Poznańskie Studia Slawistyczne
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Nieoczywista Polska Václava Buriana
Get PDFThe Polish-studies output of Václav Burian, an ambassador of Polish culture in Czechoslovakia and the Czech Republic, scattered in magazines such as „Ječmínek”, „Hanácké noviny”, „Scriptum”, „Listy” or „Literární noviny”, has been gathered by Jan Jeništa and Anna Militz in a volume entitled Budoucím čtenářům starých novin (For future readers of old newspapers). Their selection of essays from between 1981 and 2014 is an excellent illustration of Václav Burian’s work. The sheer diversity of articles Burian left behind was unquestionably a challenge for the editors. They have stood up to that challenge – it has to be emphasised – outstandingly. They divided the selected texts by subject into three chapters titled: Witness of History (Svědkem Historie), Travel reports (Zprávy z cest) and Literature’s reader (Čtenář literatury). The first covers key events in Poland in the 1980’s. The second consists of Burian’s notes from trips to Poland in 1993 and 1995. The third one collects the most important Burian’s texts about Polish literature. Those three chapters reflect the three areas of Burian’s interest, through which he presented Poland to Czech readers.The Polish-studies output of Václav Burian, an ambassador of Polish culture in Czechoslovakia and the Czech Republic, scattered in magazines such as „Ječmínek”, „Hanácké noviny”, „Scriptum”, „Listy” or „Literární noviny”, has been gathered by Jan Jeništa and Anna Militz in a volume entitled Budoucím čtenářům starých novin (For future readers of old newspapers). Their selection of essays from between 1981 and 2014 is an excellent illustration of Václav Burian’s work. The sheer diversity of articles Burian left behind was unquestionably a challenge for the editors. They have stood up to that challenge – it has to be emphasised – outstandingly. They divided the selected texts by subject into three chapters titled: Witness of History (Svědkem Historie), Travel reports (Zprávy z cest) and Literature’s reader (Čtenář literatury). The first covers key events in Poland in the 1980’s. The second consists of Burian’s notes from trips to Poland in 1993 and 1995. The third one collects the most important Burian’s texts about Polish literature. Those three chapters reflect the three areas of Burian’s interest, through which he presented Poland to Czech readers
Morlachs, or Slavs from Dalmatia in French encyclopedias and dictionaries of the 18th and 19th century
Get PDFThe Western view of the Balkans is, according to many researchers, synonymous with a stereotypical approach and ignorance regarding the history and culture of the nations inhabiting the Balkan Peninsula. The controversies could even refer to the names of individual Balkan communities that were and still are understood very differently. One example of such ambiguity is the name “Morlachs” i.e. “Black Vlachs”, which in reality was used to describe the Slavs of Dalmatia. This paper investigates the abovementioned issue on the example of the French encyclopedic sources, which are representative of the times in which they were created, as they were synthetic, and were intended for a wide audience. The form of the encyclopedic definition assumed synthesis, the gathering and summarizing the existing information. However, the French dictionaries and encyclopedias in the 18th and 19th century were not really able to synthesize known information about Dalmatian Slavs called by the name of Morlachs. Besides few exceptions, the explanations given by the dictionaries were imprecise, sometimes erroneous, referring to the past rather than to the present. In the light of the above, the statement that the French Enlightenment was one of the foundations on which the later stereotypical image of the Balkans emerged, seems justified.The Western view of the Balkans is, according to many researchers, synonymous with a stereotypical approach and ignorance regarding the history and culture of the nations inhabiting the Balkan Peninsula. The controversies could even refer to the names of individual Balkan communities that were and still are understood very differently. One example of such ambiguity is the name “Morlachs” i.e. “Black Vlachs”, which in reality was used to describe the Slavs of Dalmatia. This paper investigates the abovementioned issue on the example of the French encyclopedic sources, which are representative of the times in which they were created, as they were synthetic, and were intended for a wide audience. The form of the encyclopedic definition assumed synthesis, the gathering and summarizing the existing information. However, the French dictionaries and encyclopedias in the 18th and 19th century were not really able to synthesize known information about Dalmatian Slavs called by the name of Morlachs. Besides few exceptions, the explanations given by the dictionaries were imprecise, sometimes erroneous, referring to the past rather than to the present. In the light of the above, the statement that the French Enlightenment was one of the foundations on which the later stereotypical image of the Balkans emerged, seems justified
Co, jak i po co, czyli o związkach formy z funkcją na przykładzie haiku
Get PDFThe paper addresses the problem of mutual relation between form and function as exemplified by haiku. Focusing upon the structure of haiku conducive to epiphany, it discusses some general aspects, independent of the differences between Eastern and Western varieties of the form. The “literariness” of the genre is demonstrated with reference to dimensions of imagery (as defined in Langacker’s model of cognitive grammar), and to the strongly metonymic character of haiku. Finally, some shortcomings of “Polish haiku” are shown as a function of its culture-bound untranslatability.The paper addresses the problem of mutual relation between form and function as exemplified by haiku. Focusing upon the structure of haiku conducive to epiphany, it discusses some general aspects, independent of the differences between Eastern and Western varieties of the form. The “literariness” of the genre is demonstrated with reference to dimensions of imagery (as defined in Langacker’s model of cognitive grammar), and to the strongly metonymic character of haiku. Finally, some shortcomings of “Polish haiku” are shown as a function of its culture-bound untranslatability
The Holocausts
Get PDFThe article examines genocide as a category that has been used and abused in various, especially historical, political, and ideological, discourses. It considers whether the extermination of Jews (the Holocaust) should be studied in the context of other mass crimes. I investigate various sources of twentieth-century organized violence and their literary representations. I also discuss the works of Polish literature (by Nałkowska, Gębarski, Woroszylski, and Margolis), which depict twentieth- -century acts of genocide (the extermination of Jews and Armenians, in particular) in the context of other mass crimes.The article examines genocide as a category that has been used and abused in various, especially historical, political, and ideological, discourses. It considers whether the extermination of Jews (the Holocaust) should be studied in the context of other mass crimes. I investigate various sources of twentieth-century organized violence and their literary representations. I also discuss the works of Polish literature (by Nałkowska, Gębarski, Woroszylski, and Margolis), which depict twentieth- -century acts of genocide (the extermination of Jews and Armenians, in particular) in the context of other mass crimes
Aleksandra Kiosewa koncepcja samokolonizacji i efekt symmorfozy
Get PDFStemming from the general postcolonial theoretical tradition, the concept of self-colonisation proposed by the Bulgarian scholar Alexander Kiosev has proved inspiring to Polish scholars. This article attempts to examine more closely Kiosev’s meandering self-reflective musings on what he called his “metaphor” of self-colonization, an idea he ultimately rejected in view of the undesirable ressentiment it tends to produce. By illustrating the historical and cultural background underpinning the concept of self-colonisation I seek to identify the roots of potential intercultural misunderstanding. Above all, I focus on the consequences of the teleological approach inherent in Kiosev’s concept. Those are expressed in identifying manufactured (sic!) origins with an account which can be couched in the language of a politically and therapeutically conditioned method of research. This leads to a symmorphic deformation of those origins, aligned to the requirements of the modern world.Stemming from the general postcolonial theoretical tradition, the concept of self-colonisation proposed by the Bulgarian scholar Alexander Kiosev has proved inspiring to Polish scholars. This article attempts to examine more closely Kiosev’s meandering self-reflective musings on what he called his “metaphor” of self-colonization, an idea he ultimately rejected in view of the undesirable ressentiment it tends to produce. By illustrating the historical and cultural background underpinning the concept of self-colonisation I seek to identify the roots of potential intercultural misunderstanding. Above all, I focus on the consequences of the teleological approach inherent in Kiosev’s concept. Those are expressed in identifying manufactured (sic!) origins with an account which can be couched in the language of a politically and therapeutically conditioned method of research. This leads to a symmorphic deformation of those origins, aligned to the requirements of the modern world
„Kao misnik” i „kao Turci iz Smail-age”. Funkcja pokarmów w nowoczesnej i ponowoczesnej narracji Lepszej połowy odwagi Ivana Slamniga
Get PDFIn the novel entitled The Better Half of Courage, Ivan Slamnig elaborates on two types of narrative namely, a traditional internal story derived from the poetics of realism and a postmodern frame story streaked with the elements of the jeans prose. In the article, culinary motifs presented in both narratives are taken into consideration in order to expose their function in Slamnig’s novel. The article also tries to answer the question whether the dietary code is subordinated to the both forms of discourse. The analysis of the culinary themes reveals a process of braking off with tradition in the so-called traditional narrative, and attempts of retaining tradition in the postmodern narrative. In consequence, an apparently traditional modern pilgrim, who does not respect the order of traditional rituals and remains cautious in his consumption behaviour, turns out to be condemned to painful results of his choices while a postmodern vagrant as an unfulfilled consumer-glutton keeps drawing from tradition as well as from the present day what provides him with various pleasures. Furthermore, the analysis of the culinary code of the novel allows the authoress to confirm a thesis on the presence of postmodern effects in the both “parts” of the novel.In the novel entitled The Better Half of Courage, Ivan Slamnig elaborates on two types of narrative namely, a traditional internal story derived from the poetics of realism and a postmodern frame story streaked with the elements of the jeans prose. In the article, culinary motifs presented in both narratives are taken into consideration in order to expose their function in Slamnig’s novel. The article also tries to answer the question whether the dietary code is subordinated to the both forms of discourse. The analysis of the culinary themes reveals a process of braking off with tradition in the so-called traditional narrative, and attempts of retaining tradition in the postmodern narrative. In consequence, an apparently traditional modern pilgrim, who does not respect the order of traditional rituals and remains cautious in his consumption behaviour, turns out to be condemned to painful results of his choices while a postmodern vagrant as an unfulfilled consumer-glutton keeps drawing from tradition as well as from the present day what provides him with various pleasures. Furthermore, the analysis of the culinary code of the novel allows the authoress to confirm a thesis on the presence of postmodern effects in the both “parts” of the novel
Holokaust – hranica pragmatického jazyka
Get PDFThe theme of the paper is observing and revealing non-pragmatic language that, when dealing with deliberately chosen texts about acts of violence, leads to productive aesthetic disturbance. In its substance, this language refers to the gulf between intensity of representation and ideological intention towards a reader declared in a complicated manner. The paper discusses five texts with the theme of the Holocaust. Three of them deal with the Holocaust as with a recent experience, namely Curzio Malaparte’s Caput (1944), Žofia Nalkowska’s Medallions (1945), and Leopold Lahola’s Last Thing (1949–1956, published in a book in 1968); whereas two other ones deal with the Holocaust after some time in a form of belles-lettres memoirs or testimony, namely Juraj Špitzer’s I Did Not Want to Be a Jew (1994) and Jerzy Kosiński’s Painted Bird (in English in 1965, Czech translation was published in 2011). All interpreted texts are marked by specific language situated beyond the border of traditional literary representation. This language is either extremely subjective, expressive and periphrastic – in this case it borders on with absurd Realism or nonsense (in case of C. Malaparte, J. Kosiński, and L. Lahola) – or, in its neutral representation (in case of Ž. Nalkowska, and J. Špitzer), it borders on with a melancholic self-referential document on limits of cultural humanism or of normal, common humanity.The theme of the paper is observing and revealing non-pragmatic language that, when dealing with deliberately chosen texts about acts of violence, leads to productive aesthetic disturbance. In its substance, this language refers to the gulf between intensity of representation and ideological intention towards a reader declared in a complicated manner. The paper discusses five texts with the theme of the Holocaust. Three of them deal with the Holocaust as with a recent experience, namely Curzio Malaparte’s Caput (1944), Žofia Nalkowska’s Medallions (1945), and Leopold Lahola’s Last Thing (1949–1956, published in a book in 1968); whereas two other ones deal with the Holocaust after some time in a form of belles-lettres memoirs or testimony, namely Juraj Špitzer’s I Did Not Want to Be a Jew (1994) and Jerzy Kosiński’s Painted Bird (in English in 1965, Czech translation was published in 2011). All interpreted texts are marked by specific language situated beyond the border of traditional literary representation. This language is either extremely subjective, expressive and periphrastic – in this case it borders on with absurd Realism or nonsense (in case of C. Malaparte, J. Kosiński, and L. Lahola) – or, in its neutral representation (in case of Ž. Nalkowska, and J. Špitzer), it borders on with a melancholic self-referential document on limits of cultural humanism or of normal, common humanity
Уводни и завршни поздрави у имејловима на српском језику
Get PDFIn this paper we consider opening greetings and complementary closes (farewells) in emails written in Serbian language that make relatively independent communication entities with the most general purpose of initiating and concluding a correspondence as the form of phatic language function and in the same time with metalinguistic discourse function of indicating the beginning and the end. We examine their structure and lexical, semantic and pragmatic properties, and also stress the occurrence of new characteristics or tendencies in their use caused by this new medium of communication, i.e. email, as compared to traditional letter correspondence. Those are: higher degree of linguistic individualization, expression of creativity in communication, resorting to economy, linguistic reductions and omissions.In this paper we consider opening greetings and complementary closes (farewells) in emails written in Serbian language that make relatively independent communication entities with the most general purpose of initiating and concluding a correspondence as the form of phatic language function and in the same time with metalinguistic discourse function of indicating the beginning and the end. We examine their structure and lexical, semantic and pragmatic properties, and also stress the occurrence of new characteristics or tendencies in their use caused by this new medium of communication, i.e. email, as compared to traditional letter correspondence. Those are: higher degree of linguistic individualization, expression of creativity in communication, resorting to economy, linguistic reductions and omissions
Noc Walpurgi (The Walpurgis Night): A New Variation on the Theme of the Holocaust. Several Suggestions as for the Future Reception of the Film
Get PDFIn the essay, I make an attempt to present several ways, in which the Western canon of literature, music, and cinema has influenced Noc Walpurgi. With regard to this, Marcin Bortkiewicz’s film turns out to be a work made of many citations, in Walter Benjamin’s terms, drawn extensively on Goethe’s Faust, Mann’s The Magic Mountain, Bulgakov’s The Master and Margarita, Wagner’s Ride of the Valkyries, and Puccini’s Turandot, and the film noir poetics elaborated in the 40s and 50s of the twentieth century. Based on Magdalena Gauer’s monodrama Diva, Noc Walpurgi illuminates in the highly expressionist manner an alienated, cynical, and despotic psyche of Nora Sadler, a great opera singer, who is tormented by the Holocaust past.In the essay, I make an attempt to present several ways, in which the Western canon of literature, music, and cinema has influenced Noc Walpurgi. With regard to this, Marcin Bortkiewicz’s film turns out to be a work made of many citations, in Walter Benjamin’s terms, drawn extensively on Goethe’s Faust, Mann’s The Magic Mountain, Bulgakov’s The Master and Margarita, Wagner’s Ride of the Valkyries, and Puccini’s Turandot, and the film noir poetics elaborated in the 40s and 50s of the twentieth century. Based on Magdalena Gauer’s monodrama Diva, Noc Walpurgi illuminates in the highly expressionist manner an alienated, cynical, and despotic psyche of Nora Sadler, a great opera singer, who is tormented by the Holocaust past