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The book presents various aspects of literary representations of post-Holocaust trauma in texts of Polish and German literature. The phenomena of transgenerational memory transmission or – as Marianne Hirsh puts it – "postmemory" are an important element of the author’s reflections.
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The book presents various aspects of literary representations of post-Holocaust trauma in texts of Polish and German literature. The phenomena of transgenerational memory transmission or – as Marianne Hirsh puts it – "postmemory" are an important element of the author’s reflections.
More...
The book presents various aspects of literary representations of post-Holocaust trauma in texts of Polish and German literature. The phenomena of transgenerational memory transmission or – as Marianne Hirsh puts it – "postmemory" are an important element of the author’s reflections.
More...
The book presents various aspects of literary representations of post-Holocaust trauma in texts of Polish and German literature. The phenomena of transgenerational memory transmission or – as Marianne Hirsh puts it – "postmemory" are an important element of the author’s reflections.
More...
The book presents various aspects of literary representations of post-Holocaust trauma in texts of Polish and German literature. The phenomena of transgenerational memory transmission or – as Marianne Hirsh puts it – "postmemory" are an important element of the author’s reflections.
More...
The book presents various aspects of literary representations of post-Holocaust trauma in texts of Polish and German literature. The phenomena of transgenerational memory transmission or – as Marianne Hirsh puts it – "postmemory" are an important element of the author’s reflections.
More...
The book presents various aspects of literary representations of post-Holocaust trauma in texts of Polish and German literature. The phenomena of transgenerational memory transmission or – as Marianne Hirsh puts it – "postmemory" are an important element of the author’s reflections.
More...
This work examines the actuality of Engels’ text The Development of Socialism from Utopia to Science in the first fifth of the twenty–first century, taking into account the historical experience acquired within the hundred and forty years after its first release in 1880. The basic method used in the preparation of this work is the analysis of the content of Engels’ writings and its contextualisation within the historical specific social economic circumstances during the time of Engels’ life and today. The main finding of this work is that actuality of Engel’s text Development of Socialism from Utopia to Science rests on the continual existence of the capitalist mode of production internal contradictions, which, according to Engels, utopian socialism overlooked, but which scientific socialism has discovered through new historical materialist and dialectical study of class conflicts throughout human history. The main contradiction between the only socially usable production forces and private appropriation of the unapid for surplus labor of non possesing productive classes on the anarchic world market by the classes who posses the means of production, has not been overcome until our days. In the world proportions there still did not happen expected realisation of the revolutionary action of the exploited class of hired workers to create conditions for the leap into the realm of freedom, that is the taking of control of freely united producers over their own product. Elements of the utopianism of Engels’ writing originate from demoralizing pressure of the devastating consequences of the capitalist production mode, which reduces the conviction of potential subjects of revolutionary class alliance in the possibility of achieving the socialist “realm of freedom”. On the other hand, the author points out in this paper that in the case that there does not come to revolutionary leap from the realm of necessity of the anarchic capitalist merchandise production into the realm of freedom through the self–conscious and self organised revolutionary activity of all exploited and opressed classes, there wil come to the self–annihilation of the planet earth through human destructive, alienated and alienating action of acumulation of capital for the sake of acumulation, long before this annihilation was prediceted by Imanuel Kant and Laplace through the natural evolution of solar system.
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Questioning the views in the work of Friedrich Engels, “The Origin of the Family, Private Property and the State”, is the basic task of our effort to try to point out elements that are already known in the studies of this author, but also to get to know what are the moments from this well-known work, which seem different today as opposed to the period when Engels wrote it. Because, Engels greatly contributed to illuminating the genesis of the state, and the perspective of its development. Of course, considering the phenomena of culture and civilization, letters, analysis of the gentile order, its disintegration, and the formation of a new social organization - the state. This famous and influential book meaningfully describes, analyzes and gives a kind of synthesis of some of the most important phenomena in the development of human society, and the inevitable categories from the domain of social sciences and humanities as well.
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This article is an interpretation of the text of the Grimms’ "Cat and Mouse in Partnership" from the collection "Fairy Tales". The interpretation is based on Carl Gustav Jung’s theory of psychological types. The article shows that the figures of cat and mouse represent different types of humans: the extroverted and introverted types, divided into subtypes. The interpretation shows a harmonious relationship between Jakob Grimm’s theory of the metonymic transfer of drive and instinct in fairy tales and the inevitable triumph of instinct over socialisation.
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As a historical borderland at the intersection of German and Polish cultures in southern East Prussia, Masuria has also created its own collection of fairy tales in the field of regional literature. This article presents texts collected by Max Toeppen and published in 1867, and discusses their significance in the context of the popularisation of Masurian fairy tales. Their reception in East Prussia until 1945 and especially in Poland is also analysed.
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Is it possible for a fairy tale from a foreign culture to provide emotional access to this culture for those who listen to the tale without bias and prior information? Or, putting it another way: is it possible for a fairy tale to become an ambassador of its country of origin and to inspire an intercultural debate in foreign places? The research presented here explores this question using a fairy tale from Burma, which was read to small groups and then described by the audience. It demonstrates how such an intensive engagement with a fairy tale can bring one’s own and the foreign into exchange with each other in a new format. As a result, it becomes clear that there can be no Archimedean point for such an intercultural experience objectifying the whole. It is not an interpretation of the fairy tale and its social origins that is the result of such an exploration; rather, it is all about the process of an intercultural engagement: a highly (inter)subjective process, a creation rather than a receiving recreation.
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This article focuses on the motif of women in men’s clothes and explores the folk-tale types that include this motif, for example ATU 881, ATU 882, ATU 883A, ATU 884 and ATU 888. The analysis of this motif in various traditional folk tales reveals that contrary to general belief heroines in fairy tales can be very active, can do men’s chores and, disguised as men, behave differently than role clichés would suggest. Even when they are tested to determine their true sex they behave in a “manly” way. And, interestingly enough, in some tales they are much more capable than all the male characters in the story.
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Drawing on the Romantic conception of love, formulated in a new way by Friedrich Schlegel in his novel Lucinde, and based on Niklas Luhmann’s contemporary theory of love, the article analyses three fairy tales by Sophie Tieck-Bernhardi from the collection "Wunderbilder und Träume in elf Märchen" (1802), showing the diversity of the depiction of this feeling, its social plane and its relation to the prevailing discourses, especially in men’s literature. The fairy-tale worlds show love relationships in which both sexes play an equal role and complement each other, but also those in which love remains dependent on social convention. The proposed codes of love are variable, but they are united by the need for freedom and self-determination.
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In this article, the confrontation between the individual and society is discussed on the basis of "Peter Schlemihl’s Wondrous Story" by Adelbert von Chamisso (1781–1838), a German poet and novelist of the late Romantic era. This dramatic conflict is presented through the symbolic prism of a vendable shadow, the sale of which results not only in the protagonist losing his social status, but even his very belonging to the human race. Such a reading is found to be coherent with the common psychoanalytic interpretation of Chamisso’s text.
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This paper discusses the essay "On Fairy-Stories" (presented 1939, first published 1947) by John Ronald Reuel Tolkien (1892–1973). Tolkien poses fundamental questions about the character, origin and especially about the use of fairy tales, or, in a more specific way, about the character, origin and use of human fantasy, which in his view is responsible for fairy-tale production. Tolkien identifies human fantasy as a rational and cognitive activity, which fulfils a specific function: to provide re-creation as well as consolation for the fantasy-producing or fantasy-consuming individual; of all literary genres he considers fairy tale, as a type of literature where fantasy plays a dominant role, to be most suitable for fulfilling these functions. From these positions, Tolkien argues with other fairy-tale conceptions, understandings and theories and defends the fairy tale from narrowing and abusive definitions and interpretations. The present paper summarises, outlines and comments on Tolkien’s most important thoughts and show his ideas as embedded in the Romantic movement, corresponding in various ways to the works and thoughts of the Brothers Grimm (Jacob 1785–1863, Wilhelm 1786–1859). In this manner it provides additional evidence supporting Tolkien’s observations, advocating for the positive influence of fantasy and fantastic literature on the humanity of the present age.
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This paper aims to analyse transformative works of derivative nature – fan fiction – which are based on fairy tales. They are examined in the context of popular culture studies, with a focus on critical theory and Siegfried Kracauer’s concept of Märchenvernunft – the juxtaposition of reason and fairy tales. An outline of the historical roots of fan fiction in the 18th century lays the foundation for the theoretical findings and the analyses of some contemporary fan-fiction tales.
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In this article I analyse Koronabajki [Coronatales], juxtaposing them with their prototypes from the fairy-tale collection of the Brothers Grimm. I try to answer the questions of what elements of fairy-tale plot patterns the author kept in her works, which ones she omitted, and, in connection with this, what functions attributed to classical fairy tales – therapeutic, ludic, etc. – can be attributed to these short literary forms and what significance this has for readers.
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The purpose of this paper is to reconstruct the image of Germans and of folk-tale characters’ German attributes from the perspective of comparative imagology via the analysis of folk tales collected by Oskar Kolberg. Building on the theoretical framework proposed by Holger M. Klein, this study discusses the historical and cultural background of Kolberg’s collection, examines the significance of the Kolberg family’s German roots, wonders about the intended addressee of the ethnographer’s publications, and investigates the contents of folk tales which feature the motif of the German and German attributes of folk-tale characters.
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In the European and Caucasian traditional folk narratives, there are different types of romanticised bandits. This phenomenon occurs in many societies and is described in various forms in oral tradition: epics, songs, folk tales, and anecdotes. The images of the robbers are part of a mythology of heroic lawlessness. Historical and fictional figures of robbers have been heroised and established as “social bandits” and repeatedly referred to with the term “noble robber.” In Georgian folk tales, realistic tales and anecdotes, the theme of robbers has been interpreted differently. The international fairy-tale motifs in Georgian folklore joined the national repertoire. There is a difference between fictional and non-fictional robbers in Georgian folklore. In folk tales, fairy tales and realistic tales, the fictional image of the robber is antagonistic in nature. In contrast to the folk tales, the historical robbers appear in other genres of folk narratives as outlaws whom the state regards as criminals, but in peasant society, they are considered heroes, avengers and fighters for justice and even leaders of liberation.
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