Poznańskie Studia Slawistyczne
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Forgotten Prosaic Works (Forming a Literary Image of the Holocaust in Slovak Literature of the 1940s and 1950s)
Get PDFThe iconography of the Holocaust in Slovak literature between the late 1940s and mid-1950s was also created by texts that are almost forgotten today. The article discusses prosaic works by two Slovak writers. Some of these works belong to the early period of the Holocaust reception and some of them originated later. Literary history paid little or no attention especially to older works. One of the writers discussed in the article, Hela Volanská, disappeared from the literary life after 1970. The article discusses her works O živých a mŕtvych (On Those Who Are Alive and Dead, 1948) and Ako na cudzej svadbe (As at Somebody Else’s Wedding, 1987/2009). The other writer discussed in this article, Ľudo Zúbek, is an established name of Slovak literature, but is known mostly as an author of historical and biographical fiction, including a novel Jar Adely Ostrolúckej (Adela Ostrolúcka’s Spring, 1957), which is today incorrectly considered literature for young female readers. Other Zúbek’s works reached very little attention and acknowledgement. The article discusses his prosaic works Rozbitá dúha (Broken Rainbow, 1956) and Vltava (without date).The iconography of the Holocaust in Slovak literature between the late 1940s and mid-1950s was also created by texts that are almost forgotten today. The article discusses prosaic works by two Slovak writers. Some of these works belong to the early period of the Holocaust reception and some of them originated later. Literary history paid little or no attention especially to older works. One of the writers discussed in the article, Hela Volanská, disappeared from the literary life after 1970. The article discusses her works O živých a mŕtvych (On Those Who Are Alive and Dead, 1948) and Ako na cudzej svadbe (As at Somebody Else’s Wedding, 1987/2009). The other writer discussed in this article, Ľudo Zúbek, is an established name of Slovak literature, but is known mostly as an author of historical and biographical fiction, including a novel Jar Adely Ostrolúckej (Adela Ostrolúcka’s Spring, 1957), which is today incorrectly considered literature for young female readers. Other Zúbek’s works reached very little attention and acknowledgement. The article discusses his prosaic works Rozbitá dúha (Broken Rainbow, 1956) and Vltava (without date)
Dwa teatry. O opisywaniu czegoś, czego nie ma
Get PDFLektury. Recepcja literackich i artystycznych dzieł o Szo
Koncert i kwestia czasu
Get PDFThe focus on the structural and semantic role of time is one of the key features of modernist cinema in the period after the Second World War. Modernist filmmakers experiment with means of aesthetic expression, such as montage, mise-en-scène, camera work, which define the story time and consequently make time the subject of film story. Concert (1954) directed by Branko Belan initiates the modernist experiment with time in the Croatian feature film. Belan achieves a radical temporal discontinuity and the condensation of time thanks to extensive ellipses, expanded flashback, deep space composition, variable narrative perspective, variable position of the characters in the story and genre hybridity. In this way he specifies two dimensions of time – historical and personal. In Concert historical time does not always affect personal time that can be subjected to fate. By that means the director contests the communist belief in the positive impact of historical changes on the life of an individual.The focus on the structural and semantic role of time is one of the key features of modernist cinema in the period after the Second World War. Modernist filmmakers experiment with means of aesthetic expression, such as montage, mise-en-scène, camera work, which define the story time and consequently make time the subject of film story. Concert (1954) directed by Branko Belan initiates the modernist experiment with time in the Croatian feature film. Belan achieves a radical temporal discontinuity and the condensation of time thanks to extensive ellipses, expanded flashback, deep space composition, variable narrative perspective, variable position of the characters in the story and genre hybridity. In this way he specifies two dimensions of time – historical and personal. In Concert historical time does not always affect personal time that can be subjected to fate. By that means the director contests the communist belief in the positive impact of historical changes on the life of an individual
From Report to Mythus. Jiří Kolář’s Plays as Creative Transformation of the Shoah Testimonies
Get PDFKolář’s plays Chléb náš vezdejší and Mor v Athénách, written at the turn of the fifties and the sixties, are the examples of aestheticization of testimonies and other texts about the Shoah. Kolář’s creative path is in a way pars pro toto of artistic and literary search of many authors reacting to the experience of Shoah and to many texts describing this hecatomb. Doubt in the previous aesthetics and in the polyphonic load of words is one of the most common experiences in the second half of the 20th century – until now. The author activates memory or cultural connotations of receiver and by eliminating a factual layer that could became a psychological safety valve that distracts, focuses a viewer (reader) on the most important and by it the most difficult to bear: to the event itself.Kolář’s plays Chléb náš vezdejší and Mor v Athénách, written at the turn of the fifties and the sixties, are the examples of aestheticization of testimonies and other texts about the Shoah. Kolář’s creative path is in a way pars pro toto of artistic and literary search of many authors reacting to the experience of Shoah and to many texts describing this hecatomb. Doubt in the previous aesthetics and in the polyphonic load of words is one of the most common experiences in the second half of the 20th century – until now. The author activates memory or cultural connotations of receiver and by eliminating a factual layer that could became a psychological safety valve that distracts, focuses a viewer (reader) on the most important and by it the most difficult to bear: to the event itself
Pregled psihoanalitičkih pristupa holokaustu uz primjer tumačenja Devetog kruga
Get PDFThe essay is an overview of the most notable psychoanalytic approaches to the trauma of the Holocaust, in the works of the Frankfurt school authors, and in the works of Shoshana Felman and Dori Laub. The last part of the article represents an attempt to interpret the film Ninth Circle by France Štiglic, and in this respect the article reviews and applies the concepts of Viktor Frankl’s school of logotherapy, while it also relies on Frankl’s autobiographical account of the Holocaust trauma.The essay is an overview of the most notable psychoanalytic approaches to the trauma of the Holocaust, in the works of the Frankfurt school authors, and in the works of Shoshana Felman and Dori Laub. The last part of the article represents an attempt to interpret the film Ninth Circle by France Štiglic, and in this respect the article reviews and applies the concepts of Viktor Frankl’s school of logotherapy, while it also relies on Frankl’s autobiographical account of the Holocaust trauma
Refunkcionalizacija forme. Modernistički obrt u opusu slikara Leonida Šejke
Get PDFWorks by Belgrade artist Leonid Šejka (1932–1970) are usually considered fantastic, an embodiment of aesthetic ideals of Mediala Art Group he was a member of, an opposition to everything that Modernism stood for with its harsh formalism that expelled object. However, the complexity of Šejka’s opus as artist and theorist allows a different approach. In this paper, we turn to – so far neglected – Šejka‘s positive relation to Modernism, which he saw as a foundation for new aesthetic ideals. He understood that Modernism turned paintings into objects of empty forms void of function. Nevertheless, the future of painting, for him, resided in re-introduction of objects into painting in order to re-establish the necessary form-function relation, preserving, at the same time, Modernist traits. Šejka tried to demonstrate this in his mature works. He wrote about it in a series of writings, which contribute to our understanding of his opus.Works by Belgrade artist Leonid Šejka (1932–1970) are usually considered fantastic, an embodiment of aesthetic ideals of Mediala Art Group he was a member of, an opposition to everything that Modernism stood for with its harsh formalism that expelled object. However, the complexity of Šejka’s opus as artist and theorist allows a different approach. In this paper, we turn to – so far neglected – Šejka‘s positive relation to Modernism, which he saw as a foundation for new aesthetic ideals. He understood that Modernism turned paintings into objects of empty forms void of function. Nevertheless, the future of painting, for him, resided in re-introduction of objects into painting in order to re-establish the necessary form-function relation, preserving, at the same time, Modernist traits. Šejka tried to demonstrate this in his mature works. He wrote about it in a series of writings, which contribute to our understanding of his opus
“Abandoned Secrets”. The Question of the Holocaust Narratives in Ukrainian Literature
Get PDFThe reportage Ukraine without Jews (1943) by the Soviet writer Vasilij Grossman is one of the earliest public reports on the Holocaust. Although Ukraine had been in the centre of the Nazi mass murder and single voices like the ones of Grossman or Il’ja Ėrenburg even called betimes attention to the ongoing genocide of Ukrainian Jews, any tradition of Ukrainian Holocaust narratives has not been developed yet. Since its independency in 1991, there are attempts to participate in the Western memory discourse, but by now, they have rather no broader impact. The reception of the debate on the Holocaust serves more likely as a backdrop for its own discourse of victimization, the Holodomor, which is used for developing a national identification within the current Ukrainian nation-building process. Since the Orange Revolution, as the Ukraine has found itself in a critical phase of a socio-political upheaval, some texts of leading Ukrainian writers (Marija Matios, Oksana Zabužko, Jurij Vynnyčuk) have occurred that carefully raise the subject of the Holocaust, or rather the gap in the Ukrainian consciousness. This paper gives an overview about the texts and works out the narrative strategies, whereby only the coming years will show, if these texts constitute the beginning of a Ukrainian Holocaust literature.The reportage Ukraine without Jews (1943) by the Soviet writer Vasilij Grossman is one of the earliest public reports on the Holocaust. Although Ukraine had been in the centre of the Nazi mass murder and single voices like the ones of Grossman or Il’ja Ėrenburg even called betimes attention to the ongoing genocide of Ukrainian Jews, any tradition of Ukrainian Holocaust narratives has not been developed yet. Since its independency in 1991, there are attempts to participate in the Western memory discourse, but by now, they have rather no broader impact. The reception of the debate on the Holocaust serves more likely as a backdrop for its own discourse of victimization, the Holodomor, which is used for developing a national identification within the current Ukrainian nation-building process. Since the Orange Revolution, as the Ukraine has found itself in a critical phase of a socio-political upheaval, some texts of leading Ukrainian writers (Marija Matios, Oksana Zabužko, Jurij Vynnyčuk) have occurred that carefully raise the subject of the Holocaust, or rather the gap in the Ukrainian consciousness. This paper gives an overview about the texts and works out the narrative strategies, whereby only the coming years will show, if these texts constitute the beginning of a Ukrainian Holocaust literature
Gorzkie kino. O Okupacji w 26 obrazach Lordana Zafranovicia
Get PDFAnalysis and interpretation of the film fresque made by Croatian director Lordan Zafranović (1978), a masterpiece of European art cinema of 70s. Marek Hendrykowski’s study describes relationship between poetics of experience and aesthetics of shock. It also expresses the importance of mythical perspective (Babel Tower) and its meaning as the factor of common consciousness in keeping memory of the past in art and life of contemporary societies.Analysis and interpretation of the film fresque made by Croatian director Lordan Zafranović (1978), a masterpiece of European art cinema of 70s. Marek Hendrykowski’s study describes relationship between poetics of experience and aesthetics of shock. It also expresses the importance of mythical perspective (Babel Tower) and its meaning as the factor of common consciousness in keeping memory of the past in art and life of contemporary societies
“Prosthetic” Memory, “Aftersights” of Memory, Memory “Easy to Consume”? A Few Words About Visual Remembrance of the Holocaust
Get PDFDiscussion about the borders restricting (unavoidable today) aestheticization of memory about the Holocaust experience is still valid – in the article are recalled some different strategies of remembering the Holocaust in the art using photography. Two of the artistic projects (Powidoki by Zbigniew Libera and Pocztówki z Auschwitz by Paweł Szypulski) are using authentic photographs to initialize the discussion about trivialization of image, removing it from its original context and, at the same time, “blunting” the sensitivity of the recipient. The other two works (Auschwitz, co ja tu robię by Mikołaj Grynberg and Miejsca nieparzyste by Elżbieta Janicka) are suspended between conversation and silence (two classic poles of memory about the Holocaust). All of these works are disputing with “fixed” models and imaginary experiences, deconstructing pathos, they are talking about the blurring memories and manipulating with memory, about competition of different historic narrations and attempts at overtaking the past, passing the traumatic experiences of the war and the Holocaust to the next generations.Discussion about the borders restricting (unavoidable today) aestheticization of memory about the Holocaust experience is still valid – in the article are recalled some different strategies of remembering the Holocaust in the art using photography. Two of the artistic projects (Powidoki by Zbigniew Libera and Pocztówki z Auschwitz by Paweł Szypulski) are using authentic photographs to initialize the discussion about trivialization of image, removing it from its original context and, at the same time, “blunting” the sensitivity of the recipient. The other two works (Auschwitz, co ja tu robię by Mikołaj Grynberg and Miejsca nieparzyste by Elżbieta Janicka) are suspended between conversation and silence (two classic poles of memory about the Holocaust). All of these works are disputing with “fixed” models and imaginary experiences, deconstructing pathos, they are talking about the blurring memories and manipulating with memory, about competition of different historic narrations and attempts at overtaking the past, passing the traumatic experiences of the war and the Holocaust to the next generations
Bezradność słów. Ante Kesicia „fikcja” o Zagładzie
Get PDFIn the article one book written by the Croatian author, Ante Kesić, is taken into consideration. The novel Black Snow, published in 1957, narrates about a Slovenian young woman, Breda, who was caught by the Germans in Ljubljana (for her contacts with communist partisans) and sent to the Dachau Concentration Camp. Although not of Jewish origins she encounters the Holocaust of the Jews in the camp and gets pregnant with a Jewish artist. The novel conceptualizes tragedy of war and the Holocaust in a very experimental way, by using a range of modernist, avant-garde or even surrealist literary techniques. The author attempts to invent a new language with a new grammar that would enable to express something that is not expressible.In the article one book written by the Croatian author, Ante Kesić, is taken into consideration. The novel Black Snow, published in 1957, narrates about a Slovenian young woman, Breda, who was caught by the Germans in Ljubljana (for her contacts with communist partisans) and sent to the Dachau Concentration Camp. Although not of Jewish origins she encounters the Holocaust of the Jews in the camp and gets pregnant with a Jewish artist. The novel conceptualizes tragedy of war and the Holocaust in a very experimental way, by using a range of modernist, avant-garde or even surrealist literary techniques. The author attempts to invent a new language with a new grammar that would enable to express something that is not expressible