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This article examines the problems associated with the acceptance of the work of Tadeusz Konwicki in Bulgaria and Yordan Yovkov in Poland. The fundamental questions in the field of translation studies are considered in this article, which are related to the different cultural codes of the recipient, historical difficulties and incorrect translation strategies.
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review of: -------------------- Pavao PAVLIČIĆ, Moderna alegorija, Matica hrvatska, Zagreb, 2013., 266 str.
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The Bosnian Tetraevangelium from Vrutok belongs to the Popović family from the village of Vrutok near Gostivar. There are modern marginal notes associated with this family surname dating from the beginning of the last century, when Prokopi¬je Popović, a graduand of the Skopje Teachers’ College, signed the manuscript to mark it as his property, while, in 1927, one of his heirs, Damjan Popović, signed folio 147b. The last owner, Dobrivoj Popovski, gave permission for the manuscript to be re¬corded on microfilm a full half-century after its first philological presentation. Not long afterwards it was deposited with the Saint Clement of Ohrid National Library in Skopje.
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About: Владимир Трендафилов. Употребите на британския ментор: рецепцията на Чарлс Дикенс в България. [Vladimir Trendafilov. The Uses of the British Mentor: Charles Dickens’s Reception in Bulgaria. Издателство „Колибри“, 2015]
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This article is dedicated to the recently deceased prof. Marian Maciejewski, an outstanding scholar of Polish Romantic literature. Maciejewski authored groundbreaking studies on the epoch’s literary genetics (the gawęda, the poetic novel), detailed discussions of the lyrical works produced by the most outstanding Polish poets of the first half of the nineteenth century (Malczewski, Słowacki, Mickiewicz), and a book on Mickiewicz’s Lausanne works. Besides his emphasis on literary genetics, these studies presented the Polish Romantics’ achievements against the backdrop of the evolution of verbal art. What is more, Maciejewski is the author of the kerygmatic criticism project, which many have seen as controversial. This article sketches out the scholar’s work, attempting to evaluate his most important achievements in the context of Polish literary studies, and opens up to a reflection on possible developments in research on Polish literature.
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The poetic novel "Maria" [Mary] by Antoni Malczewski published in 1825 is an outstanding work which, according to some researchers, could initialize Polish Romantic literature on equal terms with two volumes of Poezje [Poems] by Adam Mickiewicz. An unquestionable value of Mary is its author’s mature artistic workshop revealed, among others, in a skillful use of linguistic and stylistic devices. The subject of this article is a description of non-graded comparative constructions occurring in A. Malczewski’s poem that are based on cultural associations. A formal side of these clues has been analyzed. The first part of the text depicts a degree of comparisons’ density in the work’s linguistic tissue, their distribution in the narration and dialogues and monologues as well as the dependence between linear extension of comparisons and the volume of the text occupied by them. Whereas the second part of the article is focused on the discussion of the structure of comparative constructions and their grammar characteristics.
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‘But there is a huge difference between writing a historical novel and writing history. If I may put it like this: history is like a river, and the historian is writing about the ways the river flows and the currents and crosscurrents in the river. But, within this river, there are also fish, and […] I am interested in the fish. The novelist’s approach to the past, through the eyes of characters, is substantially different from the approach of the historian’. This quotation might seem to have been taken from some pre-narrative-turn text whose author appears to profess the conviction that the scientific status of history and the fictional character of literature is what makes these two modes of writing about the past essentially different. In fact, these words come from Amitav Ghosh, a contemporary historian, social anthropologist, historical fiction writer who, more than forty years after the Linguistic Turn, seems to advocate a new version of ‘wie es eigentlich gewesen’ and literature opposition. Starting with Dipesh Chakrabarty’s arguments in favor of ‘regional and global configurations in modern history’, I would like to use them to criticize Ghosh’s idea of history as a river and put forward a thesis that history is like an ocean and if we understand it as such, then the boundary between writing a historical novel and history might be considered conventional and possible to be blurred. In order to justify this thesis I intend to provide a series of arguments supported mainly by Hayden White’s philosophy of history presented in Metahistory and Hans-Georg Gadamer’s theory of understanding from Truth and Method. In conclusion, I point to idiosyncrasies of the ocean-like perspective on history as a construct alternative to this proposed by Amitav Ghosh.
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This article sheds a new light on the ethnological and ethnographical background of Veda Slovena, a two-volume song collection edited by the Bosnian ethnographer Stefan Verkovich by the end of the XIX century and rejected by scientific authorities as a mystification and a forgery. It shows a new perspective on the controversial discussion about the authenticity of the Veda and also questions whether the songs of Veda Slovena exclusively belong to the oral folk culture of „the pomaks“, living in the western part of the Rhodope-mountain. Instead, a new hypothesis considers a wider ethnological background due to the migration of Bulgarian and Aromanian groups from Albania and the region of Western Macedonia (Kastoria, bg. Kostur), Almopia (old. Moglena, bg. Meglen) to the Eastern part of Macedonia and the West Rhodopes (the area of Nevrokop (Gotse Delchev) observed in the XVII and XIX century.
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This article aims to analyse a text that is key to the way Gombrowicz is read in Argentina, namely the Diario Argentino or ‘Argentine Diary’. Kobyłecka-Piwońska begins by outlining the history of its creation (in the light of Gombrowicz’s correspondence with the publisher as well as the translator), its translation and composition, that is to say the arrangement of passages that the author selected from the complete edition of his Dziennik [Diary]. The Diario Argentino is the most important component of Gombrowicz’s self-representation created with his Spanish-speaking readers in mind, and it has a considerable effect on the way his works are read in that culture.
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In this short paper, we propose to analyze the Fear experienced by the Romanian intellectual when Secret Police could knock at his door at any time of night or day to imprison and torture him.Inoculate Fear represented the main instrument of torture practiced by the communist Secret Police. Examples extracted from writings of two intellectuals subjected to communist terror (N. Steinhardt and C. Noica) will show us the states of mind man experiences from the moment the idea of Fear seeps into his head to different “strategies” imagined in order to live with it.
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This article is dedicated to the problem of typification in the works of Dostoyevsky. The polemic between Dostoyevsky and Goncharov on type as well as the nature and methods of artistic generalization in the works of these authors are analyzed. The following assumption is made: according to Dostoyevsky, everything that is typical corresponds to the category of symbol. The peculiarities of artistic generalization in the novels “Oblomov” and “The Brothers Karamazov” are investigated. It is concluded that the main category of Dostoyevsky’s artistic thinking is the category of symbol, whereas Goncharov’s creativity is based on typification.
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The aim of the sketch Po Jedwabnem. Narodziny popularnej opowieści rozliczeniowej (“In the Wake of Jedwabne. The Start of a Popular Guilt Narrative”) is to discuss some literary phenomenon which was revealed several years after the publication of the book Neighbors (“Sąsiedzi”) by Jan Tomasz Gross, and may be treated as a reaction of literature (or more broadly: art) to the debate of historians, politicians, publicists and all other participants of the Polish social discourse, evoked by the mentioned book. The author terms this phenomenon post-Jedwabne narrations, including among them an extensive collection of almost twenty literary, theatrical and film productions, of which the article deals with Nasza klasa (“Our Class”) by Tadeusz Słobodzianek, Pingpongista (“Ping-Pong Player”) by Józef Hen and Łąkę umarłych (“Meadow of the Dead”) by Marcin Pilis. The social influence of these books and specific poetics based on modification of a narrative pattern adopted from Neigbors, is studied in the context of pop culture (as a discourse which is increasingly present in shaping the representation of the Holocaust), narratology (rhetorical models proposed by Hayden White) and comparative studies, referring it to the achievements of German-language guilt narrations, among others Der Vorleser (“The Reader”) by Bernhard Schlink and Nahe Jedenew (“Close to Jedenew”) by Kevin Vennemann. The author in her sketch is in the search for the sources of a new literary phenomenon which would testify to the involvement of art in negotiating the contemporary shape of history and at the same time, she asks to what extent this phenomenon absorbed the popular patterns of discussing history, including the ones which have been created by the West European Holocaust discourse.
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In 1934 Daniil Kharms wrote a poem The Fall, or the Knowledge of God and Evil (with the subtitle “didascalia”), which is a close adaptation of The Fall – a play from The Book of Genesis. The poet, however, creates an utterly different literary space to the one found in the biblical text. Paradise, in which Kharms’ Adam and Eve are living, seems to be concrete and tangible, as if it were human-made. This is the Garden of Eden of which an artist at the beginning of the twentieth century could dream. The aim of this paper is to expose the possible literary sources of such a vision. The article also presents ways in which mythological and biblical narratives which attempt to explaining the origins of the world and the first fall of humankind might be transformed in the poem written by an avant-garde artist.
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Multiple hybrid constellations in large parts of contemporary prose fiction give reason to question the validity of terms as, e.g., “national authorship”. This comparative study analyzes prose fiction of two Slavic-born authors; The Czech writer and translator Jaroslav Rudiš writing his novels in Czech and the Russian-born Olga Martynova writing prose fiction in German, poetry, however, in Russian. By leaving aside Czech-German history and also by settling two out of five novels in Germany, Rudiš seems to envisage for himself an authorship which might be called “middle European with a Czech background”. Martynova, on the other hand, has been establishing her authorship as a novel-writer – of two texts so far – in reference to the Russian but also to the German and further cultural repertories. In a way, she has internationalized the literature-centered Russian cultural heritage. Attempts at trying to handle the overall hybridity in contemporary prose fiction, among others, have to ascertain in which way national and cultural repertories are affirmed, mixed, re-written etc. and what types of affiliation (cultural, geographical, historical, social) are being exposed in single texts.
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The reality presented in the literature adopts the audio-visual features and is constructed from fragments that are in constant motion, characterized by a flashlight and temporal feature. The reality concept that the recent literature is related to is created by media texts. As a consequence the process of text assimilation changes and becomes consistent with the audiovisual absorption mechanisms; an intermedia literature is being formed. The concept of audiovisual narration relies on penetration of audiovisual strategies in literary narrative (composition, poetics, narration, a hero construction).
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After the excesses of his previous terror movies, the Spanish director Jaume Balagueró returns to a more sober narrative to explore the mechanisms of anguish in an oppressive thriller behind closed doors, “Sleep Tight” (“Mientras duermes”, 2011). Influenced by Hitchcock and Polański, he proposes a new variation on the spatial motif of a building which becomes the nest of daily evil embodied by César, an ominous concierge who intrudes into the residents’ intimacy and endeavors to ruin their existence. The present article aims at analyzing the principal filmic and narrative strategies of anguish deployed in this movie. The director elaborates a Manichean costumbrista tale where he probes the atavistic fear of a nocturnal monstrous presence that may perturb the reassuring normality of domestic space. Through the construction of a rigorous rhetoric of repetition, Balagueró places the viewer in a disconcerting narrative in‑between and invites him to participate actively in the pernicious game orchestrated by his protagonist, depicted as a methodical agent of everyday terror.
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In the article the author describes diverse, textual strategies of Polish homosexual diaries from the 20th century. The author discusses the issue of their complex genetical relation to the founding texts of gay autobiography by André Gide and Oscar Wilde and he is pointing at resemblances and differences in the ways they construct the homosexual subjectivity. Basing on observations by Judith Butler, Eve Kosofsky Sedgwick and Michel Foucault, the author is pointing at the performative contradiction of genres deduced from the autobiographical tradition of confessing in the situation of homosexual subject, and I am also reconstructing rules of textual visibilities of the homosexuality on the example of diaries of Jarosław Iwaszkiewicz and Jerzy Zawieyski.
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The article is dedicated to the poetics of Shmelev’s story’s title “The Hidden Face”. The ideological and thematic aspects of the title, that develop story’s fiction structure of the writing are exposed to analysis. The story got its final title in the last, second, manuscript edition (its previous title was “Furlough”). The writer accentuates the character’s inner, radical crisis of consciousness, rather than external events. This intention manifests itself in the ideological structure of artistic images: the characters’ philosophy is based on the principle “thesis — antithesis — synthesis”. However, there is another viewpoint, that prevails over others and comes out of this system of immanent relations and theoretical judgments of the characters — the Orthodox one. In the text there are several semantic levels of an image system of the story that are kept current in the concepts of “holy face”, “face” and “mask”. The “hidden face” is nothing more than God’s image, contained in every human being, in other words, his true, original nature. Thus, in the title of the story the author’s idea of Shmelev is revealed.
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Multi-motivation is considered an indispensible component of a derivation description by researchers in word formation. A more in-depth study of the literature dedicated to this issue and analysis of material permitted a finding that this conviction can change if a thorough and detailed formative paraphrase and semantic analysis of the derivatives which have been treated as multi-motivation ones to date are made and if more difficult cases are subordinated to the principle of system dominance. Such an approach to the problem of the so-called multi-motivation allows its elimination since it has been wrongly sought 1) in words which have been imprecisely paraphrased, 2) in derivatives for which the direct motivation basis has been treated equally, 3) in lexemes in the description of which syntactic connectivity has not been taken into account, and 4) in all (numerous) cases where the principle of system dominance, which was postulated already in 1987, has been ignored. Remedying these deficiencies enables exclusion of multi-motivation from the morphological description.
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In the late 1970s, Steve Tesich appeared in Hollywood as a new writer with a fresh set of ideas framed within conventional narrative structures. Having found the space to present personal content within mainstream production, the Yugoslav immigrant created a nostalgic vision of America, breathing vitality into one withered social image. Permeated with the playfulness of ideals on account of which he had embraced his new homeland, his screenplays also leave traces of bitterness of an immigrant whose American Dream was dispersing before his eyes. Tesich’s cinematic expression is led by mild comedy, as well as strong characterization which enables pursuit of layered answers to questions posed by classism, immigraton and social activism. Out of six realized screenplays penned by Tesich, this article deals primarily with films Breaking Away and Four Friends as the most representative samples of his cinematic work and examines them in relation to the norms of the entertainment industry.
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