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Przeszłość, mityzacja, mit polityczny
How is Polish culture viewed in the Balkans? After presenting the modality and character of Polish culture’s presence in Croatia and Serbia, the article analyzes differences between Polish and Yugoslav culture, a topic discussed in recently published correspondence between two distinguished writers from the Balkans, Miljenko Jergovicia and Svetislav Basary. The authors discuss the issue of Poland’s historical tragedies and argue that Polish culture can offer a model for how a balance can be struck between the historical mistakes committed by a nation and its accomplishments. This model can be considered as a modern political myth and seen in relation to the myths that function in the Balkans.
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Avant même son adieu à la poésie, Rimbaud engage toute la poésie moderne dans les abîmes d’une parole devenue aussi vertigineuse que lacunaire, hantée par le silence et l’impuissance. Écrire ce qui ne peut être dit, telle est la voie/voix des traqueurs d’inconnu. Mais n’est-ce pas là un avatar des grands gestes oraculaires et lyriques, à l’écoute des « choses de l’infini» (Hugo) ? Even before his farewell to poetry, Rimbaud brought modern poetry into the abyss of dizzying and fragmentary language, haunted by silence and powerlessness. Writing what cannot be said is the way/word of those who hunt down the unknown. But is this not a transformation of those great oracular and lyric gestures, listening out for those ‘infinite things’ (Hugo) ? Keywords : silence, Rimbaud, Luca, Bataille, Rodanski
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Le silence maternel a été fondamental pour déclencher l’écriture du jeune Camus. Il se lie profondément à la découverte de l’absurde, telle qu’elle est traitée dans L’Étranger et Le Mythe de Sisyphe. Le silence entre la mère et le fils secrète aussi de l’amour, comme en témoigne Le Premier Homme. Maternal silence was a fundamental trigger for the writing of the young Camus. It is linked to the discovery of absurdity, as treated in L’Étranger and Le Mythe de Sisyphe. The silence between mother and son can also produce love, as Le Premier Homme shows.
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Tamara Hundorova, author of a methodologically excellent analysis of post-modern Ukrainian literature entitled The Post-Chernobyl Library: Ukrainian Literary Postmodernism, which takes as its starting point the meaning of Chernobyl as a word-symbol for complete disaster, sees 1986 as the moment when a new postmodern consciousness and literature was born in Ukraine. She also shows that Chernobyl has come to occupy an “unspeakable” place in Ukrainian culture – a phenomenon similar to the Holocaust. In discourses within the humanities today, Chernobyl and the accident at the nuclear power plant are associated with the emergence of a new consciousness and a new Ukrainian literature: “Chernobyl literature”. The Chernobyl corpus includes apocalyptic works of both high and low culture.
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Wojciech Żukrowski (1916–2000) is a forgotten writer, however, he is significant for the history of Polish literature. For many, he is a symbol of a past epoch, a writer of the communist People’s Republic of Poland and even its favourite. Until 1981, he was a well-known, acclaimed and renowned writer who used to receive numerous literary awards. His books were published in large numbers, reprinted, translated into many languages and adapted for the needs of films (Lotna, Kamienne tablice, film novellas Kierunek Berlin and Ostatnie dni), theatre (Porwanie w Tiuturlistanie), radio (Porwanie w Tiuturlistanie) or opera (Porwanie w Tiuturlistanie). Since his memorable appearance in 1981, both Żukrowski and his prose had difficult times. The aim of the present article is to remind the reader of the literary work of this great writer, a ‘fully fledged writer’ as he was described by his friend, Melchior Wańkowicz. The article presents a holistic view on the Żukrowski’s literary output and attempts to single out its main characteristic features, which include: autobiographical elements, Christian issues, fictitiousness, political issues and sensualism.
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In the turn of the 19th and 20th century, F. M. Dostoevsky became one of the most discussed authors in Russian philosophy. Leo Shestov, one of key thinkers of the Russian religious philosophy, dedicated to Dostoevsky several writings, icluding two books. Shestov’s hermeneutical approach to Dostoevsky belongs to most eccentric. Is is very far from facts of writer’s life and traditional interpretation of his works. Shestov postulates non provable moments of Dostoevsky’s life crisis and the most serious factor he declares meetings with underground. These, from his point of view, became the most significant points of Dostoevsky’s creative way. On this base, Shestov build completely new construction of writer’s life story. But Dostoevsky is not the only one author that became interesting for Shestov. Described scheme is typically applicated to all authors analyzed in Shestov’s works. This approach, far from scientific concept, far from traditional understanding of hermeneutics, is an integral part of Shestov’s philosophical method.
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The article presents issues related to the definitional, stereotypical and symbolic meaning of HOME. Linguistic material was gathered from a collection entitled Życie w drodze. Antologia poezji hippisów (Warsaw 1986). Non-linguistic contexts were taken into account in the process of analysis and interpretation. It has been proven that HOME in the poetry of Polish hippies is presented in a manner far removed from the stereotype and is not valued positively. The explanation of such an approach lies in the broad non-linguistic context, i.e. the philosophy of the hippie movement.
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The article discusses three main features of Żukrowski’s literary output, namely political issues, fictitiousness and sensualism. Zofia Lipińska rightly stresses that fictitiousness is the first and most important feature of literature created by Żukrowski. The author of Kamienne tablice never downgraded plots or protagonists and never fell prey to a modern multi-gloss form. He followed great realists, such as J. Iwaszkiewicz, M. Dąbrowska, J. Kawalec and W. Myśliwski. Political issues of the prose of Żukrowski is most fully revealed in Mądre zioła, Dni klęski, a short story entitled Kwasoodporni, as well as Plaża nad Styksem or a novel Kamienne tablice. At times, political elements in Zukrowski’s prose decrease its literary value. The works of the author of Lotna suffer because the writer is unable to present his opinion on important or difficult matters (e.g. the fate of the Home Army in post-war Poland, the September Campaign of 1939, distortions of socialism which led to the October breakthrough of 1956 or a political crisis in 1968). The present article argues that Żukrowski deserves to be called a writer – sensualist.
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Assimilation is a complicated process which all immigrants try to undergo successfully in a foreign unknown country. They have to face new reality, fight for their identity and cross the cultural, historical and language borders. This difficult process is related to personal qualities and inner strength which defines their existence within a new reality. Roman Polański, a worldwide known director and the author of an autobiography, becomes an example of a Polish immigrant who unravels his trials of finding a place in the United States of America.
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In the first part of the article the author presents: (1) a few crucial anthropological concept’s connected with the the problem of the migration experience such as „being between” (Edward Said’s idea of the contrapunctual identity) or „non-belonging”, migrant’s nostalgy, etc; (2) crucial historical information about the so-called „Recovered Territories” and the Polish experience of resettlement, in particular its traumatic aspects connected with the problem of the cenzorship and socialist politics of memory. The subcejct of the second part of article is the story Salki by Wojciech Nowicki. In this book the author tried to show the migration’s condition of his family in the perspective of so-called „postmemory”, the article is the intepretation of crucial figure’s of „non-belonging” presents in Nowicki’s book.
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This text is an attempt to trace up some signs of Jewish and Christian religiosity in the poetry of Aleksander Wat concentrating on mystic structures and emblems deep-rooted in Jewish religious, mystic tradition and also on some Christian motives, for example the figure of Jesus Christ. We deal mainly with the Jewish roots and circumstances of Watʼs poetic and itʼs relationship with sacrum, with a kind of intertextual dialogue with many cultural symbols and concepts associated with Jewish mystique or the Christian tradition.
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The subject of this analysis is a novel written by the Czech writer, Magdaléna Platzova (b. 1972), who belongs not to the second, but already to the third post-Holocaust generation. The author makes an attempt to touch upon the issues of identity and memory in the context of the Holocaust experience from witness’ point of view. The goal of this article is to present the history of the family and friendship of the octogenarian Kristýna Hládkova, one of the three protagonists in Magdaléna Platzova’s novel, Aaronův skok (2006), which is particularly interesting to us as an example of an area, where history and memory intertwine and influence each other.
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Jacques Le Goff’s thesis (from his recent book entitled History and Memory), which joins eventful history of our epoch with the sensitivity to differences, multiplicity of cultures and to others, became a starting point of the article devoted to the introduction of two novels - Jaroslav Durych’s Boží duha and Vladimír Körner’s Adelheid. The author, referring to this ascertainment as well as to the reflections of German phenomenologist Bernard Waldenfels, follows various writing strategies in the texts, at first sight linked by almost everything: subject, genre and publication time. Only deep analysis of both works allowed to notice two different approaches to complicated Czech – German relations in the period following the expulsions. Durych, one of the first prose-writers who had approached this subject already in the 50s, does not expose traces of otherness, avoiding, for instance, linguistic differentiation of his nameless characters. It makes the nature of the text more universal similarly to an allegory about wine and forgiveness. On the contrary, Körner, approaching the same subject of the encounter of Czech man with German woman, underlines various origins of his characters through naming them and through referring to different literary tradition. Also different course of events makes Adelheid a text about the impossibility to reconcile two various nationalities which history condemned to coexist.
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Based on the example of two literary museums, the present study attempts to depict the dispute over the canonization of Karel Čapek in Czech literature after 1948. The first part of the paper focuses on the dispute itself, summarizing the two primary discourses of the period, which affected the form of the exhibition displays on Karel Čapek. The following two parts focus on the promotion of the canon in practice. The dispute under review is first reconstructed on the basis of archive documents and then interpreted as a confrontation between the central institution (PNP – the Museum of Czech Literature, directly under the Ministry of Culture) and the local institutions (the Karel Čapek Museum in Malé Svatoňovice established by the Čapek Brothers Society, which was based on First Republic humanitarian ideals).
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The paper deals with observations from reviews of Skvorecky's works, published in exile by Czech literary critic Igor Hájek, and compares Hájek's view with reflections of other scholars working abroad. It is concerned with sources of inspiration, creation of autobiographical characteristics, issues of censorship and authorial style changes during the transition from the home environment into exile in the novel Mirákl.
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The study shows on the specific material Czech literature of the 19th century (the short story Češka a Němec by Sofie Podlipská) how the current transformation of literary-historical methodology allows to examine the issue of creation of national stereotypes. The study shows how the author used the existence of historical stereotypes and use them as the text strategy. A deeper understanding of the literary-historical category, literary movement, its detailed analysis, our knowledge in the context of cultural and historical context may help to understand why what was previously alien, is now considered to be ours.
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The study tries to describe the specifies of cultural topos of Bukovina, which is currently divided between Romania and Ukraine, and its capital Chernivtsi. Historically, as a cultural and architectural center, Chernivtsi was even dubbed "Little Vienna," "Jerusalem upon the Prut", or the "European Alexandria“. In Chernivtsi lived Ukrainians, Romanians, Poles, Ruthenians, Jews, Roms and Germans. Their Culture and Prosperity, experienced the town during its affiliation to the Austro-Hungarian Monarchy as the capital of the crown land Bukovina.
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Literature in the Romanian language in Vojvodina, Republic of Serbia, is a significant part of the cultural life of Romanians in Serbia, because it expresses the existence of spiritual identity, conservation efforts and fostering the mother tongue and culture, as well as an eloquent way to highlight the artistic value created in a specific socio and cultural, historical and educational context. At the same time, it can be considered as a kind of bridge between the Romanian and Serbian culture and the cultures of other nationalities in this region. Included in the cultural scenario where space is created, Romanian literature was building, especially in the second half of the last century, its specific architecture, which was created on the foundation of the spiritual heritage of bilingualism, as well as the impact of Romanian, Serbian and European literary space.
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This paper deals with the self-other relationship throughout the life and work of Borislav Pekić (1930-1992). It is an indisputable fact that when Pekić emigrated to England he created the conditions to write and cultivate his “scribomania”, and that during his stay in London from 1971-1992 he actually published most of his works. In this period, however, the self-other relationship in Pekić appears to be in conflict since even though the author was living in a foreign country he chose to write in his own native language. Writing in his mother tongue from a foreign prospective, the Yugoslav writer was able to create a unique work but this choice also placed obstacles between Pekić’s work and a potential lingua franca readership, primarly the English. Paradoxically although the content of his work speaks to a world readership, his choice to wirte in his own language hindered his communication with that ideal readership.
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