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Nagroda literacka Jasna Polana : ideologia, estetyka, poetyka
Full text linkThe present thesis aims to analyze one of the most prestigious Russian literary prizes – the Yasnaya Polyana Book Award. The author of the thesis is primarily interested in the ideological, aesthetical and poetical dimensions of the award.
The first chapter provides a theoretical description of the Yasnaya Polyana Book Award, focusing on the role such distinction has in shaping the literary canon through acts of ‘consecration’ – defined as raising the status of a text of culture (in this case – a literary work) to that of a work of art. Moreover, literary prizes function as extremely important factors for establishing bonds within literary circles by creating associations between writers who share the same or similar views on literature. Another discussed issue concerns the role of literary awards in shaping the book market, i.e. the relationship between the field of literature and the broadly understood field of economics. The author of the dissertation claims that the act of ‘consecration’ of a work of art through the verdict of the jury (or in other words – through the mechanism of reference to authority) may raise the status of that work in the reader’s eyes, simultaneously encouraging them to buy the book. As the author claims, to a large extent the Yasnaya Polyana Book Award aims to become one of the most important factors shaping the field of Russian literature. Finally, a brief outline of the history of Russian literary awards, as well as their place in contemporary Russian culture, expands upon the considerations included within this chapter.
Chapter two consititutes an attempt to recreate the ideological and aesthetic views of the jury members. Following Janusz Sławiński and Derek Attridge’s considerations about the inability to detach a critical act, such as the jury's verdict in the case of the literary award, the author argues that there exists a relatively compact system of views shared by the members of the Yasnaya Polyana committee. The research material used in this part of the analysis consists of journalistic speeches, essays and other texts written by the Yasnaya Polyana jurors. The analysis allows to identify, with relative precision, the ideological and aesthetic context of the the Yasnaya Polyana – pochvennichestvo and its artistic emanation, Village Prose. The main point of reference for the Village Prose ideology is nation-soil (почва), its spiritual condition and transformations within that group. Some of the more important aspects of the ideology of pochvennichestvo (and of Village Prose) relate
to the themes of binary oppositions, such as: new-old, tradition-modernity, country-city, past-future, revolution-evolution.
Chapter three is devoted to the role the Yasnaya Polyana Book Award has in the process of shaping the new Russian identity. It would involve extending the concept of the nation-soil to all the inhabitants of Russia, regardless of their ethnicity, nationality or religion. In his reflections, the author of this thesis focuses on the Russian national character, the substant features of the Russian nation, and the attitude towards ‘their own’ and ‘outsiders.’ Referencing the literature on the subject, the author denies the existence of the abovementioned factors and indicates that socio-cultural identity is a construct largely imposed on an individual by social institutions (family, school, culture, state). According to him, Yasnaya Polyana is an institution of cultural life and it constitutes a ‘channel of nationalization’ (as used by Mikhail Timofeev) of new meanings, aimed at creating a common Russian identity. The process of building a new identity is linked with the official policy of the Russian state. The author proposes to call the ideology represented by Jasna Polana ‘the new pochvennichestvo’ and uses the framework proposed by Mikhail Timofeev - time, space, language, system of values, ethnic, religious and cultural communities, and attitude towards other nations – as its core indicators. Consequently, the author performs an initial analysis of the works awarded by Yasnaya Polyana according to these categories, and as a result, he confirmes the assumption of the identity-consituting aspect of Yasnaya Polyana.
Chapter four focuses on the poetics and aesthetics of the works associated with Yasnaya Polyana. The first part of the chapter explores similiarities in conventions and genres of the selected works, leading to the conclusion that the discussed texts share their most important characteristic: they all represent conscious realism, as defined by Damian Grant. The following part of the chapter is devoted to the analysis of said works through the lense of common themes of Village Prose, as listed by Katherine Parthé (including: rural enviornment, nature, home, ‘little homeland’, time, language). The detailed analysis shows that the prize-winning texts cannot, some exceptions aside, be treated as representative of Village Prose, due to major differences between the poetics of particular authors. In fact, the most important binding factor between the texts, according to the author of the dissertation, is that they show diversity of the nation-soil, both in diachronic and synchronic cross-section.
The final part of the dissertation (Conclusions) contains a summary of all the abovementioned considerations, as presented in the corresponding parts of the thesis. The bibliography includes an alphabetical list of references, divided into primary, theoretical, and secondary sources
Władza — etyka — egzystencja (uwagi o powieści Piotra Aleszkowskiego „Twierdza”)
No full textUsing metaphorical connotations terms functioning within postcolonial theory, the author analyzes mechanisms ruling the world of the novel Fortress (Крепость) by Piotr Aleshkovsky.Using metaphorical connotations terms functioning within postcolonial theory, the author analyzes mechanisms ruling the world of the novel Fortress (Крепость) by Piotr Aleshkovsky
Profesor Gabriela Porębina - przewodnik czy współwędrowiec?
Full text linkThis article presents the academic career of Professor Gabriela Porębina, the founder of the Institute of Russian Philology, and the author of the first programme of literary studies
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Wygasłe kody językowe w rosyjskim przekładzie Devotions Upon Emergent Occasions Johna Donne’a
Full text linkApart from being an excellent metaphysical poet John Donne (1572– 1631) was also one of the most important and voluminous authors of English prose of the first half of the seventeenth century. His extant prose works comprise Menippean satire, political and religious essayes, as well as multiple letters and sermons. Among them the most prominent are two masterpieces. The first of them are Devotions upon Emergent Occasions, an unusual treatise on the issues of sickness, death and salvation written as a direct response to the grave illness Donne suffered in 1623; the second is Death’s Duell, the last sermon preached by Donne and published posthumously in 1632. Both Donne’s Devotions and his Death’s Duell have been translated into multiple European languages, namely into Dutch, Italian, German, Spanish, Portuguese, French and Russian. With few exceptions, all these translations were published in last twenty years. Unfortunately, the translators often underestimate the structural intricacy of Donne’s prose works. Actually, in the structure of Devotions upon Emergent Occasions and Death’s Duell John Donne has hidden a deep theological message and therefore to disregard it is to create a superficial translation bereft of the most crucial layer of original meaning. To make things worse Donne frequently uses obsolete alchemical, medical and legal notions, which tempts the contemporary translators to render them with general or abstract equivalents being easier to grasp for the readers. However, in the original English text these notions hardly stand alone but are bound together making up a meaningful structural net. Each of such notions comes back several times in slight variations, which indirectly but clearly refers to the Christian doctrine of salvation, in particular to its protestant variant of salvation by faith alone. Hence, their proper translation is extremely important to save some deeper aspects of Donne’s prose works. In this regard, the Russian translation of Devotions upon Emergent Occasions by Anton Niestierow is much better than the other ones. The Russian translation of Death’s Duell by Olga Siedakowa is also very good and consistent, but Siedakowa has a specific problem with rendering some audatious passages of that sermon in which Donne deliberately stands on the verge of blasphemy. This dissertation concerns the issues connected with translation of some obsolete alchemical, medical and legal notions which are present in John Donne’s Devotions upon Emergent Occasions and his funeral sermon Death’s Duell. The analysis pertains primarily to the Russian translations of the above-mentioned works by Anton Nesterov and Olga Sedakova, respectively. The other translations are presented for comparison, mainly because all the translations of Donne’s Devotions upon Emergent Occasions into romance languages are incomplete. Their authors decided to translate only meditations ant to omit expostulations and prayers as too religious and so uninteresting for the contemporary readers. As a result, their translations lack approximately two third of the original English text and its careful structure was almost entirely lost. On the other hand, the full translation of Donne’s Devotions into Dutch by Johannes Grindal was published in 1653 and therefore it is a valuable source for the translatological analysis: its author lived in the same era as Donne and the obsolecy of the referred terms and notions was no issue for him. The translatological analysis refers to two translatological theories. The first one was the theory of the equivalent effect by the Chinese scholar Jin Di. For many years he has collaborated with Eugene Nida and finally he transformed Nida’s theory of formal and dynamic equivalence so that to apply it not only to the translation of the Bible but also to the translation of literary works in which one must face the issue of protection of the state of facts and the fragile aesthetic features of the original text. Apart from Jin Di’s, the chosen theories by French scholar and translator Antoine Berman were chosen. Antoine Berman was particularily interested in the problem of deformation and distortion in translation. However, he died prematurely and his last book Toward the Science of Translation: John Donne is a very intriguing attempt to make up a serious translation theory based on the hermeneutic philosophy by Martin Heidegger and Paul Ricouer. Written in the last months of Berman’s life, that book bears striking resemblance to the circumstances in which Donne himself had created his Devotions upon Emergent Occasions. Its second part directly concerns the analysis of some poems and sermons by Donne on the issue of death and resurrection, among them — Death’s Duell. The translatological theories by Jin Di and Antoine Berman have not much in common, but they both stress the necessity of due respect for the original literary text. As such, they are against the post-structural tendencies in translation which barely recognize any boundaries of the free adaptation. The first chapter is dedicated to the detailed literary analysis of Donne’s Devotions upon Emergent Occasions and his Death’s Duell. The description of the development of Donne as prose writer and the relationship of his prose works with the genre of essay by Michel de Montaigne is followed by the thorough analysis of the structure of Devotions upon Emergent Occasions and the protestant soteriology being its hidden background. Then, the analysis of the emblematic structure of Death’s Duell and the role of alchemical imagery in it takes place. Apart from that, the first chapter contains the brief description of the available translations of the above-mentioned works. The second chapter presents the translatological theories by Jin Di and Antoine Berman and how they can find application in the translation of Donne’s prose works. The third chapter comprise the main translatological analysis focused of the issue of rendering obsolete medical, legal and alchemical notions present in the Devotions upon Emergent Occasions and Death’s Duell by Anton Nesterov, Olga Sedakova and other translators. In the separate annex the author of the dissertation put his own Polish translation of both referred works by Donne
O prawdzie i podmiocie wiersza Josifa Brodskiego „Я сижу у окна…”
Full text linkThe analysis of Iosif Brodsky’s poem rejects the claim that his poetry is metaphysical
in nature. Instead, it suggests that the distinctive construction of presented in the poem
subject, fitting Giani Vattimo’s description of “weak” subject, is typical for late modernity.
Characterizing him as a late-modern author is then justified further by examining Brodsky’s
conception of truth: for him it is a contingent, context-dependent entity, which voids the
professed universality of metaphysical claims
Власть - этика - экзистенция (замечания по поводу романа Петра Алешковского Крепость)
No full textWładza - etyka - egzystenja (uwagi o powieści Piotra Aleszkowskiego Twierdza)
Wykorzystując metaforyczne konotacje terminologii wypracowanej na gruncie teorii postkolonialnej, autor przeprowadza analizę mechanizmów wewnętrznej kolonizacji rządzących światem powieści Piotra Aleszkowskiego Twierdza.
Power - ethics - existence (some comments on the novel Fortress by Piotr Aleshkovsky)
Using methaphorical connotations of therms elborated within a postcolonial theory the author analyzes mechanisms ruling in the world of the novel Fortress (Крепость) by Piotr Aleshkovsky
Власть — этика — экзистенция (замечания по поводу романа Петра Алешковского Крепость)
Full text linkWładza — etyka — egzystenja (uwagi o powieści Piotra Aleszkowskiego Twierdza) Wykorzystując metaforyczne konotacje terminologii wypracowanej na gruncie teorii postkolonialnej, autor przeprowadza analizę mechanizmów wewnętrznej kolonizacji rządzących światem powieści Piotra Aleszkowskiego Twierdza. Power — ethics — existence (some comments on the novel Fortress by Piotr Aleshkovsky) Using methaphorical connotations of therms elborated within a postcolonial theory the author analyzes mechanisms ruling in the world of the novel Fortress (Крепость) by Piotr Aleshkovsky
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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