi as a commentator, presenting also the masterpieces of Persian classical literature exploited in the broad geographical territory of the Ottoman Empire, later spreading to the wider, global level. Especially inspiring are his comments on Saadi’s works Gulistan and Bustan and Divan of Hafiz, the most significant and highly outstanding works with exclusive, meaningful messages, the analysis of which comprised multiple literary segments such as writing and pronunciation, phonetics, morphology, stylistics and metrics, semantics and cultural-historical aspect. This study is based on a cultural and historical point of view since the commentaries on Gulistan and Bustan mention significant Persian and other historically influential figures and rulers (King Darius, Alexander of Macedonia, etc.), legendary-mythological figures, epic heroes, Islamic Sufi prominent personalities, poets, and the like. Comments taken from the history of Islam are extremely valuable and well substantiated. For example, the beginning of Bustan highlights the fact that it is advisable to begin every work in the name of God and to seek his help in it, also including biographical data on Muhammed the Messenger. It is interesting that his comments include extensive explanations of personalities, cities and countries, personal memories and the impressions from travels, proving that he was versed in different scientific disciplines and in various spheres of one’s everyday activities.
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The communist and national socialist ideology that apparently supported women‘s equality of rights brought not the liberation of Romanian and German women but their tight binding to the state. The nationalistic phase of the Romanian communism and national socialism brought to the fore the propaganda model of woman as mother. A woman had value only if she was a mother of several children, contributing thus to the state’s strength. The poem by Jura Soyfer, Schlaflied für ein Ungeborenes (Lullaby for an Unborn) and the one-hour Romanian documentary Das Dekret 770 – Gebären auf Befehl (rumänisch Decreţeii) are cited in the present paper as relevant examples of the mother cult during those national socialistic times; the role of the woman as heroine mother is strongly emphasized.
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The article contains translation of classical Chinese text Greatest Learning Da Xue 大學 and the interpretation of important terms such as de 德 and gewu 格物. Da Xue is a part of ancient Chinese texts Liji 禮記 but the reinterpretation of the text became later a basis of neo-confucian philosophy. I argue that Da Xue is a pragmatic manual for an individual who firstly wants to cultivate himself and being cultivated is able to change the world into confucian utopia. Hence the phrase gewu does not have a meaning of “investigating things” in order to understand li 理 but “understanding the order of things that come”.
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The present article attempts to show how culture-specific factors dominant in a given social group influence and model evaluation of literary characters. Special attention is paid to the character’s attitude towards challenges he faces, his decisions, his personality traits, his mental states (beliefs, desires and thoughts) as well as folk psychology which guide him in his life. The profile of our research project fits into contemporary investigations of how culturally defined thinking can shape reading and understanding of literary works in terms of both evaluation of literary characters, comprehension of plot, and perception of time implied in the work. Our research project contributes to the current discussion on cultural differences between the West and the East. Students from Poland and China took part in the project. They all answered several dozen questions of a specially prepared social questionnaire concerning their evaluation of Stanisław Wokulski, the protagonist of Bolesław Prus’ novel Lalka (The Doll). The results show that students from the two cultural groups responded in different ways to many questions which were correlated with specific cultural parameters that differ the East and the West, which in the profile of our research is interpreted as a visible cultural transfer from one area of thinking into another.
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The article examines an interpretation possibility to read the structure of the Book of Job as a drama structure. It shows that some of the apparent paradoxes and contradictions in the text can be understood as an inner logic of a drama. The seeming incoherence of narrative Prolog and Job's later statements can be easily reconciled by following through the dramatic cause-effect sequences and seeing the events as happening in permanently changing present. The dramatic approach enables to see the meeting between God and Satan as an unsuccessfully attempt to make a bet. Deprived from omniscient narrator’s perspective, the drama shows various attitudes, without pointing directly which is the best one. Full of paradoxes and contradictory statements, the main hero’s style can be compared with a modern stream of consciousness. The culminating point of the drama shows a durable change in Jobs posture and leads to surprising changes on a metalinguistic level.
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The paper thematizes the views of language in Prof. Lyubomir Ognyanov-Rizor’s pioneering work in the field of translation theory in Bulgaria. To the fore are brought the relations of language and style, form and content, particular and general, period of the work and time of translation. In the focus of scientific interest are the dichotomous presentation of translation phenomenon and the influence of the author’s views on the subsequent development of general and literary translation theory in the German studies in Bulgaria.
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The aim of this article is to present uniforms (or costumes) as masks used by the disciplinary authority to control and change bodies. By the word “costume” I understand both the material object and a repertoire of abstract rules according to which bodies are formed and trained. Defined in this way, the mask is a medium which, on the one hand, covers the individual characteristics of whoever wears it, and, on the other, somehow directs his or hers actions. To describe this mechanism, I choose two seemingly different spaces: classic ballet and the military. I show that in both disciplinary power operates on similar – perhaps even identical – principles. In the first part of the article, I develop the concept of mask-costume, focusing on its theatrical character. In the second part, I study two texts of culture: Cezary Tomaszewski’s play „Cezary goes to war” (2017) and Artur Żmijewski’s short film „KRWP” (2000). They provide excellent material to exemplify my initial diagnoses.
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In 21st-century science fiction narratives, the figure of the cyborg has been replaced by a new group of liminal characters: avatars, clones, sentient AI, genetically modified humans and time-displaced individuals. Through these characters, the narratives explore philosophical questions about the unity of personal identity. One of the films that investigate this question is Tom Tykwer’s and Lilly and Lana Wachowski’s film „Cloud Atlas” (2012), as it proposes the notion of network identity, divorced from time. Network identity – in the form of transmigration of souls – is enacted in the film by the concept of eternal recurrence which is the film’s overriding framework. This identity is what connects the six juggled stories, spanning through various historical eras from the nineteenth century to the distant future. The paper analyses the film’s concept of twenty-first century subjectivity, singular and manifold, separated and connected simultaneously, and how it taps into the theme of global interconnectedness and co-temporality brought about by the media and globalization.
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The article is an attempt at reading the modernistic short story of Ryūnosuke Akutagawa, a Japanese “father of short story,” in terms of aesthetics. The subject of this analysis is the Polish translation of the work „Kappa”, also known in Poland under the title „In the land of Aquarius”, made by Mikołaj Melanowicz. The story shows a phantasmagoric visit to the strange country (peopled by anthropomorphic creatures) and some sober observations on this disturbingly atypical land made by the main character. Due to the multitude of culturally recognizable themes referring to the history of Gulliver, the work bears remarkable signs of anti-utopia. My analysis takes on the themes of the story that are important from the point of view of this branch of philosophy and on its symbolic dimension with its immersion in the tradition of Japanese aesthetics. Basing my interpretation on the critical revision of the basic assumptions of the Japanese aesthetics school and on a close reading of the two surfaces of the work (literal and symbolic), I consider how the text functions in a philosophical way. The article focuses both on the literally aesthetic level of expression (descriptions of the presented world) and on the aesthetics of narration and the way of constructing the text.
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The article is devoted to political, cultural and mental diversity of Donbass from the rest of Ukraine. The author shows the uniqueness of this region as a result of a complex and contradictory history, as well as the effect of permanent social, economic and ethnocultural processes of a colonial and totalitarian character. This is the reason for the hybrid identity of local residents. Later on, more space is devoted to the work of two writers — Ukrainian-speaking Serhiy Zhadan and Ukrainian-Russian-speaking Vladimir Rafeenko.
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