Poznańskie Studia Slawistyczne
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Ilirizam i tumačenje snova: Gundulići Vlaha Bukovca
Get PDFGiven the prominent position in the Croatian cultural imagination of Vlaho Bukovac’s 1895 painting of the Illyrian Movement, this article argues that the later accounts of early to mid- 19th century Illyrian politics and literature remain contaminated, and structurally so, by Bukovac’s treatment of the visual. This visual contaminant then points to more general political and cultural practices in Austria-Hungary at the time, including psychoanalysis, not least where psychoanalysis addresses the scope of image and the phantasmatic. Analyzing three paintings where Bukovac takes up the subject of literature cum the phantasmatic alongside Freud’s 1908 study of „Der Dichter und das Phantasieren”, I propose that in both literature serves to indicate the political logic of metonymy or the metonymic logic of the political; furthermore, I show that Freud, unlike Bukovac, fails to sustain this logic precisely in places where he sets out to classify wishes.Given the prominent position in the Croatian cultural imagination of Vlaho Bukovac’s 1895 painting of the Illyrian Movement, this article argues that the later accounts of early to mid- 19th century Illyrian politics and literature remain contaminated, and structurally so, by Bukovac’s treatment of the visual. This visual contaminant then points to more general political and cultural practices in Austria-Hungary at the time, including psychoanalysis, not least where psychoanalysis addresses the scope of image and the phantasmatic. Analyzing three paintings where Bukovac takes up the subject of literature cum the phantasmatic alongside Freud’s 1908 study of „Der Dichter und das Phantasieren”, I propose that in both literature serves to indicate the political logic of metonymy or the metonymic logic of the political; furthermore, I show that Freud, unlike Bukovac, fails to sustain this logic precisely in places where he sets out to classify wishes.
Vuk u folkloru Hrvata
Get PDFThe paper focuses on the significant role of wolf in the Croatian folklore that has been confirmed by a series of analyses over the thirty contemporary original field records. The socalled wolf processions were still performed in many places of the country just before the Homeland War in 1991. Often described in a word vukavarski, the processions were always initiated by an act of killing the wolf since the animal was traditionally assumed as a symbol of evil and subsequently as a cause of severe damage. In order to celebrate such an act, the wolf killer, accompanied by a small group of hunters, had to march through the village. The group was obliged to sing or recite spells, derived from an apotropaic rite, in front of the country houses. As for the hosts, they were satisfied to receive the procession (such a satisfaction was usually expressed by different rewards) since all the neighborhood had got rid off another dangerous animal.The paper focuses on the significant role of wolf in the Croatian folklore that has been confirmed by a series of analyses over the thirty contemporary original field records. The socalled wolf processions were still performed in many places of the country just before the Homeland War in 1991. Often described in a word vukavarski, the processions were always initiated by an act of killing the wolf since the animal was traditionally assumed as a symbol of evil and subsequently as a cause of severe damage. In order to celebrate such an act, the wolf killer, accompanied by a small group of hunters, had to march through the village. The group was obliged to sing or recite spells, derived from an apotropaic rite, in front of the country houses. As for the hosts, they were satisfied to receive the procession (such a satisfaction was usually expressed by different rewards) since all the neighborhood had got rid off another dangerous animal.
Poetika hibridnih multižanrovskih pesničkih tekstova Ljubomira Micića i Branka Ve Poljanskog
Get PDFIn the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre texts as important items in the national poetry canon. I will contextualize the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde.In the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre texts as important items in the national poetry canon. I will contextualize the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde.
Bałkański folklor jako kod interkulturowy, t. I, red. J. Rękas, Wydawnictwo Naukowe UAM, Seria Laographica Slavica et Balcanensia, nr 2, Poznań 2011, ss. 595
Get PDFChrześcijański Wschód i Zachód. Formy dialogu, wzory kultury, kody pamięci, red. I. Lis-Wielgosz, W. Jóźwiak, Instytut Filologii Słowiańskiej UAM oraz Wydawnictwo „Pro”, Poznań 2012, ss. 562
Get PDFNad „Peklom med vodami” do „Mohokosa”, „Železne gore” i „Per(n)jaka”
Get PDFI conducted my own ethnographic field research in 1998, 2004 and 2007. Further field research, from 2010 to 2012, under the title ‘Folk Piety and the Transmission of Ethnoheritage in Upper Meñimurje’, was part of Tomo Vinšćak’s academic project Sacral Interpretation of Landscape, organized by the Matapur Association and the Ethnological and Anthropological Department of the Faculty of Philosophy in Zagreb. The analysis and comparison of the collected materials has contributed to research into the fascinating and still vibrant – though under-researched – survival strategies of pre-Christian and Christian worldviews in the western and north-western parts of the northernmost districts of Croatia. I conducted my own ethnographic field research in 1998, 2004 and 2007. Further field research, from 2010 to 2012, under the title ‘Folk Piety and the Transmission of Ethnoheritage in Upper Meñimurje’, was part of Tomo Vinšćak’s academic project Sacral Interpretation of Landscape, organized by the Matapur Association and the Ethnological and Anthropological Department of the Faculty of Philosophy in Zagreb. The analysis and comparison of the collected materials has contributed to research into the fascinating and still vibrant – though under-researched – survival strategies of pre-Christian and Christian worldviews in the western and north-western parts of the northernmost districts of Croatia.
Mariola Jakubowicz, Drogi słów na przestrzeni wieków. Zarys słownika motywacji semantycznych na materiale przymiotników słowiańskich odziedziczonych z prasłowiańszczyzny, Slawistyczny Ośrodek Wydawniczy, Warszawa 2010, ss. 375
Get PDFSłowo – obraz paradygmatyczny – ikona. O intersemiotyczności w słowiańskiej kulturze prawosławnego średniowiecza
Get PDFThis work deals with the problem of intersemiotics in Orthodox Slavonic culture in the Middle Ages. Attention here is focused on the source, essence and ontology of correspondence of the arts. Despite the fact that in the Middle Ages word and image (icons, frescos, miniatures of manuscripts) had completely different specificity of signs, they were connected with each other on a different level of perception. According to the Church Fathers (John of Damascus, Maximus the Confessor, Basil the Great) and East Christian mysticism (Pseudo Dionysius the Areopagite), the art of the written word and visual art had the same aim and function, because they referred to eternal and spiritual reality and to the divine archetype. The ontology of the word and icon was linked to the specific version of Pseudo-Dionysius’ symbolism. Moreover, this symbolism is connected with the term – “paradigmatical image”, functioning beyond text and iconography, in the iconosphere of the Orthodox Middle Ages. Paradigmatical image becomes a specific link between a word and an icon. Of course, paradigmatical images were created on the basis of Biblical (and/or apocryphal) and Patristic Byzantine texts, although they started to function regardless of their original context. This work presents the way paradigmatical images function in Orthodox iconography and literature (the Raising of Lazarus, the Last Judgement, the Trinity).This work deals with the problem of intersemiotics in Orthodox Slavonic culture in the Middle Ages. Attention here is focused on the source, essence and ontology of correspondence of the arts. Despite the fact that in the Middle Ages word and image (icons, frescos, miniatures of manuscripts) had completely different specificity of signs, they were connected with each other on a different level of perception. According to the Church Fathers (John of Damascus, Maximus the Confessor, Basil the Great) and East Christian mysticism (Pseudo Dionysius the Areopagite), the art of the written word and visual art had the same aim and function, because they referred to eternal and spiritual reality and to the divine archetype. The ontology of the word and icon was linked to the specific version of Pseudo-Dionysius’ symbolism. Moreover, this symbolism is connected with the term – “paradigmatical image”, functioning beyond text and iconography, in the iconosphere of the Orthodox Middle Ages. Paradigmatical image becomes a specific link between a word and an icon. Of course, paradigmatical images were created on the basis of Biblical (and/or apocryphal) and Patristic Byzantine texts, although they started to function regardless of their original context. This work presents the way paradigmatical images function in Orthodox iconography and literature (the Raising of Lazarus, the Last Judgement, the Trinity).
Priče iz folklorne tradicije poluotoka Pelješca
Get PDFThe paper presents a research of Croatian folklore tradition of the central part of the Pelješac peninsula included various aspects of traditional culture: from legends, beliefs and customs to poems, stories, adverbs, etc. A special regard was given to the beliefs in the supernatural forces. The main purpose of the paper is to show that folklore tradition is not a relic of the past, but rather a natural part of life in this community. The paper presents a research of Croatian folklore tradition of the central part of the Pelješac peninsula included various aspects of traditional culture: from legends, beliefs and customs to poems, stories, adverbs, etc. A special regard was given to the beliefs in the supernatural forces. The main purpose of the paper is to show that folklore tradition is not a relic of the past, but rather a natural part of life in this community.
Един стар български обред и магическата сила на думите
Get PDFThe ritual „Gramada” is a typical tradition of the Bulgarian ethnic territories that appeared between the end of the 19th and the beginning of the 20th century. It represents a symbolic way of „escorting” (a sort of symbolic funeral) of a dead man, who committed an act unacceptable for the community, upon the world of the dead. The „Gramada” ceremony is observed as piling up some stones on a sacral place so they can form (create) a barrier between the sinner and the righteous. During the ritual, symbolic words and acts are performed as a verbal and nonverbal act of magic. It reveals thebelief of the traditional Bulgarian people in the magical power of words.The ritual „Gramada” is a typical tradition of the Bulgarian ethnic territories that appeared between the end of the 19th and the beginning of the 20th century. It represents a symbolic way of „escorting” (a sort of symbolic funeral) of a dead man, who committed an act unacceptable for the community, upon the world of the dead. The „Gramada” ceremony is observed as piling up some stones on a sacral place so they can form (create) a barrier between the sinner and the righteous. During the ritual, symbolic words and acts are performed as a verbal and nonverbal act of magic. It reveals thebelief of the traditional Bulgarian people in the magical power of words.