Poznańskie Studia Slawistyczne
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Takis Würger’sNovel Stella (2019)—Holocaust Literature of aNew Generation?
Full text linkTakis Würger’s novel Stella, published in 2019, has received mostly unenthusiastic reviews from literary critics because, in their opinion, it does not do justice to Stella Goldschlag\u27s historical persona. Rather, the text merely turns a tragic conflict into Holocaust kitsch. In order to examine this judgement, the article analyses the poetics of the novel. This analysis reveals two things: the text does not in fact strive for a historically accurate portrayal of Stella Goldschlag, but reflects on the different ways of accessing the historical phenomenon. In this sense, Stella may be seen as an passable attempt to write modern literature about the Holocaust for today\u27s generation. It does not, however, do so consistently because it oscillates between the genre of the historical novel and allegory. The fictitious narrator, Friedrich, also proves inconsistent. His mixture of naivety and pathos indeed tends towards kitsch.Takis Würger’s novel Stella, published in 2019, has received mostly unenthusiastic reviews from literary critics because, in their opinion, it does not do justice to Stella Goldschlag\u27s historical persona. Rather, the text merely turns a tragic conflict into Holocaust kitsch. In order to examine this judgement, the article analyses the poetics of the novel. This analysis reveals two things: the text does not in fact strive for a historically accurate portrayal of Stella Goldschlag, but reflects on the different ways of accessing the historical phenomenon. In this sense, Stella may be seen as an passable attempt to write modern literature about the Holocaust for today\u27s generation. It does not, however, do so consistently because it oscillates between the genre of the historical novel and allegory. The fictitious narrator, Friedrich, also proves inconsistent. His mixture of naivety and pathos indeed tends towards kitsch
Лексічныя і граматычныя асаблівасці перакладу глаў 1 і 2 Евангелля паводле Мацвея на беларускую мову (праваслаўная і каталіцкая рэдакцыі 2017 г.)
Full text linkThis article provides a comparative analysis of certain lexical and grammatical peculiarities in the Catholic and Orthodox editions of the Belarusian translation of Chapters 1 and 2 of the Gospel of Matthew in the New Testament. The study is based on biblical textual sources in Belarusian, Polish, Greek and Russian, including explanatory and other dictionaries, as well as works on modern Belarusian literary lexicology. It is emphasized that while adapting the Gospel of Matthew into Belarusian, translators exhibit a certain dependence on the influence of foreign languages and the traditions of confessional writing, thus sometimes disregarding encyclopedic variants, or ignoring lexical, semantic and grammatical processes characteristic of the modern Belarusian literary language.This article provides a comparative analysis of certain lexical and grammatical peculiarities in the Catholic and Orthodox editions of the Belarusian translation of Chapters 1 and 2 of the Gospel of Matthew in the New Testament. The study is based on biblical textual sources in Belarusian, Polish, Greek and Russian, including explanatory and other dictionaries, as well as works on modern Belarusian literary lexicology. It is emphasized that while adapting the Gospel of Matthew into Belarusian, translators exhibit a certain dependence on the influence of foreign languages and the traditions of confessional writing, thus sometimes disregarding encyclopedic variants, or ignoring lexical, semantic and grammatical processes characteristic of the modern Belarusian literary language
Mise en poeme: Epic (Auto)reflexivity and South Slavic Poetry in the Age of Romanticism
Full text linkThis paper deals with the discursive phenomenon of reflexivity in the epic poetryof South Slavic romantic poets around the middle of the 19th century. Reflection is here understood as a kind of poetic self-formation procedure of romantic literary subject and his efforts to renovate epic mode in its original form. Starting with concept of “epic Romanticism”, in a way specific to South Slavic literatures, the author proceeds by distinguishing basic modes: explicit, implicit, and intertextual reflexivity. While the first two are related to typical romantic affectivity (D. Demeter, F. Prešeren) and/or rhetoric identification with oral folk rhapsodists’ tradition (P. P. Njegoš), the third one is marked with so-called “integration story” (I. Mažuranić), or mise en abyme, i.e. “the mirror in the text” effect as a medium of artistic auto-perspectivization and possible creative invention which leads to indications of the early pro-modern poetic procedures
Dekonstrukcja mitów romantycznych w literaturze słoweńskiej po France Prešernie
Full text linkThe main aim of this article is to present the methods in which Slovenian myths of Romantic provenience, present in France Prešeren’s poetry, are deconstructed since the fifties of nineteenth century. Prešeren (1800−1849) is regarded as the national poet, who enabled the Slovenian community and competed with the canon of European literature. Parallelly to the process of his canonization occurred the reverse of it, The Anxiety of Influence, described by Harold Bloom. Poets Simon Jenko (1835−1869) and Oton Župančič (1878−1949) had been deconstructing the myths of Romantic love, mythical conception of poetry, poets and nation in the period of realism and modernism, as well as the poet Veno Taufer in the period of neo-avantgarde (1933−). The intertextual analysis of their poems shows several ways of contesting the influence of the main topics and aesthetic codes from Prešeren’s poetry, determined by the role of poetry in Slovenian culture, described in the late sixties of twentieth century as Prešeren structure.The main aim of this article is to present the methods in which Slovenian myths of Romantic provenience, present in France Prešeren’s poetry, are deconstructed since the fifties of nineteenth century. Prešeren (1800−1849) is regarded as the national poet, who enabled the Slovenian community and competed with the canon of European literature. Parallelly to the process of his canonization occurred the reverse of it, The Anxiety of Influence, described by Harold Bloom. Poets Simon Jenko (1835−1869) and Oton Župančič (1878−1949) had been deconstructing the myths of Romantic love, mythical conception of poetry, poets and nationin the period of realism and modernism, as well as the poet Veno Taufer in the period of neo-avantgarde (1933−). The intertextual analysis of their poems shows several ways of contesting the influence of the main topics and aesthetic codes from Prešeren’s poetry, determined by the role of poetry in Slovenian culture, described in the late sixties of twentieth century as Prešeren structure
Representation of the Croatian National Revival and Romanticism in Croatian Literary Historiography
Full text linkThe paper presents poetically and politically conditioned changes in the interpretationof the literature of the Croatian National Revival period as “Romantic”.It indicates that these phenomena should necessarily be viewed in mutual (inter)action. It states that the Croatian National Revival, as a period that is most frequently demarcated by the years 1835 and 1848–49 in the so-called general historiography, is a necessary framework for the periodisation and understanding of the history of Croatian literature too. This framework does not exclude the necessity of including the concept of Romanticism in the study of Croatian literature of this period, which was strongly influenced by Romantic trends. And consequently it is a stage in a longer period of manifestation of Romantic features in Croatian culture and literature of the 19th century
Korespondencja Julija Benešicia z Polakami. Listy od Marii Kuncewiczowej w zbiorach Chorwackiej Akademii Nauk (HAZU)
Full text linkJulije Benešć’s correspondence with Polish scholars, people of culture, writers, and numerous acquaintances and friends began in his school years and lasted until his death. A large collection of letters and postcards sent to him by Poles has been collected in the HAZU library in Zagreb, but unfortunately it has not yet been put in order, and some items have been lost. The materials in the collection were only collected in the form of a list prepared by Ivan Meden in 1978. This text presents letters from Maria Kuncewiczowa, which provide information about the relations of Polish writers with the Croatian popularizer of their works and about the writer’s perception of the Polish literary scene in the years 1920s.Julije Benešć’s correspondence with Polish scholars, people of culture, writers, and numerous acquaintances and friends began in his school years and lasted until his death. A large collection of letters and postcards sent to him by Poles has been collected in the HAZU library in Zagreb, but unfortunately it has not yet been put in order, and some items have been lost. The materials in the collection were only collected in the form of a list prepared by Ivan Meden in 1978. This text presents letters from Maria Kuncewiczowa, which provide information about the relations of Polish writers with the Croatian popularizer of their works and about the writer’s perception of the Polish literary scene in the years 1920s
Translator’s Notes in a Russian Translation of Olga Tokarczuk’s Bieguni Novel
Full text linkThe article addresses the issue of translator’s notes in a Russian translation of Olga Tokarczuk’s “Bieguni” novel by Irina Adelʹgejm. The main text of the original, despite its abundance in borrowings, interjections and quotations in languages other than Polish, was not provided with explanatory notes by the author. The translator, however, provided the translation with 149 notes. They are notesexplaining terms, proper names, names of realities and others translated in the main text as well as notes explaining fragments formulated in the novel’s text in languages other than the language of the narration. On the basis of the undertaken analysis it is stated that the strategy of forming paratexts adopted by the translator is inconsistent. The secondary text designates an additional way of reading “Bieguni” novel, but it does not impose it as using the notes is just a possibility and depends on the reader’s choice
Greetings from Spinalonga! O wyspie ciszy w fotografii społecznościowej i o kulturze pamięci na Instagramie
Full text linkIn modern narratives, the island of Spinalonga appears an attractive tourist destination with an interesting and enigmatic history. In fact, Spinalonga is a memory space, encumbered with past political decisions and medical negligence. This is the story of the great confinement, the isolation of the sick who were symbolically killed. Meanwhile, the photos shared on Instagram show the island in a completely different light. The article seeks to answer the following questions: Does the behavior of Instagram users disrupt the culture of memory and how do these photos (digital representations of memory) influence the image of the island? To this end, I outline the history of the island in the context of exclusion mechanisms for those with Hansen\u27s disease. I discuss the issues of dark tourism, social photo and desemantization of communication. I juxtapose the whole thing with the examples of photos from Spinalonga published on Instagram in 2022.In modern narratives, the island of Spinalonga appears an attractive tourist destination with an interesting and enigmatic history. In fact, Spinalonga is a memory space, encumbered with past political decisions and medical negligence. This is the story of the great confinement, the isolation of the sick who were symbolically killed. Meanwhile, the photos shared on Instagram show theisland in a completely different light.The article seeks to answer the following questions: Does the behavior of Instagram users disrupt the culture of memory and how do these photos (digital representations of memory) influence the image of the island? To this end, I outline the history of the island in the context of exclusion mechanisms for those with Hansen\u27s disease. I discuss the issues of dark tourism, social photoand desemantization of communication. I juxtapose the whole thing with the examples of photos from Spinalonga published on Instagram in 2022
PopHolokaust(y)? O potencjale i wyzwaniach popkulturowych reprezentacji Zagłady w XXI wieku
Full text linkSubwersywny potencjał śmiechu, czyli Ključ od velikih vrata Hinka Gottlieba
Full text linkThis paper focuses on a short work of fiction written in the 1940s by the Croatian Jew, Hinko Gottlieb. The manuscript of the book was found in one of the Jerusalem archives and,about seventy years later was, prepared for publication in Croatia in 2021. Undermining the readers’ previous habits, the book uncharacteristically problematises the Holocaust. Gottlieb uses humour as his major aesthetic device to describe internment. the story may also be ascribed to the fantasy genre, or to speculative fiction to be more precise. The purpose of the thought experiment presented here is to examine (in prison conditions) the possibilities that the socalled space capacitor has to offer. Besides acknowledging the occurrence in the text of such categories as science fiction, grotesque and surrealism, the article endeavours to answer the question about their use in the story of the Holocaust.This paper focuses on a short work of fiction written in the 1940s by the Croatian Jew, Hinko Gottlieb. The manuscript of the book was found in one of the Jerusalem archives and,about seventy years later was, prepared for publication in Croatia in 2021. Undermining the readers’ previous habits, the book uncharacteristically problematises the Holocaust. Gottlieb uses humour as his major aesthetic device to describe internment. the story may also be ascribed to the fantasy genre, or to speculative fiction to be more precise. The purpose of the thought experiment presented here is to examine (in prison conditions) the possibilities that the socalled space capacitor has to offer. Besides acknowledging the occurrence in the text of such categories as science fiction, grotesque and surrealism, the article endeavours to answer the question about their use in the story of the Holocaust