Poznańskie Studia Slawistyczne
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Slovački udžbenik makedonskog autora o suvremenom hrvatskom pjesništvu
No full textThe paper critically reviews Zvonko Taneski’s university textbook Súčasná chorvátska poézia (Vysokoškolská učebnica pre štupníkov slovanských filológií). It is a work of methodological literature in which contemporary Croatian poetry is presented to students of Slavic philology. The textbook is structured in an exemplary methodical manner: from expositories on various topics from contemporary Croatian poetry to related questions and tasks, and pictorial material. The material is drawn from a careful critical reading of mainly recent Croatian critical, literary-historical, and literary-theoretical literature. Given that it is primarily a textbook that will be presented to Slovak students, strong Croatian-Slovak literary and cultural ties are emphasized.The paper critically reviews Zvonko Taneski’s university textbook Súčasná chorvátska poézia (Vysokoškolská učebnica pre štupníkov slovanských filológií). It is a work of methodological literature in which contemporary Croatian poetry is presented to students of Slavic philology. The textbook is structured in an exemplary methodical manner: from expositories on various topics from contemporary Croatian poetry to related questions and tasks, and pictorial material. The material is drawn from a careful critical reading of mainly recent Croatian critical, literary-historical, and literary-theoretical literature. Given that it is primarily a textbook that will be presented to Slovak students, strong Croatian-Slovak literary and cultural ties are emphasized
Iscrtavanje granica oko posthabsburške Rijeke. Narativizacija granica u Luci ljubavi Giovannija Comissa i Danuncijadi Viktora Cara Emina
No full textBetween 1917 and 1923, as European continental empires were shattering after the lost world war and new nation-states were created on their ruins, several radical political-ideological movements emerged as well, employing various types of (para)military violence to achieve their goals. In the post-imperial context, (para)military violence was particularly employed in numerous conflicts over new boundary demarcations in the areas known as shatter zones (Bartov, Weitz, 2013) in former multi-ethnic empires, areas for which national activists had been disputing for decades. D’Annunzio’s occupation of Rijeka in 1919/1920 is considered one of the most significant examples of postimperial border conflicts. In this paper, two literary stagings of the border dispute around Habsburg Rijeka will be presented: Giovanni Comisso’s Il porto dell’amore and Viktor Car Emin’s Danuncijada, two very different, but thematically closely related reflections on D’Annunzio’s Fiume exploit.U razdoblju između 1917. i 1923., u kojem se urušavaju kontinentalni imperiji i osnivaju nove nacionalne države, nastaju i brojni radikalni političko-ideološki pokreti koji propovijedaju i prakticiraju (para)vojno nasilje. U postimperijalnom kontekstu paravojno nasilje posebno se često primjenjivalo u sukobima oko iscrtavanja granica na područjima nacionalnih prijepora, u „trusnim zonama” (shatter zones, Bartov/ Weitz, 2013) bivših multietničkih carstava, teritorijima o kojima su se nacionalni aktivisti sporili već desetljećima ranije. Jedan od najpoznatijih primjera takvih graničnih sukoba nedvojbeno je D\u27Annunzijeva okupacija Rijeke 1919./1920. godine, događaj kojim je popločan put talijanskoj aneksiji grada 1924. U ovom radu bit će predstavljene dvije, u mnogočemu različite književne inscenacije konflikta oko iscrtavanja granica na riječkom području, zbirka pripovijedaka Il porto dell\u27amore (1924.) Giovannija Comissa i Danuncijada (1946.) Viktora Cara Emina
Nacionalna granica u klasifikaciji književnosti: relevantna ili prevladana kategorija?
No full textThe aim of the paper is to reflect on the relevance of the concept of national literature from the perspective of the 21st century, to present methodological shortcomings and problematic aspects of the establishment of national borders in the delimitation of the literary field, and to consider the possibilities of overcoming a nationally determined approach to literature. The conclusions are presented using examples from the South Slavic literary corpus and processes. The author distinguishes three modes of relationship between literature and national ideology, in which the former functions as 1) a source, 2) a disseminator, and 3) an emblem of national identity. He calls for relegating the most controversial third mode to the field of historical research, proposes redefining the national border as a point of fruitful exchange between neighbouring literary traditions, and advocates conceptualizing new transnational or anational approaches to classifying literature, most notably in the post-Yugoslav space.Cilj je studije promisliti relevantnost koncepcije nacionalne književnosti iz perspektive 21. stoljeća, prikazati metodološke nedostatke i problematične aspekte povlačenja nacionalnih granica u razgraničenju književnog polja te razmotriti mogućnosti prevladavanja nacionalno određenog pristupa književnosti. Zaključke će potkrijepiti primjeri iz južnoslavenske književne građe i procesa. Autor razlikuje tri oblika odnosa između književnosti i nacionalne ideologije, u kojima književnost funkcionira kao 1) izvor, 2) širitelj i 3) oznaka nacionalnog identiteta. Poziva na premještanje najkontroverznijeg trećeg oblika u polje povijesnih istraživanja, predlaže redefiniranje nacionalne granice kao točke plodne razmjene između susjednih književnih tradicija te zagovara konceptualizaciju novih transnacionalnih ili anacionalnih pristupa klasifikaciji književnosti, posebice na postjugoslavenskom prostoru
Suržyk: transformacija predodžbi u ukrajinskoj masovnoj svijesti o miješanom ukrajinsko-ruskom idiomu u kontekstu aktualnih društveno-političkih zbivanja u Ukrajini
No full textThis research analyzes the changes in perception about the mixed Ukrainian-Russian idiom (surzhyk) in the Ukrainian mass consciousness in the conditions of military aggression of the Russian Federation on Ukraine, which requires a revision of linguistic approaches in its study. The existence of colonial origin concepts of Ukrainian-Russian bilingualism in Ukrainian linguistics, which led to the emergence of numerous mixed speech forms, is explained. The negative attitude towards the mixed Ukrainian-Russian speech forms is interpreted in the context of neo-colonial narratives and external influence on strengthening the conflict in Ukrainian society. The changes in perception of surzhyk in the mass linguistic consciousness of Ukrainian society is shown, especially its transformation into one of the markers of Ukrainian identity in the conditions of the war.U članku se analiziraju promjene u predodžbama o miješanom ukrajinsko-ruskom idiomu (suržyku) u ukrajinskoj masovnoj svijesti u uvjetima vojne agresije Ruske Federacije na Ukrajinu, što zahtijeva reviziju lingvističkih pristupa u njegovom proučavanju. Obrazlaže se postojanjе koncepata kolonijalnog podrijetla ukrajinsko-ruske dvojezičnosti u ukrajinskom jezikoslovlju koja je dovela do nastajanja brojnih miješanih govornih oblika. Negativan stav prema miješanim ukrajinsko-ruskim govornim oblicima tumači se u kontekstu neokolonijalističkih narativа i vanjskog utjecaja na potenciranje sukoba u ukrajinskom društvu. Prikazuje se promjena predodžbi o suržyku u masovnoj jezičnoj svijesti ukrajinskoga društva, a posebno njegova transformacija u uvjetima rata u jedan od markera ukrajinskog identiteta
The Limits of the Language. Holocaust(s)? Between Decorum and a “Rhetorically Useful Concept” (The Case of Discourse in Poland)
No full textThe article presents several examples of the rhetorical use of the Holocaust in contemporary public discourse in Poland, the place where the extermination of the Jews took place on the largest scale. It evokes a recapitulation of the discussion of the uniqueness and recurrence of the Holocaust experience, and the ways in which this experience is metaphorized in contemporary popular culture, especially in the Polish public discourse. An important part of the text consists of case studies (rather limited for formal reasons), i.e. the rhetorical use of the concept of the Holocaust in relation to issues relevant to the public sphere in recent years. In the Polish context, these are mainly: issues related to the protection of animal rights; to the Polish abortion law; discussions about the COVID-19 pandemic and the refugee crisis on the Polish-Belarusian border
Prikazivo i neprikazivo u filmskoj umjetnosti: granice vizualnog predočavanja zbilje
No full textThe paper focuses on the limitations of the cinematic representation of reality. Since the film was initially understood as an innovative tool for the reproduction of reality, but also as a copy of the viewer’s perception, the paper analyzes the historical views on the media’s inability to imitate reality, and how it becomes a means of artistic design. To that extent, the first part of the paper deals with the distinguishing factors that prevent the film from being a record of reality, such as framing, reduced depth, or editing. Then the focus is placed on the strategies of visual display that played a key role in the avant-garde film, exploiting the stylization potential of the medium. This part also highlights the possible thematic limitations in the form of presenting mental states or socially taboo phenomena. Finally, the emphasis is placed on cinematic attempts to fully depict reality through realistic strategies using its properties such as infinity, indeterminacy and randomness.Rad se fokusira na ograničenja u filmskom predočavanju zbilje. Budući da je film polazno bio shvaćen kao inovativni alat za reprodukciju stvarnosti, ali i kao preslika gledateljeve percepcije, u radu se analiziraju povijesna stajališta o nemogućnosti medija da oponaša stvarnost, te kako on pritom postaje sredstvo umjetničkog oblikovanja. Utoliko se prvi dio rada bavi čimbenicima razlikovanja koji sprječavaju film da bude vjeran zapis stvarnosti, poput okvira, reducirane dubine ili montaže. Zatim se fokus stavlja na strategije vizualnog prikaza koje su odigrale ključnu ulogu u avangardnom filmu, iskorištavajući stilizacijski potencijal medija. U ovom dijelu također se ističu moguća tematska ograničenja u vidu prikaza psihičkih stanja ili društveno tabuiziranih pojava. Naposljetku, naglasak je stavljen na filmske pokušaje cjelovitog prikaza stvarnosti kroz realistične strategije koristeći njezina svojstva kao što su beskonačnost, neodređenost i slučajnost
Totalitarne światy Wesołego cmentarza Wasyla Stusa i Małej Apokalipsy Tadeusza Konwickiego: różnice i podobieństwa
No full textThe article is devoted to a comparative analysis of totalitarian worlds in Ukrainian and Polish literature based on the material of works published in the underground circulation and written in complete freedom from censorship restrictions (taking into account Konwicki’s earlier novel Ascension). Numerous typological similarities are revealed (queues, poverty, falsehood, the motif of self-immolation as an extreme form of protest, etc.), differences in the description of totalitarian reality by the writers are noted, and the features of the author’s individuality in presenting national issues are emphasized.Artykuł poświęcony jest analizie porównawczej totalitarnych światów w literaturze ukraińskiej i polskiej na materiale utworów wydanych w drugim obiegu i pisanych w całkowitej wolności od ograniczeń cenzuralnych (z uwzględnieniem wcześniejszej powieści Konwickiego Wniebowstąpienie). Ujawniono liczne zbieżności typologiczne (kolejki, bieda, fałsz, wątek samospalenia jako skrajna forma protestu itp.), zaznaczono różnice w opisywaniu przez pisarzy rzeczywistości totalitarnej, podkreślono cechy autorskiej indywidualności w ukazywaniu problematyki narodowej.