Poznańskie Studia Slawistyczne
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Milady Součkovej prywatne archiwum pamięci (na podstawie opowiadania Rok šestašedesátý ze zbioru Neznámý člověk)
Get PDFThis article presents an analysis of one of the short stories authored by Czech writer – Milada Součková: the short story Rok šestašedesátý included in the collection entitled Neznámý člověk (published in 1962, written in 1943). The introduction addresses the issues related to the clarification of the concept of a memory archive and the concept of the archive itself. Its characteristics, i.e. a certain arrangement of the collection, its permanent structure and three essential aspects of archiving are indicated: searching, saving and storing. These aspects are also typical of the structure of the analysed prose authored by Milada Součková. The next part of the article (Neznámý člověk as a private archive of memory) pertains to the entire above-metioned volume of the stories whose characteristic motif is the motif of memory linked with space, time and history. In the further parts of the article, the author goes on to the structural and interpretative analysis of the story she is interested in. She draws attention to such aspects as memory figures, i.e. time and space, thematic associations, memory carriers and memory traces and places. In conclusion, she draws attention to three components of the Milada Součková’s private memory archive: the memory of the language, the memory of the father and the memory of the historical events taking place in 1866.This article presents an analysis of one of the short stories authored by Czech writer – Milada Součková: the short story Rok šestašedesátý included in the collection entitled Neznámý člověk (published in 1962, written in 1943). The introduction addresses the issues related to the clarification of the concept of a memory archive and the concept of the archive itself. Its characteristics, i.e. a certain arrangement of the collection, its permanent structure and three essential aspects of archiving are indicated: searching, saving and storing. These aspects are also typical of the structure of the analysed prose authored by Milada Součková. The next part of the article (Neznámý člověk as a private archive of memory) pertains to the entire above-metioned volume of the stories whose characteristic motif is the motif of memory linked with space, time and history. In the further parts of the article, the author goes on to the structural and interpretative analysis of the story she is interested in. She draws attention to such aspects as memory figures, i.e. time and space, thematic associations, memory carriers and memory traces and places. In conclusion, she draws attention to three components of the Milada Součková’s private memory archive: the memory of the language, the memory of the father and the memory of the historical events taking place in 1866
Sociálne a vzdelávacie funkcie (literárnych) naratív
Get PDFThe study deals with social and educational functions of (literary) narratives – both oral and written – in everyday life of a socially grounded individual. Narratives (or stories told or read) play an essential role in building and strengthening social bonds within a community (by spending time together, informing its members of preferred social values and behaviour patterns, etc.) The author sustains that narratives circulating within a particular community (or ethnic group, nation) should be viewed and analyzed from the perspective of cultural anthropology.
As an educational tool, stories are utilized not only in families and schools, but also in penitentiary and correctional institutions or in public reading courses.
The author also pays attention to particular structural components of “captivating” narratives (such as novelty, surprise, cognitive and/or emotional relevance to the reader, etc.) and so-called narrative universals – themes, types of characters, plots and settings that are common to all cultures worldwide (such as romantic love, human desires and needs, sacrifice, etc.).The study deals with social and educational functions of (literary) narratives – both oral and written – in everyday life of a socially grounded individual. Narratives (or stories told or read) play an essential role in building and strengthening social bonds within a community (by spending time together, informing its members of preferred social values and behaviour patterns, etc.) The author sustains that narratives circulating within a particular community (or ethnic group, nation) should be viewed and analyzed from the perspective of cultural anthropology. As an educational tool, stories are utilized not only in families and schools, but also in penitentiary and correctional institutions or in public reading courses. The author also pays attention to particular structural components of “captivating” narratives (such as novelty, surprise, cognitive and/or emotional relevance to the reader, etc.) and so-called narrative universals – themes, types of characters, plots and settings that are common to all cultures worldwide (such as romantic love, human desires and needs, sacrifice, etc.)
O talijanskom futurizmu u Rijeci 1919. godine
Get PDFThe article discusses the short-lived emergence of Italian futurism in Rijeka, just after the end of World War I, in the context of the political adventure of Gabrielle DʼAnnunzio, who, with the help of his supporters, an ardite, tried to annex the city to the Kingdom of Italy. At that moment, the avant-garde spirit of Italian futurism could manifest itself here in all its main features: activism, antagonism, nizilism and agonism. In addition to the founder of Italian futurism, Filippo Tommas Marinetti, Mario Carli, Guido Keller and Giovanni Comisso stayed and worked in Rijeka during 1919. The article seeks to describe their actions on the basis of newspaper reports in the Rijeka daily La Vedetta dʼItalia.The article discusses the short-lived emergence of Italian futurism in Rijeka, just after the end of World War I, in the context of the political adventure of Gabrielle DʼAnnunzio, who, with the help of his supporters, an ardite, tried to annex the city to the Kingdom of Italy. At that moment, the avant-garde spirit of Italian futurism could manifest itself here in all its main features: activism, antagonism, nizilism and agonism. In addition to the founder of Italian futurism, Filippo Tommas Marinetti, Mario Carli, Guido Keller and Giovanni Comisso stayed and worked in Rijeka during 1919. The article seeks to describe their actions on the basis of newspaper reports in the Rijeka daily La Vedetta dʼItalia
Književnost i revolucija kao nasljeđe avangarde. Tribina na Filozofskom fakultetu u Zagrebu
Get PDFThe text summarizes and reviews the round table organized on the 19th September 2019 at the Faculty of Humanities and Social Sciences in Zagreb with the main goal to investigate the methodological and thematic approaches to the avant-garde related to the concept of revolution. The scientists from Zagreb and Belgrade, Tatjana Jukić, Predrag Brebanović, Danijela Lugarić and Branislav Oblučar, presented their contributions to debate around the above-mentioned themes. Literature as well as revolution were examined in the theoretical and historical context of the avant-garde. Public debate showed that these issues have been still sparking vivid interest in the academic, artistic and intellectual world. The round table was organized as part of the project Literary Revolutions established by the Croatian science foundation 2018-017020.The text summarizes and reviews the round table organized on the 19th September 2019 at the Faculty of Humanities and Social Sciences in Zagreb with the main goal to investigate the methodological and thematic approaches to the avant-garde related to the concept of revolution. The scientists from Zagreb and Belgrade, Tatjana Jukić, Predrag Brebanović, Danijela Lugarić and Branislav Oblučar, presented their contributions to debate around the above-mentioned themes. Literature as well as revolution were examined in the theoretical and historical context of the avant-garde. Public debate showed that these issues have been still sparking vivid interest in the academic, artistic and intellectual world. The round table was organized as part of the project Literary Revolutions established by the Croatian science foundation 2018-017020
Yiddishisms, Bohemisms and the Elements of a Central European League in Czech Germansʼ Memory: The Dictionary of Czech German as an Example of Language and Culture Memory
Get PDFIn the collective memory of Czech Germans as it is saved and presented in published volumes of Sudetendeutsches Wörterbuch and its Catalogue in Gießen (Collegium Carolinum), there are not only many cases of Bohemisms, but also Yiddishisms. Some of them are part of the Central European League vocabulary. In my survey, I analysed and classified several dozen Czech German Yiddishisms, showing that their semantics correspond with the heterostereotypical picture of a Jew itself. Designation of a Jew in Czech German are mostly negative or they indicate a depreciative meaning. On the other hand, a few of them are of a very positive sense. Consequently, so called core and cultural borrowings (Myers-Scotton, 2008) from Yiddish represent specific predominantly negative semantic categories. In addition, in most of the cases, the Yiddish cultural borrowings shift in semantics from simple cultural references to core borrowings through their connection to metaphoric meaning.In the collective memory of Czech Germans as it is saved and presented in published volumes of Sudetendeutsches Wörterbuch and its Catalogue in Gießen (Collegium Carolinum), there are not only many cases of Bohemisms, but also Yiddishisms. Some of them are part of the Central European League vocabulary. In my survey, I analysed and classified several dozen Czech German Yiddishisms, showing that their semantics correspond with the heterostereotypical picture of a Jew itself. Designation of a Jew in Czech German are mostly negative or they indicate a depreciative meaning. On the other hand, a few of them are of a very positive sense. Consequently, so called core and cultural borrowings (Myers-Scotton, 2008) from Yiddish represent specific predominantly negative semantic categories. In addition, in most of the cases, the Yiddish cultural borrowings shift in semantics from simple cultural references to core borrowings through their connection to metaphoric meaning
Яворов post mortem
Get PDFYavorov Year of Mourning by Mikhail Nedelchev is a ritual book dedicated to the most scorching deadly love affair in the history of the Bulgarian intelligentsia. This text is not a traditional literary-historical one, but an intimate reconstruction of the intolerable tragedy of the pre-death Yavorov year. It is argued that the poet’s being is not in the world, it is a being in and with death. The superconsciousness of death is an intimate experience for Yavorov, an act of insight.Yavorov Year of Mourning by Mikhail Nedelchev is a ritual book dedicated to the most scorching deadly love affair in the history of the Bulgarian intelligentsia. This text is not a traditional literary-historical one, but an intimate reconstruction of the intolerable tragedy of the pre-death Yavorov year. It is argued that the poet’s being is not in the world, it is a being in and with death. The superconsciousness of death is an intimate experience for Yavorov, an act of insight
Пламен Дойнов – Поколение и поезия. 1956–1989
Get PDFThe article deals with Plamen Doynovʼs idea of the poetic generations during the time of the socialism. There are the connections between the administrative power and the poets, between the ideological directives and the poetry as an autonomous area. The author suggests the idea of the periodization within poetry during the socialism.The article deals with Plamen Doynovʼs idea of the poetic generations during the time of the socialism. There are the connections between the administrative power and the poets, between the ideological directives and the poetry as an autonomous area. The author suggests the idea of the periodization within poetry during the socialism
Mono-kronološki ‘post’: sinkronizacija međuvremena nacija u povijestima jugoslavenske književnosti Antuna Barca i Pavla Popovića i (post)-jugoslavenska književnost
Get PDFIn this paper, I approach to the relationship between the art and the democracy via discussion of two histories of Yugoslav literatures. I propose and try to defend a thesis that both accounts of the history of Yugoslav literatures synchronize temporalities of the different national literatures, reducing thereby differences between them. Both histories substantialize Yugoslav literature as a remnant of the lost community. They argue that immediacy of that community had dissolved into the variety of nations, which led separate lives under the rule of empires. In the name of that mythical past, heterogeneous temporalities are synchronized to the single temporal flow. However, the similar substantializing operation and synchronization is present in the more recent concept of (post)-Yugoslav literature.In this paper, I approach to the relationship between the art and the democracy via discussion of two histories of Yugoslav literatures. I propose and try to defend a thesis that both accounts of the history of Yugoslav literatures synchronize temporalities of the different national literatures, reducing thereby differences between them. Both histories substantialize Yugoslav literature as a remnant of the lost community. They argue that immediacy of that community had dissolved into the variety of nations, which led separate lives under the rule of empires. In the name of that mythical past, heterogeneous temporalities are synchronized to the single temporal flow. However, the similar substantializing operation and synchronization is present in the more recent concept of (post)-Yugoslav literature
Art After Democracy, Art Before Democracy
Get PDFThe paper describes today’s new situation of art facing antidemocratic processes. The powerful metaphor of Parthenon of books is used, which once was the name of an installation by Marta Minujín presented just after the fall of Argentinian brutal regime in the early eighties and reinstalled again few years ago. The author points that popular “posts” of humanities (postmodernism, postsecularism etc.) need to be replaced by the philosophy of art being after some definite change. The new temporal and public condition of art being after is the result of its dramatic contemporary and future challenges.The paper describes today’s new situation of art facing antidemocratic processes. The powerful metaphor of Parthenon of books is used, which once was the name of an installation by Marta Minujín presented just after the fall of Argentinian brutal regime in the early eighties and reinstalled again few years ago. The author points that popular “posts” of humanities (postmodernism, postsecularism etc.) need to be replaced by the philosophy of art being after some definite change. The new temporal and public condition of art being after is the result of its dramatic contemporary and future challenges
Protumodernost modernoga – pjesnički protusvijet Julija Benešića
Get PDFThis article deals with the poetry of Julije Benešić (his collection Istrgnuti listovi – Torn Pages) in the context of Croatian modernist poetry based on three assumptions: the first, deductive one is that Benešić’s literary, literary-historical, theatrical and public personality is a potential metonymy of the entire Croatian culture of the first two decades of the 20th century; the second, literary-historical assumption is that the choice to use free verse can be read as a counter-modernist gesture against rationalism and structure of rhymed verse of Croatian modernist poetry; third, from the cultural-historical point of view, it is assumed that Benešić’s poetical profile is a reflection of his counter-modernist attitude that was shaped beyond the dominant poetical practices of modernism. The goal of this presentation is as much a cultural-historical as it is a literary-historical one, aimed at proving a thesis by which a small poetical contribution by Julije Benešić is synecdoche for the condition and the atmosphere of Croatian culture of the late modernism and the first interwar years. The notion of counter-modernism is historiographically restricted here and encompasses Benešić’s disputing statements in relation with the dominant paradigm in synchrony with the modernist period. The choice of free verse is understood as a statement of notion about the restraints of the poetics of rhymed verse of Croatian modernism. Since free verse was not part of the canon at the time, Benešić tried to use it to legitimize his own work and democratize the system of poetical competencies.This article deals with the poetry of Julije Benešić (his collection Istrgnuti listovi – Torn Pages) in the context of Croatian modernist poetry based on three assumptions: the first, deductive one is that Benešić’s literary, literary-historical, theatrical and public personality is a potential metonymy of the entire Croatian culture of the first two decades of the 20th century; the second, literary-historical assumption is that the choice to use free verse can be read as a counter-modernist gesture against rationalism and structure of rhymed verse of Croatian modernist poetry; third, from the cultural-historical point of view, it is assumed that Benešić’s poetical profile is a reflection of his counter-modernist attitude that was shaped beyond the dominant poetical practices of modernism. The goal of this presentation is as much a cultural-historical as it is a literary-historical one, aimed at proving a thesis by which a small poetical contribution by Julije Benešić is synecdoche for the condition and the atmosphere of Croatian culture of the late modernism and the first interwar years. The notion of counter-modernism is historiographically restricted here and encompasses Benešić’s disputing statements in relation with the dominant paradigm in synchrony with the modernist period. The choice of free verse is understood as a statement of notion about the restraints of the poetics of rhymed verse of Croatian modernism. Since free verse was not part of the canon at the time, Benešić tried to use it to legitimize his own work and democratize the system of poetical competencies