Poznańskie Studia Slawistyczne
Not a member yet
724 research outputs found
Sort by
Prekoračenja trećeg prostora
No full textThe concept of third space – an abstract space open to social and cultural interactions – was developed by the postcolonial theorist Homi K. Bhabha as a model of understanding post/colonial spaces, identities, cultures, power, and resistance. It is a space beyond binary divisions, where different identities and cultures meet, overlap, and merge. This paper aims at showing the potential of Bhabha’s concept within philology, as well as its ability to transcend disciplinary boundaries, as it is – implicitly or explicitly – present in many other disciplines, such as cultural studies, literary criticism, feminism, minority discourses, cultural geography, and elsewhere; that is in the work of E. W. Soja, b. hooks, G. C. Spivak, S. Ahmed, R. J. C. Young, and others. We examine how the reinterpretation of the concept in a different context, as well as its combined use with other theories, can prove valuable for disclosing limits or weaknesses, and in turn allow for a better understanding of representations of different experiences, identities, and cultures. Finally, we consider the potential of literature to grant access to the third space.Koncept trećega prostora kao apstraktnog prostora otvorenog prema društvenim i kulturnim interakcijama razvio je postkolonijalni teoretičar Homi K. Bhabha kao model razumijevanja i analize post/kolonijalnih prostora, identiteta, kultura, moći i otpora. Prostor je to onkraj binarnih podjela gdje se susreću, preklapaju i prožimaju različite kulture i identiteti. Rad smjera ukazati na potencijal Bhabhinog koncepta u okviru filologije, ali također ukazati i na prekoračenja disciplinarnih granica pojma. Naime, koncept trećeg prostora se implicitno ili eksplicitno javlja u brojnim drugim disciplinama i područjima kao što su kulturalni studiji, teorija književnosti feminizam, manjinski diskursi, kulturna geografija i drugdje; odnosno u radu autora E. W. Sojae, b. hooks, G. C. Spivak, S. Ahmed, R. J. C. Younga i drugih. Istražit ćemo može li i kako reinterpretacija koncepta trećeg prostora u drukčijem kontekstu, kao i njegovo kombiniranje s drugim teorijama, osigurati uvjete za dublje razumijevanje izvornog koncepta i/ili otkrivanje ograničenja i slabih mjesta prethodnih pristupa. Potonje se, naime, može odraziti na potpunije razumijevanje i uvažavanje reprezentacija drukčijih iskustva, identiteta i kultura. Konačno, razmatramo ulogu književnosti u djelotvornosti trećeg prostora
Povijesne osobine hrvatsko-slovenske jezične granice između rijeka Drave i Save do 12. stoljeća prema arheološkim pokazateljima
No full textThere are great similarities, but also certain cultural differences between the local population along today’s Croatian-Slovenian border, up until the 12th century, on the basis of existing archaeological research of well-known sites, mostly cemeteries. Burial customs and traditional clothing indicate different origins of the population in this area from the end of the 6th century, while archaeological findings also testify to strong connections among populations that shared a long common history. It is also possible that ethnic and linguistic differences existed even before the establishment and stabilization of borders between the medieval Holy Roman Empire of German Nation and Croatia, or Hungary. Settlement on both sides of the border was continuous, with some areas more densely populated, and the density and intensity of settlement fluctuating depending on political and economic circumstances. Overall, the inhabitants of the region behaved in similar ways. However, from the 12th century onward, differences began to increase due to political divisions and new waves of immigration.Duž današnje hrvatsko-slovenske granice, do 12. stoljeća, uočavaju se značajne sličnosti, ali i očite kulturne razlike među lokalnim stanovništvom. To potvrđuju postojeća arheološka istraživanja, osobito ona provedena na poznatim lokalitetima poput groblja. Pogrebni običaji i tradicionalna odjeća upućuju na različito podrijetlo stanovništva na tom području od kraja 6. stoljeća, dok arheološki nalazi istovremeno svjedoče o snažnim vezama među populacijama koje su dugo dijelile zajedničku povijest. Moguće je da su postojale i etničke te jezične razlike već prije uređenja i ustaljenja granica između srednjovjekovnog Svetog Rimskog Carstva Njemačke narodnosti i Hrvatske, odnosno Ugarske. Naseljenost je s obje strane granice bila kontinuirana, pri čemu su neka područja bila gušće naseljena, a gustina i intenzitet naseljenosti mijenjali su se ovisno o političkim i gospodarskim okolnostima. Općenito, stanovnici regije ponašali su se slično, no od 12. stoljeća razlike su počele jačati zbog političkih podjela i novih valova doseljavanja
Granice Samudaripenu. Reprezentacje Zagłady Romów w literaturze chorwackiej i serbskiej
No full textThe aim of this article is to analyse the relatively unknown literary representations of the Romani Holocaust within Croatian and Serbian cultures (both in personal documents and works of fiction). Mentions of Samudaripen in Croatian autobiographical texts are episodic and secondary to other stories, and they hardly ever come up in Croatian works of fiction. In Serbian literary works, thereare two main modes of referencing Samudaripen: 1) by evoking it, usually in the context of the Jewish Holocaust, as a historically documented fact or 2) by presenting it as a novel’s main theme or one of its equally significant plotlines; it is, however, rarely a historically and culturally embedded narrative and more ambitious literary work, which results in its limited impact. Celem niniejszego artykułu jest analiza mało znanych literackich reprezentacji romskiej Zagłady w kulturze chorwackiej i serbskiej (zarówno w dokumentach osobistych, jak i w literaturze fikcjonalnej). Z przeprowadzonych analiz wynika, że wzmianki o Samudaripenie w chorwackich tekstach autobiograficznych pojawiają się epizodycznie, zwykle na marginesie innych opowieści, Niezwykle rzadko pojawiają się również w chorwackiej literaturze fikcjonalnej. W serbskich tekstach wyznaczyć można dwa nadrzędne sposoby odwoływania się do Samudaripenu: 1) jako odniesienia w kontekście Zagłady Żydów (najczęściej pojawia się jako historycznie udokumentowany fakt); 2) jako główny temat powieści lub jeden z istotnych wątków fabularnych; zwykle jednak narracja jest tylko w niewielkim stopniu osadzona historycznie i kulturowo, ma nikłą wartość artystyczną, co skutkuje jej ograniczoną recepcją
Liminalnost i liminoidnost u pismu Dubravke Ugrešić
No full textThe experience of borderlines, displacement, and non-belonging has fundamentally defined Dubravka Ugrešić’s writing, as well as her personal biography. Initially as an exile, an outcast from national culture, and later as a transnational author and intellectual, she was marked by a position of permanent liminality, existing betwixt and between (Turner) rigid national, social and political structures. The experience of liminality is also embodied in her writing, primarily in the exploration of the topic of exile in the novels The Museum of Unconditional Surrender and The Ministry of Pain. In her later novels the liminal gives way to the liminoid, understood as a particular regime of writing characterized by playfulness, performativity, subversion but also a utopian sense of literary communitas. This paper outlines this shift and demonstrates, using the novel Fox (2017) as an example, how the concepts of the liminal and the liminoidcan contribute to a critical reading of Ugrešić’s fiction.Iskustvo granice, izmještenosti i nepripadanja suštinski je odredilo književnost Dubravke Ugrešić, kao i njezinu biografiju. U početku kao egzilantkinja, izopćenica iz nacionalne kulture, a kasnije kao transnacionalna autorica i intelektualka, bila je obilježena stanjem permanentne liminalnosti, pozicijom bivanja između (betwixt and between, Turner) krutih nacionalnih, socijalnih i političkih struktura. Iskustvo liminalnosti također se otjelovilo i u njezinu pismu, prvenstveno u raspisivanju teme egzila u romanima Muzej bezuvjetne predaje i Ministarstvo boli. U njezinim kasnijim romanima liminalnost ustupa mjesto liminoidnosti kao specifičnom režimu pisanja koji karakterizira igra, performativnost, subverzija, ali i utopijsko shvaćanje književnog communitasa. Analizirajući roman Lisica (2017), ovaj rad nastoji opisati taj pomak i pokazati kako koncepti liminalnosti i liminoidnosti mogu pridonijeti kritičkom čitanju Ugrešićine proze
Granice u Istarskim prikazanjima Borisa Senkera
No full textSenker’s most recent dramatic trilogy, Istarska prikazanja (2023) includes the mystery play Istarska priča, the miracle play Sanjari budućnosti and the morality play Sanjarova priča. Istarske priče premiered in 2018 and Sanjari budućnosti in 2019, both in the Fort Forno Theatre in Bale, while Sanjarova priča premiered in 2023 in the Požega City Theatre, in co-production with the Osijek Academy of Arts and Culture. Istarska prikazanja go beyond the boundaries of three medieval theatre genres, transcending geographical boundaries and commitment to only one language or homeland. Situating the trilogy in the playwright’s so called “native”cycle, the paper examines the strategies the playwright uses to invent the homeland and its history while he parallelly portrays, erases and crosses its borders regarding theatre and literary history.Koncept trećega prostora kao apstraktnog prostora otvorenog prema društvenim i kulturnim interakcijama razvio je postkolonijalni teoretičar Homi K. Bhabha kao model razumijevanja i analize post/kolonijalnih prostora, identiteta, kultura, moći i otpora. Prostor je to onkraj binarnih podjela gdje se susreću, preklapaju i prožimaju različite kulture i identiteti. Rad smjera ukazati na potencijal Bhabhinog koncepta u okviru filologije, ali također ukazati i na prekoračenja disciplinarnih granica pojma. Naime, koncept trećeg prostora se implicitno ili eksplicitno javlja u brojnim drugim disciplinama i područjima kao što su kulturalni studiji, teorija književnosti feminizam, manjinski diskursi, kulturna geografija i drugdje; odnosno u radu autora E. W. Sojae, b. hooks, G. C. Spivak, S. Ahmed, R. J. C. Younga i drugih. Istražit ćemo može li i kako reinterpretacija koncepta trećeg prostora u drukčijem kontekstu, kao i njegovo kombiniranje s drugim teorijama, osigurati uvjete za dublje razumijevanje izvornog koncepta i/ili otkrivanje ograničenja i slabih mjesta prethodnih pristupa. Potonje se, naime, može odraziti na potpunije razumijevanje i uvažavanje reprezentacija drukčijih iskustva, identiteta i kultura. Konačno, razmatramo ulogu književnosti u djelotvornosti trećeg prostora
Czy są powody, by się smucić? O tłumaczeniu Wisławy Szymborskiej wiersza pt. Balada prevarenog cvijeća Vesny Parun
No full textThe subject of the analysis is Wisława Szymborska’s translation of Vesna Parun’s poem Balada prevarenog cvijeća. This is the only work from Croatian poetry translated by the Polish Nobel Prize winner. It was published in 1960 in the anthology Liryka jugosłowiańska and in the journal “Życie Literackie”. The most important changes that take place in translation are: the increased presence of certain stylistic devices, primarily anaphora and syntactic parallelism, the simplification of metaphoricity, i.e. increasing the communicativeness of the poem in the sphere of imagery, reducing emotionality and giving nature more subjectivity and causality. All these elements are included in the original text. The Polish poet does not misappropriate the intention of the text. Her changes in stylistic devices are within the poetics and semantics of the original work. Therefore, if there is any reason to be sad at all, it is only that there are no more translations of Croatian poetry by Szymborska.Przedmiotem analizy jest Wisławy Szymborskiej tłumaczenie wiersza Vesny Parun pt. Balada prevarenog cvijeća. To jedyny utwór z poezji chorwackiej przełożony przez polską noblistkę. Został opublikowany w 1960 roku w antologii Liryka jugosłowiańska oraz w czasopiśmie „Życie Literackie”. Najważniejsze zmiany, do których dochodzi w przekładzie to zwiększona obecność charakterystycznych dla ballady środków stylistycznych, przede wszystkim anafory i paralelizmu składniowego, upraszczanie skomplikowanej metaforyki, czyli zwiększanie komunikatywności wiersza w sferze obrazowania, redukowanie emocjonalności oraz nadanie przyrodzie większej podmiotowości i sprawczości. Wszystkie te elementy są zawarte w tekście oryginalnym. Polska poetka nie sprzeniewierza się intencji tekstu. Jej zmiany w zakresie środków stylistycznych mieszczą się w ramach poetyki i semantyki utworu oryginalnego. Jeśli są powody do smutku, to jedynie takie, że nie ma więcej przekładów poezji chorwackiej autorstwa Szymborskiej
O transžanrovima ili Nick Cave bez Laibacha na krunidbi Charlesa III.
No full textA dyadicly conceived text, which is created as a comparison of the reaction of the Australian musician Nick Cave and the Slovenian band Laibach to the coronation of Charles III, or in general to the concept of the British Empire as the ultimate symbol of empire today, with a transition to the interpretation of the anarcho-performances of the Croatian transmedia artist Željko Kipke, his anti/auto-lexicon, and Vladimir Dodig Trokut’s Anti-museum and anti-monography, is interpretatively based on the ideas of Mary Douglas on the society (including the associated theory, the free interpretation) which has a weak group and a weak grid (matrix). The aforementioned transgenres, in parallel with Nick Cave’s blog and Laibach’s anti-hymns, can serve as free platforms for criticism of genre boundaries in the form of trans-genre (blog-apology; blog-reasoning, anti-hymn, anti-lexicon, Anti-museum, anti-monography).Dijadno koncipiran tekst, koji nastaje kao usporedba reakcije australskoga glazbenika Nicka Cavea i slovenskoga benda Laibach na krunidbu Charlesa III., odnosno, općenito na koncept Britanskoga Imperija kao nadsimbola imperija danas, s prijelazom na interpretaciju slobodarskih istupa hrvatskih transmedijskih umjetnika Željka Kipkea, njegova svojevrsnoga antileksikona, te Antimuzeja i antimonografije Vladimira Dodiga Trokuta, interpretativno nastaje na tragu zamisli Mary Douglas s društvom (pa tako i pripadajućom teorijom, slobodarskom interpretacijom) koje ima slabu grupu i slabu mrežu (matricu). Navedeni transžanrovi paralelno s blogom Nicka Cavea i s Laibachovim antihmnama, mogu poslužiti kao slobodarske platforme za kritiku žanrovskih granica u formi transžanra (blog-isprika; blog-obrazloženje, antihimna, antileksikon, Antimuzej, antimonografija)
Granice teksta u djelima konceptualne umjetnice Mary Kelly
No full textThe paper analyses boundaries between image, text, and context and their transgressions in Mary Kelly’s artworks Post-Partum Document (1973–1979) and Interim (1984–1989). Both hold a significant place in the canon of feminist visual art, and both are predominantly textually based. Authors such as Norman Bryson and Laura Mulvey therefore often indicated the importance of narrativity in Kelly’s artworks. Our research approaches Kelly’s art from multiple interpretative perspectives such as postclassical narratology, feminist literary criticism and theory, and visual studies. The interpretation of the installations examines the consequences of the discursive presence of women in a cultural-theoretical and artistic context.Rad je posvećen analizi djelovanja transgresija granica slike i riječi, teksta i konteksta u djelima Post-Partum Document (1973. – 1979.) i Interim (1984. – 1989.) konceptualne umjetnice Mary Kelly. Oba djela zauzimaju važno mjesto u kanonu feminističke vizualne umjetnosti i dominantno su obilježena tekstualnim elementima. Stoga su autori kao što su Norman Bryson i Laura Mulvey često isticali važnost narativnosti u njezinu radu. Ovdje navedenim djelima Mary Kelly pristupamo iz više znanstveno-metodoloških perspektiva: postklasične naratologije, feminističke književne kritike i teorije te vizualnih studija. Interpretacijom instalacija raščlanjujemo učinke diskurzivne prisutnosti žene u kulturnoteorijskom i umjetničkom kontekstu
Ojczyzna w kawałkach: problem granic w Mojej Jugosławii Gorana Vojnovicia
No full textThe article addresses the interrelations between physical and identity boundaries in Goran Vojnović’s novel Yugoslavia, My Fatherland. The aim of the study is to show how the protagonist’s crossing of boundaries influences the shaping of his sense of belonging and otherness, as well as how symbolic identity boundaries can reinforce or generate physical barriers. The analysis is based on a qualitative interpretation of the text, employing narrative and thematic analysis, which allows for an in-depth understanding of various aspects of the issue based on the content of the book and the work of other scholars in literature and social geography. The results indicate that physical and identity boundaries coexist and mutually reinforce each other, affecting the individual’s future fate. The conclusions emphasize the importance of understanding these mechanisms for analyzing boundaries in contemporary literature and social spaces.Artykuł bada relację między granicami fizycznymi a mentalnymi w powieści Gorana Vojnovicia Moja Jugosławia. Celem pracy jest ukazanie, jak przekraczanie granic przez bohatera kształtuje jego poczucie przynależności oraz jak mentalne granice mogą wzmacniać lub tworzyć bariery fizyczne. Analiza wskazuje na współistnienie i wzajemną korelację granic, ze szczególnym uwzględnieniem ich wymiaru przestrzennego i językowego, które wpływają na los jednostki. Badanie opiera się na jakościowej interpretacji tekstu, wykorzystując analizę narracyjną i tematyczną, co umożliwia dogłębne zrozumienie różnych aspektów problematyki na podstawie treści książki oraz prac innych badaczy literatury i geografii społecznej. Wnioski podkreślają znaczenie zrozumienia tych mechanizmów w badaniach nad granicami we współczesnej literaturze