1,824,224 research outputs found
Schulz czytany przez Henri Lewiego
Full text linkHenri Lewi’s book, Bruno Schulz or, Messianic Strategies, published in 1989 in Paris, is an attempt to read the fiction and correspondence of Schulz as a record of his individual lot and the collective condition of Jews in the pre-Second World War Poland. The author interprets Schulz’s writings, in which the writer resorted to myths and metaphors and avoided direct autobiographical confessions, as a disguised presentation of his personal experience. Lewi tries to prove that even though Schulz did not openly refer to his Jewishness, he drew from the Judaic tradition and his most important myths are deeply rooted in the Old Testament
?Twist of Fate? by Michelle Schulz
Full text linkTerm paper based on the 1974 abduction of Doyle Schulz, a North Dakota Highway patrolman. Patrolman Schulz, abducted in Fargo, N.D., by Lewis J. Myhre, was later released near the South Dakota border. The paper relates the feelings and emotions Patricia Schulz, Doyle's wife, experienced until Doyle was safely found. The author, a NDSU student, wrote this paper for an English 110 class
Schulz w Roju
Full text linkAfter writing Cinnamon Shops, Bruno Schulz faced the need to find a publisher. We know that thanks to the protection of Zofia Nałkowska, he managed to publish his debut book with the Rój publishing house located in Warsaw. However, before it happened, he had been unsuccessfully looking for a publisher willing to take the risk of publishing a sophisticated book by an unknown author. To examine this problem, the author of the article investigates the condition of the Polish book market in the 1930s, examining surviving documentation and memories. He also analyzes what Schulz expected from his publisher and the terms under which his book was released. Finally, he attempts to calculate the benefits and losses that Schulz incurred by publishing the book with the Rój publishing house
Bruno Schulz Goes to France
Full text linkThe period of July 31st-August 26th, 1938 Bruno Schulz spent in Paris. Suppressing his doubts, he eventually decided to visit the French capital „to study literature and organize an exhibition of paintings.” The paper includes previously unknown documents which the author has found in the Lviv archives, together with their analysis. Some of them are manuscripts, supplemented by an unknown photo of Schulz
Schulz, Dan interview
No full textOral History interview of Dan Schulz. Interview conducted by Schulz, Dan at University of Central Florida
Was Bruno Schulz a Writer?
Full text linkThe essay is an analysis of the most important, yet actually quite sporadic artistic adventure of Schulz, which was fiction writing. The question discussed is apparently paradoxical: was Bruno Schulz a writer? The author argues that there is a difference between a writer and a man of letters, i.e. someone who is a professional in the literary field. Schulz never became the latter and this is what makes his biography significantly different from those of the typical literati among whom he had many friends. In comparison to them, Schulz wrote very little, started writing quite late, and the period when he really was a writer lasted only several years. One might say that writing fiction indeed rather happened to him – it was not a permanent disposition of his artistic existence. That had crucial consequences for the form of his writing.The essay is an analysis of the most important, yet actually quite sporadic artistic adventure of Schulz, which was fiction writing. The question discussed is apparently paradoxical: was Bruno Schulz a writer? The author argues that there is a difference between a writer and a man of letters, i.e. someone who is a professional in the literary field. Schulz never became the latter and this is what makes his biography significantly different from those of the typical literati among whom he had many friends. In comparison to them, Schulz wrote very little, started writing quite late, and the period when he really was a writer lasted only several years. One might say that writing fiction indeed rather happened to him – it was not a permanent disposition of his artistic existence. That had crucial consequences for the form of his writing
Bruno Schulz – What Next?
Full text linkA short article published in Chwila (1935, no. 5921). The author, who must have known Schulz personally, interprets Cinnamon Shops in opposition to literature that was socially and politically engaged. Besides, the text includes a description of Schulz’s apartment
Schulz uniwersalny
Full text linkThe Universal Schulz is Schulz whose work makes the reader face many ambivalences both as regards personal and artistic choices made by the writer. The author identifies, puts in order, and places in a wide context those ambivalences which so far have proved most inspiring for interpreting Schulz’s stories, letters, and essays. At first the same ambivalences created problems encountered by the early critical reception of his works. The most difficult was not just his unique fiction, but also its idiom. In the 1930 and 1940s Schulz’s language could be read as aberration or anachronism, which meant that to attract more readers it had to come at least a little closer to standard Polish. Since, however, the stories could not change, what had to were the standards defining “acceptable” prose. The style of Polish prose gradually approached Schulz’s idiom by becoming more open to stylistic idiosyncrasy and experiment
Schulz the Universal
Full text linkThe Universal Schulz is Schulz whose work makes the reader face many ambivalences both as regards personal and artistic choices made by the writer. The author identifies, puts in order, and places in a wide context those ambivalences which so far have proved most inspiring for interpreting Schulz’s stories, letters, and essays. At first the same ambivalences created problems encountered by the early critical reception of his works. The most difficult was not just his unique fiction, but also its idiom. In the 1930 and 1940s Schulz’s language could be read as aberration or anachronism, which meant that to attract more readers it had to come at least a little closer to standard Polish. Since, however, the stories could not change, what had to were the standards defining “acceptable” prose. The style of Polish prose gradually approached Schulz’s idiom by becoming more open to stylistic idiosyncrasy and experiment.The Universal Schulz is Schulz whose work makes the reader face many ambivalences both as regards personal and artistic choices made by the writer. The author identifies, puts in order, and places in a wide context those ambivalences which so far have proved most inspiring for interpreting Schulz’s stories, letters, and essays. At first the same ambivalences created problems encountered by the early critical reception of his works. The most difficult was not just his unique fiction, but also its idiom. In the 1930 and 1940s Schulz’s language could be read as aberration or anachronism, which meant that to attract more readers it had to come at least a little closer to standard Polish. Since, however, the stories could not change, what had to were the standards defining “acceptable” prose. The style of Polish prose gradually approached Schulz’s idiom by becoming more open to stylistic idiosyncrasy and experiment
Was Bruno Schulz a Writer?
Full text linkThe essay is an analysis of the most important, yet actually quite sporadic artistic adventure of Schulz, which was fiction writing. The question discussed is apparently paradoxical: was Bruno Schulz a writer? The author argues that there is a difference between a writer and a man of letters, i.e. someone who is a professional in the literary field. Schulz never became the latter and this is what makes his biography significantly different from those of the typical literati among whom he had many friends. In comparison to them, Schulz wrote very little, started writing quite late, and the period when he really was a writer lasted only several years. One might say that writing fiction indeed rather happened to him – it was not a permanent disposition of his artistic existence. That had crucial consequences for the form of his writing
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