CNS Czasopisma Naukowe w Sieci
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Obraz przewodnika górskiego w literaturze romantycznej. Część III
No full textIn the third part of my paper, I cross the chronological limits of Romanticism to continue my exploration of the longevity of the mountain guide motif in 19th-century Polish literature. I discuss three characters: Maciej Sieczka, Jędrzej Wala, and Klimek Bachleda, who was among the last great mountain people and died when selflessly going to others’ aid. My argument concludes with insights offered by Tadeusz Staich, a twentieth-century lover of and expert on the mountains and a person of merit to Podhale, who believes that the Romantic worldview and attitudes to mountain guides are declining as the mountain guide job is being commercialized and the Goral tradition as such is fading
Studentki i studenci w krainie Ducha Gór. Karkonosze — pierwsza edycja seminarium humanistycznego „Sudety – Literatura – Podróż”
No full textThis sketch presents the course of the first edition of the humanities seminar “The Sudetes – Literature – Journey,” which ended in mid-June 2024. The main issues discussed at the seminar concerned the Giant Mountains and the neighboring mountain ranges, such as the Jizera Mountains and the Rudawy Janowickie. The project entailed charting a literary geography of the Sudetes in informal education, taking into account history, the present day and cross-border issues. The seminar was financed as part of a pro-quality competition, launched on the initiative of the Vice-Rector for Teaching, Łukasz Machaj
Magiczne światy Bena Aaronovitcha. Modelowanie rzeczywistości w cyklu o Peterze Grancie
No full textThe reality presented in Aaronovitch’s cycle featuring Peter Grant is a world imitating the extratextual one — it is mostly set in London, with all its characteristic landmarks, and includes references to various historical facts, figures, and institutions. However, the familiar elements are reinterpreted through the magical context in which they are embedded. Magical events are interwoven into the historical past, fictitious works on magic are ascribed to real writers, while London and its environs are interspersed with loci directly related to magic (such as the Folly, the Skygarden Estate, or the dwelling place of the Silent People). Thus, Aaronovitch creates an autonomous world model, a version — and not a quasi-copy — of the extratextual reality, while the latter functions merely as a frame of reference. On the other hand, the abundance of seemingly redundant and superfluous topographical or historical details, which have their equivalents in the real world, spur the reader to confront the presented reality with the extratextual one on a truth/falsehood basis — and thus the line between the extra- and intratextual universe is blurred. Thus Peter Grant, Aaronovitch’s detective, lives and conducts his investigations in a world, which the readers might recognise as their own, with one exception: they are to accept the fact that the seemingly familiar places are interwoven with a hidden, magical, and sometimes sinister dimension
Kulturowy oraz literacki fenomen dark academia na przykładzie „Tajemnej historii” (1992) Donny Tartt
No full textThis article seeks to critically examine and investigate the phenomenon known as Dark Academia, using Donna Tartt’s novel The Secret History as a representative and foundational text of the genre. Dark Academia, both as an aesthetic and subcultural current, is strongly rooted in fan culture, which amplifies its appeal through visual platforms, literary engagement, and performative identity. Key aspects of this cultural current include a fascination with classical learning, elitist educational settings, tragic beauty, and a romanticised view of intellectualism often intertwined with death, transgression, and existential questioning.
The Secret History echoes many elements of the American Gothic tradition, embedding a persistent atmosphere of mystery, moral ambiguity, and psychological unease. Tartt’s characters resonate with figures from detective fiction and mythic crime narratives described by Dennis Porter, evoking the archetype of the troubled intellectual entangled in forbidden knowledge. The influence of the campus novel is also evident, particularly in the enclosed, elitist academic setting that becomes a crucible for moral decay and obsession.
Furthermore, a psychoanalytic lens reveals how both characters and readers engage with repressed desires — erotic, violent, and otherwise taboo — projected through the aesthetics of Dark Academia. This cultural fascination is not limited to contemporary literature; it draws heavily from classical sources, such as Oscar Wilde’s Picture of Dorian Gray. Though Wilde’s work predates Dark Academia and does not directly align with it, the protagonist’s pursuit of beauty, knowledge, and hedonism positions it as an undeniable precursor to the genre’s sensibilities
Kindertijd in het antropoceen. Recycling als denkpatroon in kinderboeken
No full textThis article analyses the representation in children’s literature of phenomena such as consumerism, recycling, and the use and reuse of raw materials and resources within the context of ecocritical and ethical discourse. Our focus is on how contemporary children’s literature portrays the issues related to these phenomena, especially when it comes to treating someone or something as waste or as recyclable material. Through the analysis of Jagna and Eco-challenges and Sustainable Grandma we discuss children’s creativity in thinking about recycling as well as ethical issues related to waste within the framework of Waste Studies
Vstup Velké války do českého dramatu
No full textStudie analyzuje české válečné drama za první světové války. Jde o 4 hry z let 1914, 1916 a 1917: populární kusy Pod vlajkou válečného lazaretu V. Štecha a Památka z válečného lazaretu F. Olivy a vážná dramata Povodeň F. V. Krejčího a Hnízdo v bouři J. Hilberta. Autoři studie tyto hry analyzují jako hledání válečného dramatu, zahrnující v sobě různé žánrové formy jako sentimentální, alegorickou a konverzační hru, i různé motivy, včetně nové role žen, osudu národa, lidských ztrát, nevěry apod. Toto hledání se děje ve velmi specifické situaci, formované nejen záměry dramatiků, ale i institucí divadla: cenzurou, seberegulačními mechanismy, lhůtami nastudování, jež antikvují včerejší aktuality, i proměnami v sociální struktuře obecenstva.The study examines the Czech war drama during the Great War. There are four such works emerging in the years 1914, 1916, and 1917: popular plays Pod vlajkou válečného lazaretu [Under the flag of a wartime field hospital], by V. Štech and Památka z válečného lazaretu [A souvenir from the wartime field hospital], by F. Oliva; serious dramas Povodeň [The flood], by F.V. Krejčí) and Hnízdo v bouři [A nest in the storm], by J. Hilbert. The authors of the paper analyse these works in search for “war drama”. The search encompasses different genre forms, such as sentimental, allegorical, and conversational plays, as well as various war motives, including the newfound role of women, the destiny of the nation, loss of lives, and infidelity. This search took place in the very specific situation shaped not only by playwrights’ intentions, but by institution of theatre: censorship, self-regulation, delays in theatre traffic that render yesterday’s news obsolete, and shifts in the social structure of audience.Studie analyzuje české válečné drama za první světové války. Jde o 4 hry z let 1914, 1916 a 1917: populární kusy Pod vlajkou válečného lazaretu V. Štecha a Památka z válečného lazaretu F. Olivy a vážná dramata Povodeň F. V. Krejčího a Hnízdo v bouři J. Hilberta. Autoři studie tyto hry analyzují jako hledání válečného dramatu, zahrnující v sobě různé žánrové formy jako sentimentální, alegorickou a konverzační hru, i různé motivy, včetně nové role žen, osudu národa, lidských ztrát, nevěry apod. Toto hledání se děje ve velmi specifické situaci, formované nejen záměry dramatiků, ale i institucí divadla: cenzurou, seberegulačními mechanismy, lhůtami nastudování, jež antikvují včerejší aktuality, i proměnami v sociální struktuře obecenstva
Біблійність воєнної поезії Павла Вишебаби (на матеріалі збірки „Тільки не пиши мені про війну”)
No full textThe article focuses on studying the verbalisation of biblicality in modern Ukrainian poems about war. The aim of the research is to demonstrate how the articulation of Biblical nature in the Ukrainian poetry in times of the Russian- Ukrainian war intensified in view of national traditions and the author’s innovations in cases of language game and cultural precedents verbalization. The material of the research is the works of one of the prominent Ukrainian writers-warriors Pavlo Vyshebaba. Using the contextual-interpretative, discursive, communicative-pragmatic, lexical-syntactic methods, the author shows that Biblical nature is one of the defining features, a means of verbalising specific artistic images and the newest sacralisation where the fighters for our freedom — the Ukrainian army and Ukraine as a whole — acquire the signs of the sacred. The transformed genres of a prayer and confession, the Biblical allegories of different types and language game based on their creative reinterpretation play a key role.Стаття присвячена дослідженню вербалізації біблійності в сучасній українській поезії про війну. Мета наукової розвідки — продемонстру- вати активізацію омовлення феномену біблійності в українській воєнній поезії періоду російсько-української війни з огляду на національні традиції та авторські інновації у творах одного з найбільш яскравих українських письменників-воїнів Вишебаби у проєкції на актуалізацію феноменів прецедентності та мовної гри. За допомогою контекстуаль- но-інтерпретаційного, дискурсивного, комунікативно-прагматичного, лексико-синтаксичного методів показано, що біблійність є однією з визначальних рис, засобом вербалізації непересічних художніх об- разів, новітньої сакралізації, де ознак сакрального набувають борці за нашу свободу — українські військові й Україна в цілому. Провідну роль у цьому відіграють трансформовані жанри молитви й сповіді, різнотипні біблійні алюзії та мовна гра, заґрунтована на творчому їх переосмисленні
Smrt Vronskog: narativne strategije pamćenja u romanu „o povijesti u nastajanju ”
No full textThe paper analyses narrative strategies in representing the labor (and construction) of memory of the Homeland War in the novel Smrt Vronskog [Death of Vronsky] (1994), by Croatian writer Nedjeljko Fabrio. Within the framework of cultural memory studies, following the theoretical concepts of memory in literature (Astrid Erll) and the narratological approach to the “fictions of memory” (Birgit Neumann), the paper highlights the modes of remembering in this postmodern (neo)historical novel. It provides an interpretation of the narrator’s function, time structure, perspective structure, semanticization of space, and metaphors of memory. The paper raises questions about the (re)construction of individual memory within the literary character, which determines its identity markers. It also examines ways of representing the collective past of a group and indicates the construction of the collective memory of people in the area affected by the war’s destructive turmoil and suffering.Rad analizira narativne strategije pri reprezentiranju rada (i izgradnje) pamćenja Domovinskoga rata, dakle obrambenog rata za neovisnost Republike Hrvatske, u romanu Smrt Vronskog (1994.) hrvatskoga književnika Nedjeljka Fabrija. U okviru studija pamćenja, prema teorijskim postavkama koncepta pamćenja u književnosti (Astrid Erll) i naratološkome pristupu proze (mimeze) pamćenja (Birgit Neumann), rad će detektirati načine (moduse) pamćenja prisutne u ovom postmodernom (novo)povijesnom romanu, približiti tumačenje strukture pripovjedačke funkcije, strukture vremena, perspektive, prostora te metafore pamćenja. Rad će otvoriti pitanja o (iz)gradnji individualnoga pamćenja (posuđenoga) književnoga lika koje determinira njegove identitetske odrednice, propitat će načine prikaza kolektivne prošlosti grupe te naznaku izgradnje kolektivnoga pamćenja ljudi s područja zahvaćenoga ratom i ratnim stradanjima
Украї нське драматургічне письмо про вій ну: травматичний досвід, індивідуальна рефлексія, колективна психотерапія
No full textThe article identifies the leading discourses developed by modern dramaturgical writing about Russian aggression against Ukraine. Paper and virtual dramaturgical anthologies have been developed, which testify to the variety of individual authorial approaches of playwrights to work with memory, traumatic experience, individual and collective psychotherapy, which can be implemented by the means of theatre. It is emphasized that the war catalyses an accelerated farewell to the Russian language, culture, and literature by playwrights previously loyal to Russia. Instead, the transgenerational experience of Ukrainians, which is actualised through the codes of family memory, acquires value. Changes in the formats of texts for the theatre are considered, which cease to be created according to the genre requirements of the actual drama.У статті визначені провідні дискурси сучасної драматургії про російську агресію проти України. Проаналізовано паперові та віртуальні драма- тургічні антології, які засвідчують різноманітність індивідуально-ав- торських підходів драматургів до роботи з пам’яттю, травматичним досвідом, індивідуальною та колективною психотерапією, які можуть реалізовуватися засобами театру. Наголошено, що війна є каталіза- тором прискореного прощання з російською мовою, культурою та літературою раніше лояльних до Росії драматургів. Натомість цінності набуває трансгенераційний досвід українців, який актуалізується через коди родинної пам’яті. Фіксуються зміни форматів текстів для театру, які перестають створюватися за жанровими вимогами власне драми