Miłosz | Krasnogruda. Opowieści wędrowców
Z. Fałtynowcz, Miłosz | Krasnogruda, introduction by P. Kłoczowski, graphic design by K. Kubicka, Wydawnictwo Fundacja Pogranicze, Sejny 2016.
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Z. Fałtynowcz, Miłosz | Krasnogruda, introduction by P. Kłoczowski, graphic design by K. Kubicka, Wydawnictwo Fundacja Pogranicze, Sejny 2016.
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Both sketches indicate assorted aspects of perceiving an actual place as a metaphor. In this particular case we are dealing with Lublin, together with its spatial configuration and history as well as all that, which creates the town’s potential, both as regards meaning and imagination. At the same time, the two texts depict the premises and ambitions of the “City of Poetry” project, since 2007 realized in Lublin by the “Grodzka Gate – NN Theatre” Centre.
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At least in its mystical traditions, Indian philosophy tends to “look down” at human condition, considering it either illusory (māyā) either “accidental” (āgantuka) and seeing its suppression as the soteriological goal. The present paper tries to “redeem” human experience showing how, in Yogācāra Buddhism, it represents the condition for the perpetuity of the cosmic manifestation. Human drama, through the karmic impressions it lives within the cosmic consciousness (ālayavijāna), represents the condition for the perpetuity of the Universe. The existence of the cosmic manifestation is thus somehow subordinated to human affliction. Yogācāra Buddhism distinguishes two major types of “obstructions” (āvaraa) specific to human condition: the obstructions of the afflictions kleśāvara) and the obstructions of the knowable (jeyāvara). Both of them are necessarily involved in the production of new karmic impressions, hence the faults of human beings representing conditions for the continuity of the universal manifestation. The second part of the paper discusses the two major processes undergone by the cosmic consciousness, the outflow (niyanda) and karmic maturation (vipāka), showing that the outflow can’t ensure more than a limited continuity of a particular manifestation of the store-house consciousness. The perpetuity of cosmic consciousness necessarily requires the karmic maturation processes which always involve human affliction. Therefore, human drama is not something “accidental” in the Universe, is not something which only happens to be, but is the reason to be of the Universe. Human beings and the Universe are in an intrinsic relation of mutual conditioning, the Universe not being the “place” where human experiences happen but rather the cosmic outreach of human drama.
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The text presented to the reader is an attempt to capture images of femininity and attempt to interpret them. For this purpose, Wisława Szymborska’s works will be used, and in particular the poem “Woman’s Portrait” with images of these interpretations will be used the work of Marta Ryba, a young talented artist.
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This paper is a reflection on the problem of communicating and judging individual guilt, based on Pierre Assouline’s novel The Client – a story of a woman who during the war denounced a Jewish family to the police. Assouline’s narrative, structured as a first-person inquiry about the past, brings about a series of questions concerning individual responsibility, the need to settle the past, and the rights to judge others’ decisions and actions from the past. Arguing for the importance of public dialogue in settling the past, the author of the article discusses Hannah Arendt’s concept of the responsibility of conscience.
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The article puts a question of understanding of patriotism by Gogol and Belinsky. The problem is contemplated within the broad context of the interaction and opposition between Slavophilism and Westernism. The sources of a common mistaken opinion that Gogol’s owed his “Slavophilism” to Aksakov are studied. The article is based on an obscure history of the origin of one of Belinsky's polemical statements about Gogol as a writer who did not love Russia enough until 1839 and in fact was a “cosmopolitan poet”. In this regard, a particular attitude of Aksakov family toward religious and patriotic ideas of Gogol is taken into consideration. The recollections about Gogol by Sergey Timofeevich Aksakov-father — who shared Belinsky’s viewpoint in 1840 and inserted it later in his memoirs about Gogol, as well as the nature of the relationship of Gogol and Aksakov-father in the 1830s-1840s, are analyzed. Gogol’s views on the problem of difference between imaginary and true patriotism are introduced. The place of Gogol in the confrontation between the Slavophils and Westerners is determined.
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The article refers to the phenomenon of Western European, primarily French, and Russian socio-philosophical thought that got a traditional name of “Social Christianity” but in the Soviet times was entitled “Christian Socialism”. Dostoevsky’s “Russian socialism”, as the author himself denominates it in “A Writer’s Diary”, is for a long time and justly related to French “Social Christianity” and to its most famous representative F. R. de Lamennais (Hugues-Félicité Robert de Lamennais). At the same time “Russian Socialism” and all the entirety of Dostoevsky’s socio-philosophical views of 1860s — 1880s extremely remind Gogol’s ideas of his later period. Certain parallels between the two Russian classics are revealed in the article, and it is pointed out that while Dostoevsky’s views are usually treated with sympathy the same ideas in Gogol’s later works are often sharply criticized. The similarity between two writers, apart from certain influence of Gogol on Dostoevsky, is due to their orientation to the same currents in Western European socio-philosophical thought, and first of all to the “Social Christianity”. Both writers shared the key principle of this movement: aspiration to the transformation of social relations on true Christian basis, according to the Christian ideal of brotherhood between people regardless their class position. It was Gogol, along with Chaadaev, Dostoevsky and Tolstoy, who more than any other Russian writer or thinker was inspired by Lamennais’s “Paroles d’un Croyant” (1834) and other writings of the latter. Taking this into account a well-known correspondence between Belinsky and Gogol could be qualified as a dispute between an adherent of socio-political utopia and a disciple of “Social Christianity”.
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Myths and mythology have always attracted critical attention. As the first creative faculty of the human mind, authors use them as framework for their writings. Myths are ideology-laden narratives, with a deep psychological impact. They are the living embodiments of India’s cultural consciousness, tales Indians live by and breathe on a daily basis. Critics acknowledge their power as sources of information, while feminists bring out their hidden politics. Myths maintain a master-slave, superior-inferior relationship between men and women. A feminist perspective deconstructs the male dominance and foregrounds the suppressed female voices in these tales. The present paper focuses on Snehalata Reddy’s revisionist writing of the fire-test episode from the Ramayana told from Sita’s point of view in the play with the same name. The play foregrounds the agony and humiliation of Sita and unmasks, step by step, the hegemonic strategies adopted by patriarchy to keep women in subordinate position. Derrida’s deconstruction theory and feminism’s idea of ‘ecriture feminine’ are used as methodological frameworks for this analysis. Foucault’s ideas on the production of truths and Baudrillard’s hyperreal world will be also referred to.
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This article develops a general conceptual model of the relationship between the structure of human historical consciousness, the multidimensional experience of time, and human agency and possibility. It includes a discussion of the ways that events that change the structure of historical consciousness affect temporal experience, ontological security, and narratives of self-identity. The experience of trauma disrupts the ontological security that is required for the continuity of identity. Trauma reorganizes our sense of time and possibility. Events that impact us negatively are more likely to remain in individual and collective memories. Traumatic events change our understanding of the past and transform our hopes for the future. They often become the pivotal points for reconfiguring narratives of personal and collective identity. The conceptual model that is developed is applied to an analysis of different strategies that selected characters in Don Delillo’s 2007 novel, Falling Man, adopt in order to rebuild their narratives of self-identity after the shattering of history and the disruption of temporal experience in the wake of the events of September 11th, 2001.
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Duiliu Zamfirescu succeedes through his letters to deliver the whole expression of his personality .Through his informal ,personal letters we can notice a real , first order ,brilliant artistic personality.The interest of Duiliu Zamfirescu correspondence is not only in the historical-literary nature ,but also prevails with different kind of satisfactions than stern documentation. A writer’s correspondence reveals secrets he doesn’t want to be found but they are part of moral and intelectual climate which has conditioned the conception the artistic work. .When you read a writer’s correspondence is like passing into his work laboratory ,following him without being noticed ,is like indiscreetly, intrusivly reading his mind.
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A poet, essayist, playwright and prose writer, Marin Sorescu publishes in 1999 the volume Jurnal. Romanul călătoriilor (A Diary. The Novel of Travels), although he openly rejects the diary “as a direct authorial expression and as a bastard genre” without rules. The volume is soon followed by Marin Sorescuînpatrucontinente.Jurnal II. Inedit(Marin Sorescu on Four Continents. Diary II. Unpublished), published by George Sorescu, who retraces Sorescu’s voyages from illustrations and travel notes found in the writer’s notebooks. Fascinated with travel, Sorescuis fond of describing settings that he did not actually see but to which he travelled in his imagination. The volume consists of a Berlin diary (1973-1974) and a number of telegraphic notes from England, Ireland, Mexico, the Netherlands, Greece, etc. Although he is not interested in “the diary become literature”, promising that, provided that he writes one, it would be “salty” - he declares an adept of TituMaiorescu’s diary, a telegraphic form which records numerous details – his writing is, nevertheless,loaded with the feelings of a curious traveller, haunted by anxieties, who turns his experience into endless, tireless knowledge, being constantly on an initiatory journey. The discovery of a new cultural space makes him also discover a new self within. This raises the question as to whether are there two entities in the diary, a foregrounded one, as an assumed authorial mark, and another one to be read between the lines, or whether the authors identity is recomposed behind the iciness of this diarist.
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