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This article deals with Sennik galicyjski written by Anna Strońska. The author was a famous award-winning reporter and commentator. The book, written in 1993, portrays a picture of Przemyśl in the 19th and 20th centuries. This is a very important town in the biography and artistic works of the writer. The article discusses the categories of narration, heroes, time and space in the work. Sennik galicyjski includes the essential historical plots and emphasized the especially writer’s bond with Przemyśl. The work makes use of many poetic and literary genres.
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The article tackles the problem of Slavic literature’s place in the academic education system of the Russian empire and Soviet Russia (1907-1931). The article discusses the changes in the curriculum of the Russian universities during the turning point in the Russian history, the reasons (ideological, methodological and systemic) for curricular reform and the direction in which arts were moving (including research on the history of Slavonic literature and Slavonic philology) under the rule of the Bolsheviks.
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Min uppsats är en intertextuell läsning av Sven Delblancs roman Ifigenia. Undersökningens fokus ligger på romanens parodiska aspekter. Efter en kort presentation av Sven Delblancs författarskap försöker jag att bädda in Ifigenia i en teoretisk kontext; jag undersöker hur Delblanc använder sig i romanen av olika parodiska strategier, hur han blottlägger dess metalitterära aspekter och hur han bygger upp spänningen mellan historia-berättelse-berättande. Jag använder mig därvidlag av två modeller som teoretiserar kring parodi: den polske litteraturvetarens Ryszard Nycz’s, och den franske narratologens Gérard Genette’s. De belyser parodins funktioner och struktur samt placerar parodin och besläktade former som pastisch eller burlesk i ett större sammanhang av intertextuella relationer. Med hjälp av dessa analytiska verktyg försöker jag att visa hur Ifigenia förhåller sig till de antika hypotexterna och hur parodiska strategier fungerar i den på olika textuella nivåer.
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In Strzępy wspomnień. Przyczynek do biografii zewnętrznej Brunona Schulza, Regina Silberner writes that the Polish-Jewish fiction writer Bruno Schulz exchanged correspondence with some psychiatrist from New York. The paper presents the latest findings concerning the life and work of Doctor Henry Joseph Wegrocki, the addressee of Schulz’s letter(s).““““
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The main idea of the present essay is considering Bruno Schulz’s own illustrations tohis stories as starting points for reconstruction of alternative plots. Schulz was an artistwho used his drawings as stimuli to develop the plots and ideas of his narrative texts.Many drawings no doubt refer to a particular story, but they show a reality that is quitedifferent from its details. Referring mainly to “Spring,” the author makes an attempt todescribe and analyze such differences, trying to reconstruct whatever Schulz himselfrejected in the process of writing.
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In The Cinnamon Shops reader can find both echoes of the classic images of faces, referringto the tradition of physiognomy and tradition of portrait painting, as well as imagesof faces belonging to the species of antiportrait, scuffing the boundary between insideand outside. They can be treated as a treatments designed for breaking mimesis, as wellas questioning the possibility of expression. Without the division on the interior and theexterior can not be said about extracting internal outside – what is after all the essenceof expression. Sometimes treatments developed by Schulz can be perceived as a game ofinterpenetrating appearances, another time – as a sense of omnipresence of meaning.
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In September 2012, Pedagogical University in Drogobych, Ukraine, hosted 5thInternational Bruno Schulz Festival. The Festival’s topic was “Bruno Schulz as Philosopher and Literary Theorist.” In 2014, thanks to financial support of the Polish Institute in Kyiv, a four-language volume was published, including all the academic papers delivered during the festival conference. The opening section of the collection includes four statements by special guests: the Polish intellectual Adam Michnik, the noted Israeli fiction writer David Grossman, the Ukrainian writer Taras Prokhasko, and the Russian writer Victor Yerofeev. The remaining sections focus on new interpretations145of Schulz’s works, various comparative contexts, and the history of the town of Drogobych, where Schulz was born and finally killed by the Nazis.
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Schulz was particularly predisposed to intertextuality, since his hometown was genuinely multilingual, with Polish and Yiddish as dominants. German, as the official language of the Austro-Hungarian administration and that of Lessing, Moses Mendelssohn,Goethe, Schiller, and Heine, was especially attractive to the educated Eastern EuropeanJews, which applied also to Schulz’s mother who taught him Goethe’s ballad, “The Erlking.” On the other hand, such centers of modernism as Vienna, Lviv, Cracow, and Warsaw, which affected the young Schulz in his student years, were also francophilic so that the works of Flaubert, Baudelaire, Zola, Proust, Huysmans, Claudel, and Gide,as well as the philosophical writings of Bergson, must have influenced him, too.
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Assuming that his readers know nothing about Bruno Schulz, François Coadou believes that he should start from the basics, although it seems that he would really like to concentrate on more specific problems. The second part of his book is an attempt to present an original interpretation of Schulz’s fiction. Coadou precedes it with a subchapter titled,“Presentation of Bruno Schulz,” which seems neutral, but in the French context is quiteunusual, referring to Gilles Deleuze’s "Présentation de Sacher-Masoch", since the author of "Venus in Furs" provides one of the issues under scrutiny. Coadou approaches Schulz’s fictionas an open work in the tradition of Cervantes, Sterne or Joyce, claiming that in his analysis of the decomposition of the world and subjectivity the Polish writer proved more penetrating than the author of Ulysses. Next to such daring, controversial, and sometimes simply doubtful proposals, one may find in Coadou’s brief study a metacritical reflection criticizing the schematism of Schulz’s reception, continuously referring to the same biographical facts and psychological diagnoses. "L’inquiétude de la matière" is an interesting attempt to approach the Polish writer from the outside, but on the other hand, it is also disappointing because of its interpretive and stylistic faults.
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The fundamental premise of Bruno Schulz’s theory of interpretation is an assumption that reality has some meaning. This meaning is an intentional object which must be discovered in a process of creative interpretation. In Schulz’s fiction, Józef fails to become a true artist because he cannot be or does not dare to be a successful interpreter of the reality of Drogobych. The central text of Schulz’s phenomenological hermeneutics, approached by Meniok in the context of the Husserlian and Ingardenian tradition,is his programmatic essay "Mythicization of Reality" [Mityzacja rzeczywistości], where he stressed the potential of literature to activate myth as a component of reality. Thus,the writer’s task is both to endow reality with myth and to interpret myth – and consequently reality – in a creative manner.
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According to the title, the author makes an attempt to reconstruct and analyze the rhetoric of Jerzy Ficowski’s works on Schulz. Since rhetoric is understood here as a way of articulating the text, in many cases it overlaps with poetics. The author’s intentionis to approach "Regions of Great Heresy" as a careful reader of both Schulz and Ficowski to show ideological and stylistic affinities between them. An important part of the essayare many statements by Ficowski himself, drawn from his private correspondence (including letters sent to Schulz) and poetry (particularly his first book of poems, LeadSoldiers of 1948, very significant in the context of his Schulz studies). Supplemented by Kandziora’s commentary, Ficowski’s statements shed new light on the methods of critical research on an author whose biography is incomplete, while his manuscripts,letters, and works of art have been either destroyed or scattered. Thus, Ficowski alternates biography and interpretation, trying to reintegrate the entire output of Schulz. The essay belongs to a research project supported by Narodowe Centrum Nauki.
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Łazorak’s article focuses on the life and career of Izydor Schulz, Bruno’s elder brother,educated at the Lvov Polytechnic, where he earned a degree of construction engineer. After a Roman Catholic baptism, Izydor Schulz became an important member of the municipal board of Drogobych, cooperating with the Mayor Rajmund Jarosz. At that time, still before World War I, he designed and constructed a number of large ground oil containers, much needed during the oil boom in Borislav and the neighboring villages. Between the world wars, Izydor Schulz was one of the top managers in the Polishoil industry, interested also in the cinema. He regularly supported his parents and younger brother who stayed in Drogobych and found a teacher’s job at the local grammar school for boys. Without Izydor’s help, Bruno Schulz would not have published hisfirst collection of short stories, "Cinnamon Shops". After his brother’s sudden and premature death, he remembered him dearly in his letters to friends and acquaintances.
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In 1989 the author edited a volume of Schulz’s fiction for the series of “Biblioteka Narodowa.” He immediately sent a copy to Jerzy Ficowski who soon responded with a long letter of March 10, 1990, including detailed remarks and opinions about the book. In the present essay, Ficowski’s letter has been quoted in full. After many years, the author is ready to agree with most Ficowski’s observations, with one exception concerning a still undecided issue that is one of the most difficult tasks of the editor, namely the choice of words which must be explained in footnotes. Ficowski’s approach to this problem was more radical. He proposed that the editor’s commentary should be limited to the absolute minimum. Persuaded by his criticism, in the second edition of1998 the essay’s author considerably reduced his comments and explanations. Today he would insist on keeping them intact. Any editor working for “Biblioteka Narodowa” must choose between two ridiculous extremes: on the one hand, he or she may be a meticulous exegete, copying the "Dictionary of Words of Foreign Origin", on the other,an old-fashioned professor who believes that “every educated person” should know the cultures of antiquity like a graduate of an early twentieth-century classical grammar school. Moreover, the editor must remember that his or her work will serve readers forseveral decades in the course of which the knowledge of ancient cultures will decrease even more. Different principles must be followed in respect to critical editions of the A type, avoiding comments of the dictionary entry kind and explaining only rare regional variants of lexical items. This type must also take into consideration the needs of translators.
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The artist Tomasz Lec has done one of the most original graphic designs referring to Bruno Schulz. It is a cover of "The Regions of Great Heresy and Environs" by Jerzy Ficowski, the founding father of Schulz studies. The black cover shows a page from a stamp album with nineteenth- and twentieth-century stamps. This idea is a direct reference to Rudolf ’s stamp album from the short story “Spring” which includes the motif of the Book, fundamental for Schulz’s fiction. All the stamps have been supplemented by Lec with a graphic motif connected with Schulz (e.g., a panorama of Drogobych, the writer’s self-portrait or an illustration from "The Book of Idolatry"). According to Lec, each of the fourteen stamps is supposed to be an allusion to a specific chapter of "The Regions of Great Heresy". At the end of the essay there is an short guide to his stamp album by Tomasz Lec. The artist has identified in it both the stamps that he used and the Schulzian graphic motifs he added in his both symbolic and humorous collage.
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Bruno Schulz visited Paris in August 1938. He wanted to organize there an exhibitionof his works of art and for that reason he met, among others, Ludwik Lille, a graphic artist and a painter, member of an avant-garde group called “Artes.” In Lille’s archive, now held in the Polish Library in Paris, there are several texts written for the Polish Section of the French Radio. One of them is titled “On Bruno Schulz, a Poet anda Painter.” The entire text, which was presented on the radio, has been included in the present essay as an appendix. The other appendix is a reproduction of a photocopy of Mieczysław Joszt’s portrait drawn by Schulz, which is now also in the holdings ofthe Paris Polish Library. The drawing was mistakenly published in 1969 by “Oficyna Poetów” and Schulz’s portrait drawn by Lille.
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The full title of Michał Paweł Markowski’s book includes four elements: Universal Promiscuity. Schulz, Existence, Literature. Also the list of contents has four segments. The term “existence,” used both in the title and in the list of contents, reveals the author’s emphasis. Markowski remembers Walter Benjamin’s dream of writing a book made exclusively of quotations and uses a similar method. His point is to show a close connection between the “key idea of Schulz’s world” and “Schulz’s language.” Markowski claims, “The present book is about Schulz and about his own existence inscribed in literature which has become an existence of the second degree.” By “bio-graphy” he understands “existential analysis” and in this respect his book is about “Schulz as a philosopher” and the “philosophy of Schulz.” The composition of the book corresponds toits title – it includes a large number of mostly very short chapters of which the reader has not been informed in advance. That is why the present review contains a necessary supplement.
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This paper treats Bruno Schulz’s "Cinnamon Shops" as a depiction of two entirely different models of writing: the first disturbingly real for Schulz, and the second more idealized, or even nostalgic. The first model presents writing as a process of constantly deferred meaning, as a wandering through a labyrinth of shifting city streets or human signs, whose “configuration,” as the story’s narrator observes, “fails to match the expected image.” The second, more idealized model was described by Schulz himselfin his famous 1935 essay for Stanisław Ignacy Witkiewicz as the proper goal or aspirationof art: “Its role is to be a probe sunk into the nameless. The artist is an apparatusregistering processes in the depths, where value is formed.”The paper presents the culminating scene of "Cinnamon Shops" as a fantasized versionof this theory in praxis: the artist sinks his probe, or rides his metaphysical horse and carriage, into the nameless realm, from the labyrinth of language into a forest of meaninglessness which at the same time forms the hidden source of all meaning. The boy protagonist of the story must leave the city, surrender to unconscious will, and journey deep into a winter forest at night. There he finds not darkness, cold, and death, but sparkling lights, a secret spring and the signs of new life in the dead of winter. However, this journey – much like Schulz’s theory of art and writing more generally – remains in sharp contrast both with the defective version of reality presented in much of his other fiction and with the alternative model of writing as a hopeless search for an ultimate reality that can never be found. This paper examines the conflict between these two visions.
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The frescoes painted by Schulz in Landau’s villa are, to our present knowledge, his last work done under unusual circumstances – under pressure. We will never find out whether Schulz, doing his final job, had any artistic ambitions, but we can assume that it was not just a ransom he had to pay to live. At any rate, he followed his main principle of combining the real and the imaginary, in that case the motifs from fairy tales. It seems that juvenile daubing and illustrations to popular tales for children belong to a “reality of a lower rank,” but this is what brings them together, which liberates the frescoes from the space of death, tears down a thanatological curtain, and makesus perceive them, just like the drawings from the sketchbook, as artistic efforts – notfirst but last. One might say that both the fairy tale motifs and their rendering let Schulz reach beyond oppression and include the frescoes in the main course of his development. Thus, the frescoes in Landau’s villa are a gesture of oppressed freedom,but freedom nonetheless. A Great Artist wanted to save not only his life, but also, and perhaps above all, the integrity of his art.
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The “High Heels” project is an interdisciplinary and intermedia action of an international range. It has been inspired by the graphic art of Bruno Schulz and a Ph.D.dissertation "Schulz’s Women" [Kobiety z kręgu Schulza], completed by the author at the Academy of Fine Arts in Warsaw.
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