1,720,967 research outputs found
Trombones of Opportunity. The Book Jacket of the First Edition of the “Cinnamon Shops”
Full text linkThe price of first editions of Schulz’s two collections of stories published in his lifetime is likely to vary depending on whether the original cover and especially the book jacket, which is a bibliophile’s rarity, are preserved. The book jacket of Cinnamon Shops has never been reproduced. Moreover, nobody has ever published the text that appeared on its flap. Probably not written by Schulz himself, it presents such features of his stories as the deformation of the described reality or the unusual plasticity of words. In their reviews written before the war, critics unanimously stated that Schulz was a product of self-promotion, which was characterized by excessive self-complacency and an element of a too intensive advertising campaign that was supposed to promote an unknown author. It appears, however, that the advertising campaign of Schulz’s debut was not at all vigorous, quite the contrary – the author himself paved the road to fame, overcoming the considerable opposition of critics
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
À la maniere de Bruno Schulz. Pastiche, Parody, and Imitation of Schulz in the 1930s
No full textThe paper focuses on three cases of pastiche and parody of Schulz’s fiction, published in the Polish press in the 1930s. The author realizes that success in emulating was conditioned not so much by the imitation of Schulz’s style and referring to the main motifs of his short stories, but, above all else, by the application of Schulz’s creative method which consists, paradoxically, in a parodistic, “panironic” approach to reality
À la manière de Bruno Schulz. Pastisz parodia i naśladowanie Brunona Schulza w okresie dwudziestolecia międzywojennego
No full textThe paper focuses on three cases of pastiche and parody of Schulz’s fiction, published in the Polish press in the 1930s. The author realizes that success in emulating was conditioned not so much by the imitation of Schulz’s style and referring to the main motifs of his short stories, but, above all else, by the application of Schulz’s creative method which consists, paradoxically, in a parodistic, “panironic” approach to reality
Czynniki mające wpływ na skuteczność interwencji wobec osób niedostosowanych społecznie
Full text linkThe author discusses issues of social maladjustment, which encompass a variety of topics; therefore, the text necessarily presents them selectively. It takes into account the need for selectivity and provides information on recent achievements in this field. The article does not offer definitive answers regarding the best intervention methods. However, it explains certain principles and approaches that, according to the author, enhance the effectiveness of interventions for socially maladjusted individuals. The key question is how to effectively address the problem of maladjustment, which should encourage the implementation of a reform program. However, it is also evident that such changes must be introduced on multiple levels, considering individual, social, and economic factors. With this in mind, the author questions whether direct work with young people can yield any results if external factors play such a significant role in the development of social maladjustment.Autor omawia problemy niedostosowania społecznego, na które składają się różnorodne zagadnienia, stąd też tekst musi z konieczności prezentuje je wybiorczo. Uwzględnia przy tym potrzebę selektywności, przedstawia informacje na temat ostatnich osiągnięć w tej dziedzinie. Artykuł nie daje odpowiedzi jakie metody interwencji są najlepsze. Natomiast wyjaśnia pewne zasady i metody postępowania, które według autora zwiększają skuteczność interwencji wobec niedostosowanych społecznie. Pytanie dotyczy tego, w jaki sposób skutecznie zmagać się z problemem niedostosowania. Powinno to skłaniać do wprowadzenia programu zmian. Oczywiste jest jednak również, że zmiany takie muszą zostać wprowadzone na wielu poziomach, z uwzględnieniem czynników indywidualnych, społecznych oraz ekonomicznych. Biorąc to pod uwagę, autor zastanawia się, czy bezpośrednia praca z młodymi ludźmi może przynieść jakiekolwiek efekty, jeśli w powstawaniu niedostosowania społecznego tak znaczny udział mają czynniki zewnętrzne
Bruno, Son of Franz
Full text linkAlready the first reviewers of Bruno Schulz’s exhibitions and stories compared him to Franz Kafka, pointing at clear resemblances of imagination and motifs. Those analogies were later noticed also by literary scholars who either tried to prove that Schulz was inspired by the work of the Prague writer, or – on the contrary – demonstrated that all the correspondences between their literary worlds were accidental or determined by the times. Analyzing the reception of Kafka and Schulz in Poland before World War II, and the arguments used by both parties, the author makes an attempt to establish whether Schulz was indeed Kafka’s follower. It transpires that even though Schulz most likely knew Kafka’s novels and stories already before 1926, and one may find a number of links connecting not only their works, but also biographies, in terms of their idiom and worldviews the two writers were dramatically different. This, however, does not mean that there is no connection between them. On the contrary, the author realizes that it was actually Kafka who encouraged Schulz to write and ultimately made him an artist, so that Schulz’s writing may be considered a kind of response addressed to his literary progenitor. The picture of Schulz as an imitator of Kafka was largely influenced by the first postwar critics of his work, who promoted it abroad and looked for analogies with that of another Jewish writer active at approximately the same time and in the same geographical area. The ultimate step toward a firm belief in the literary affinity of Schulz and Kafka was made by Jerzy Ficowski who, even though he rejected analogies, created Schulz’s legend using the same methods as Max Brod – with similar merits as well as errors.Already the first reviewers of Bruno Schulz’s exhibitions and stories compared him to Franz Kafka, pointing at clear resemblances of imagination and motifs. Those analogies were later noticed also by literary scholars who either tried to prove that Schulz was inspired by the work of the Prague writer, or – on the contrary – demonstrated that all the correspondences between their literary worlds were accidental or determined by the times. Analyzing the reception of Kafka and Schulz in Poland before World War II, and the arguments used by both parties, the author makes an attempt to establish whether Schulz was indeed Kafka’s follower. It transpires that even though Schulz most likely knew Kafka’s novels and stories already before 1926, and one may find a number of links connecting not only their works, but also biographies, in terms of their idiom and worldviews the two writers were dramatically different. This, however, does not mean that there is no connection between them. On the contrary, the author realizes that it was actually Kafka who encouraged Schulz to write and ultimately made him an artist, so that Schulz’s writing may be considered a kind of response addressed to his literary progenitor. The picture of Schulz as an imitator of Kafka was largely influenced by the first postwar critics of his work, who promoted it abroad and looked for analogies with that of another Jewish writer active at approximately the same time and in the same geographical area. The ultimate step toward a firm belief in the literary affinity of Schulz and Kafka was made by Jerzy Ficowski who, even though he rejected analogies, created Schulz’s legend using the same methods as Max Brod – with similar merits as well as errors
Bruno, Son of Franz
Full text linkAlready the first reviewers of Bruno Schulz’s exhibitions and stories compared him to Franz Kafka, pointing at clear resemblances of imagination and motifs. Those analogies were later noticed also by literary scholars who either tried to prove that Schulz was inspired by the work of the Prague writer, or – on the contrary – demonstrated that all the correspondences between their literary worlds were accidental or determined by the times. Analyzing the reception of Kafka and Schulz in Poland before World War II, and the arguments used by both parties, the author makes an attempt to establish whether Schulz was indeed Kafka’s follower. It transpires that even though Schulz most likely knew Kafka’s novels and stories already before 1926, and one may find a number of links connecting not only their works, but also biographies, in terms of their idiom and worldviews the two writers were dramatically different. This, however, does not mean that there is no connection between them. On the contrary, the author realizes that it was actually Kafka who encouraged Schulz to write and ultimately made him an artist, so that Schulz’s writing may be considered a kind of response addressed to his literary progenitor. The picture of Schulz as an imitator of Kafka was largely influenced by the first postwar critics of his work, who promoted it abroad and looked for analogies with that of another Jewish writer active at approximately the same time and in the same geographical area. The ultimate step toward a firm belief in the literary affinity of Schulz and Kafka was made by Jerzy Ficowski who, even though he rejected analogies, created Schulz’s legend using the same methods as Max Brod – with similar merits as well as errors
„Yet penniless.” Bruno Schulz’s Income and Living Standard
Full text linkThe author makes an attempt to test a widespread opinion that Bruno Schulz had serious financial problems. This view, however, dating back to the writer’s own statement and then supported by such outstanding experts on his life and work as Jerzy Ficowski, seems to be rather untenable. Having analyzed Schulz’s income confirmed by his letters, as well as the income of other Polish writers in 1918–1939, Piotr Sitkiewicz has reached a conclusion that in fact his living standard in the 1930s was quite high, particularly if one takes into account the economic situation of Poland stricken by the crash of 1929 and its consequences. Schulz’s complaints on his teaching job and salary were not caused by objective estimation, but by his worldview which was influenced by chronic depression
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
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