Poznańskie Studia Slawistyczne
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A Multi-species World in the Poetry of Alenka Jovanovski and Vesna Liponik
Full text linkThe article examines selected poems that deal with the inter-species relations in a multi-species world, from the collections of poems Tisoč osemdeset stopinj (Thousand Eighty Degrees) by Alenka Jovanovski and roko razje (Eats Away the Hand) byVesna Liponik. Through the analysis and interpretation, we investigate how their poetics work when it collides with the demonization of the other and the overt or covert social and environmental speciesism. In doing so, we discuss the symbolic and active power of poetry, the poets’ critique of the binary divide between man and other beings, and their emphasis on the inherent value of animal and, in awider context, their political-economic critique of global capitalism and linguistic, symbolic, material human violence against other species and nature
Mimo princip zodpovĕdnosti. Schizofrenické evangelium Bohumila Hrabala v interpretaci Józefa Tischnera
Full text linkThe article is devoted to the story The Schizophrenic Gospel by Bohumil Hrabal and a little-known interpretation of this prose bythe famous Polish philosopher and theologian Józef Tischner. Plato, Hegel, Berkeley, Heidegger: these four names in Tischner‘s work lead to Hrabal‘s thinking and his gospel. The philosopher discusses in detail the specific perception of reality which according to him is transformed into a phenomenon or image of reality in Hrabal‘s prose, and as such acquires the same status as the reality of a dream. This approach can be combined with surrealism and phenomenology. Philosophy and literature evaluate the most phenomena irreversibly and undeniably; recurring events and events that do not involve visible changes or consequences are usually neglected. They do not require answers, so they do not mean responsibility. Hrabal writes about such aworld “outside the principle of responsibility“ in his Gospel, and Tischner in his interpretation.The article is devoted to the story The Schizophrenic Gospel by Bohumil Hrabal and a little-known interpretation of this prose bythe famous Polish philosopher and theologian Józef Tischner. Plato, Hegel, Berkeley, Heidegger: these four names in Tischner‘s work lead to Hrabal‘s thinking and his gospel. The philosopher discusses in detail the specific perception of reality which according to him is transformed into a phenomenon or image of reality in Hrabal‘s prose, and as such acquires the same status as the reality of a dream. This approach can be combined with surrealism and phenomenology. Philosophy and literature evaluate the most phenomena irreversibly and undeniably; recurring events and events that do not involve visible changes or consequences are usually neglected. They do not require answers, so they do not mean responsibility. Hrabal writes about such aworld “outside the principle of responsibility“ in his Gospel, and Tischner in his interpretation
Vukodlaci – oborotnji i psoglavci u odabranoj slovenskoj prozi 19. veka
Full text linkThe author analyzes the origins and characteristics of werewolves (human-wolves) and lycanthropus (human-dogs) as dual-natured beings within Slavic folk beliefs. He also analyzes the way their mythological properties transform through literature. The werewolf’s mythos is approached through texts of 19th century authors, Russians Orest Somov (Oboroten: narodnaja skazka, 1829) and Alexander Kuprin (Serebrjanyj volk, 1901) and the Pole from Belarus Jan Barszczewski(Wilkołak, 1844), while the lycanthrope’s is viewed through the lens of the literary fairy tale by Serbian Joksim Nović Otočanin (Vrzino kolo i Zlatni i Alem-grad, 1864). The author puts focus on symbolism, specifically that of the human-beast dichotomy. The literary representation of this man-beast duality in 19th century Slavic written prose indicates a fantasy view of the coexistence between beast and man – the beastly in men, or the human in beasts.The author analyzes the origins and characteristics of werewolves (human-wolves) and lycanthropus (human-dogs) as dual-natured beings within Slavic folk beliefs. He also analyzes the way their mythological properties transform through literature. The werewolf’s mythos is approached through texts of 19th century authors, Russians Orest Somov (Oboroten: narodnaja skazka, 1829) and Alexander Kuprin (Serebrjanyj volk, 1901) and the Pole from Belarus Jan Barszczewski(Wilkołak, 1844), while the lycanthrope’s is viewed through the lens of the literary fairy tale by Serbian Joksim Nović Otočanin (Vrzino kolo i Zlatni i Alem-grad, 1864). The author puts focus on symbolism, specifically that of the human-beast dichotomy. The literary representation of this man-beast duality in 19th century Slavic written prose indicates a fantasy view of the coexistence between beast and man – the beastly in men, or the human in beasts
New Lexical and Phraseological Faunal Units in the Language Observatory of the University of Warsaw from a Cross-Linguistic Polish-English Perspective
Full text linkThe aim of the present paper is to discuss the new Polish faunal lexical and phraseological units from a cross-linguistic perspective. The research corpus is compiled on the basis of Obserwatorium Językowe Uniwersytetu Warszawskiego (the Language Observatory of the University of Warsaw) – an online source containing the items which are in use and which have not been included in dictionaries so far. The English equivalents allocated for these units are analysed and divided into four groups: quasi-absolute, partial, parallel and zero counterparts.The aim of the present paper is to discuss the new Polish faunal lexical and phraseological units from a cross-linguistic perspective. The research corpus is compiled on the basis of Obserwatorium Językowe Uniwersytetu Warszawskiego (the Language Observatory of the University of Warsaw) – an online source containing the items which are in use and which have not been included in dictionaries so far. The English equivalents allocated for these units are analysed and divided into four groups: quasi-absolute, partial, parallel and zero counterparts
Ptica u hrvatskome prezimenskome mozaiku
Full text linkFFindings of the previous research suggest that, although the first records of surnames on the territory of the contemporary Republic of Croatia date back to the 12th century, it is with the Council of Trent (1545–1563) that they became increasingly and extensively used (Frančić, 2015, 229). As far as contemporary surnames are concerned, their structure is regarded to be well established and easily detectable. Their frequency and distribution have also been the topics of much of previous research. Namely, the 2011 census showed that over thirty-three thousand surnames were registered in the Republic of Croatia. For the purposes of this paper, a group of surnames with a bird-related component – ornithonyms – has been singled out from the abovementioned list. The analysed corpus, consisting of approximately three hundred surnames with a component related to bird species, subspecies of groups, is of particular importance since, due to a number of linguistic and non-linguistic obstacles to the creation of a unique “bird” corpus, this interesting group of Croatian surnames has not been sufficiently described by Croatian linguists so far. indings of the previous research suggest that, although the first records of surnames on the territory of the contemporary Republic of Croatia date back to the 12th century, it is with the Council of Trent (1545–1563) that they became increasingly and extensively used (Frančić, 2015, 229). As far as contemporary surnames are concerned, their structure is regarded to be well established and easily detectable. Their frequency and distribution have also been the topics of much of previous research. Namely, the 2011 census showed that over thirty-three thousand surnames were registered in the Republic of Croatia. For the purposes of this paper, a group of surnames with a bird-related component – ornithonyms – has been singled out from the abovementioned list. The analysed corpus, consisting of approximately three hundred surnames with a component related to bird species, subspecies of groups, is of particular importance since, due to a number of linguistic and non-linguistic obstacles to the creation of a unique “bird” corpus, this interesting group of Croatian surnames has not been sufficiently described by Croatian linguists so far.Findings of the previous research suggest that, although the first records of surnames on the territory of the contemporary Republic of Croatia date back to the 12th century, it is with the Council of Trent (1545–1563) that they became increasingly and extensively used (Frančić, 2015, 229). As far as contemporary surnames are concerned, their structure is regarded to be well established and easily detectable. Their frequency and distribution have also been the topics of much of previous research. Namely, the 2011 census showed that over thirty-three thousand surnames were registered in the Republic of Croatia. For the purposes of this paper, a group of surnames with a bird-related component – ornithonyms – has been singled out from the abovementioned list. The analysed corpus, consisting of approximately three hundred surnames with a component related to bird species, subspecies of groups, is of particular importance since, due to a number of linguistic and non-linguistic obstacles to the creation of a unique “bird” corpus, this interesting group of Croatian surnames has not been sufficiently described by Croatian linguists so far
Dvokrilnost istine u Divljoj patki: Platon, Ibsen i Krleža
Full text linkQuestioning the commonly held assumption in critical reception that Ibsenʼs symbol of the wild duck was influenced by Darwinʼs theory, I want to argue that the wild duck flew into Ibsenʼs play all the way from Platoʼs aporetic dialogue The Theaetetus. Following Lacanʼs reading of Plato, I want to examine the connection between the Socratic position towards knowledge – especially the rupture between knowledge and truth – and the treatment of dramatic dialogue in Ibsenʼs The Wild Duck and Krležaʼs The Glembays.Questioning the commonly held assumption in critical reception that Ibsenʼs symbol of the wild duck was influenced by Darwinʼs theory, I want to argue that the wild duck flew into Ibsenʼs play all the way from Platoʼs aporetic dialogue The Theaetetus. Following Lacanʼs reading of Plato, I want to examine the connection between the Socratic position towards knowledge – especially the rupture between knowledge and truth – and the treatment of dramatic dialogue in Ibsenʼs The Wild Duck and Krležaʼs The Glembays
Międzygatunkowe strefy kontaktu. Relacje psów i ludzi (z „diabelską śliną w sercu”) w literackiej dystopii Josipa Mlakicia O zlatu, ljudima i psima
Full text linkThe subject of the literary study proposed in the title is the triptych by Josip Mlakić, which follows the convention of a futuristic anti-utopia. The work provides research material amenable to the application of diverse, interdisciplinary methodological tools (from ecocriticism to animal studies). In addition to the symbolic framing of the issue of dogs in cultural history, the starting point for the reflections on the post-apocalyptic vision of the totalitarian world (through which further wars swept and disturbed the ecosystem) is the post-humanist and post-anthropocentric perspective of the present and future human condition, with a particular focus on species chauvinism. In the Bosnian-Herzegovinian writer’s anti-war prose, speciesism (seen from the perspective of the complex relationship between dogs and humans) is also manifested in the blurring of the boundary between the concepts of animalism and humanity, in a vision of the world in which homo crudelis proves to be the greatest threat. In the world depicted by Mlakić, the relations between the man and the dog can be defined as an example of companion species, “nanoculture” realised in diverse “contact areas”. There also arises the question of hierarchical relations between people, entities with weak subjectivity: the excluded, the marginalised and all exterminated Others, including the disabled, who become subordinated “dogs” with the status of victims. The anticipated result of the study will be to present the function of literature as a source of reflection and a medium of expression (an invention, attributed to the humans) in relation to the concept of the twilight of anthropocentrism.Przedmiotem analizy literaturoznawczej zaproponowanej w powyższym tytule jest tryptyk Josipa Mlakicia, utrzymany w konwencji futurystycznej antyutopii. Dzieło stanowi materiał badawczy podatny na zastosowanie różnorodnych, interdyscyplinarnych narzędzi metodologicznych (od ekokrytyki po animal studies). Poza symbolicznym ujęciem problematyki psów w historii kultury, punktem wyjścia dla rozważań nad postapokaliptyczną wizją świata totalitarnego, przez który przetoczyły się kolejne wojny, naruszające ekosystem, jest posthumanistyczna i postanatropocentryczna optyka obecnej i przyszłej kondycji ludzkiej, ze szczególnym uwzględnieniem szowinizmu gatunkowego. W antywojennej prozie bośniacko-hercegowińskiego pisarza gatunkowizm (speciesism), postrzegany przez pryzmat złożonych relacji ludzi i psów, przejawia się również w postaci zacierania granicy między pojęciem zwierzęcości i człowieczeństwa, w wizji świata, w której największym zagrożeniem okazuje się homo crudelis. W świecie przedstawionym Mlakicia relacje między człowiekiem a psem można zdefiniować jako przykład symbiotycznej kooperacji (companion species), „naturokultury”, realizowanej w rozmaitych „strefach kontaktu”. Pojawia się także kwestia zhierarchizowanych stosunków między ludźmi, bytów o słabej podmiotowości: ludzi wykluczonych, zmarginalizowanych i eksterminowanych wszelkich Innych, w tym niepełnosprawnych, stających się podporządkowanymi „psami”, o statusie ofiar. Oczekiwany efekt przeprowadzanego wywodu dotyczyć będzie ukazania funkcji literatury jako źródła refleksji i medium ekspresji (wynalazku, przypisanego człowiekowi), w odniesieniu do koncepcji zmierzchu antropocentryzmu
Paralela Emmanuel–lew i jej znaczenie w programie malarskim serbskich ikonostasów
Full text linkOne of the unique features in the schemes of painting of modern Serbian iconostasis is the icon of The Unsleeping Eye, illustrating the intellectual parallel of Emanuel–lion. The ideological source for this image is biblical texts and their interpretations by Origen, Cyril, patriarch of Alexandria, Theodore of Cirrhus, Epiphanius, bishop of Salamis, and the explanation of role of the lion in Physiologos, Greek bestiary from 2nd–4th century. This icon is located in the very center of the screen, most often directly above the royal gates. This article attempts to read the sense of this presentation. Iconographic, iconological, comparative studies, and analysis of the content of biblical texts and inscriptions on icons led to the belief that the image of The Unsleeping Eye in this place of iconostasis primarily performs apotropaic functions. The Christian church is divided into two parts, sanctuary and nave, which means symbolic division into a visible and invisible world, earthly and heavenly, bodily and spiritual. The iconostasis is the border between these two spheres, and royal doors connect them. The passage is guarded by image The Unsleeping Eye. Although in the 18th century there were radical formal changes in Serbian Orthodox painting, and traditional patterns were replaced by new Western origins, their eschatological and apotropaic senses were remained.Jedną z wyjątkowych cech programów malarskich nowożytnych serbskich ikonostasów jest obecność w nich tematu Czuwającego Emmanuela, ilustrującego intelektualną paralelę Emanuel - lew. Ideowym źródłem tego obrazu są teksty biblijne i ich interpretacje Orygenesa, Cyryla Aleksandryjskiego, Teodora z Cirrhus, Epifaniusza z Salaminy oraz anonimowego autora Fizjologusa, greckiego bestiariusza z II-IV wieku.
Ikona ta znajduje się w samym środku ikonostasu, najczęściej bezpośrednio nad wrotami królewskimi. W niniejszym artykule podjęto próbę odczytania treści tego przedstawienia. Studia ikonograficzne, ikonologiczne, porównawcze oraz analiza treści tekstów biblijnych i inskrypcji na ikonach doprowadziły do przekonania, że obraz Czuwającego Emmanuela w tym miejscu ikonostasu pełni przede wszystkim funkcje apotropaiczne, tj. opiekuńcze i ochronne. Przestrzeń świątynna podzielona jest na dwie części: sanktuarium i nawę, co oznacza symboliczny podział na świat widzialny i niewidzialny, ziemski i niebiański, cielesny i duchowy. Ikonostas stanowi granicę między tymi dwiema sferami, a królewskie wrota je łączą. Przejścia strzeże obraz "Czuwającego Emmanuela”. Choć w wieku XVIII w serbskim malarstwie cerkiewnym nastąpiły radykalne zmiany formalne, a tradycyjne wzorce zostały zastąpione przez nowe, zachodniego pochodzenia, to oryginalne treści apotropaiczne pozostały.