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«Чувство звёздного неба» и «налёт патины»: авторское заполнение языковых лакун в сфере внутреннего мира человека

Author(s): Yuliya Vladimirovna Golovnyova / Language(s): Russian Publication Year: 0

In national cultures rich in fiction, like the Russian and English cultures, there is a layer of literary descriptions of such mental phenomena as feelings, states of mind, different ways of thinking etc., for which a national language has no well-known brief (single-word or idiomatic) names. These descriptions of individual experience are open to a reader’s understanding and can be memorized due to their figurativeness and to the use of metaphor as a means of thinking, and if an author gives the described phenomena brief names, they may become part of the national lexicon as well; in this case an author’s individual concept can become national. Taking into account the present interest of linguoculturology in language lacunae and in words with no direct equivalents in other languages, we suggest an operational term ‘an individually felt language lacuna’ to denote the absence of a brief conventional name for a phenomenon of great personal value; filling of such lacunae is a well-known detail of a writer’s work. The article considers examples of representation of authors’ individual concepts from works by Osip Mandelstam, Vladimir Nabokov, Joseph Brodsky, John Fowles, Viktor Pelevin (the names are listed here in the chronological order of their works under study).

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Uścisk Szekspira

Author(s): Anna Cetera-Włodarczyk / Language(s): English,Polish Publication Year: 0

A collection of essays dedicated to the memory of a renowned Shakespeare scholar Andrzej Żurowski (1944–2013). The book is devoted to the interpretation and reception of Shakespeare’s works in Polish theatre and abroad, to theatrical practices and various dramatic devices, to translations and comparative studies, as well as to polemics and Shakespearean inspirations in broadly defined culture: in music, iconography, and translation. A diverse study of the phenomenon of the contemporary and global Shakespeare.

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Biogram i bibliografia prac Andrzeja Żurowskiego

Author(s): Jolanta Betkowska / Language(s): English,Polish Publication Year: 0

A collection of essays dedicated to the memory of a renowned Shakespeare scholar Andrzej Żurowski (1944–2013). The book is devoted to the interpretation and reception of Shakespeare’s works in Polish theatre and abroad, to theatrical practices and various dramatic devices, to translations and comparative studies, as well as to polemics and Shakespearean inspirations in broadly defined culture: in music, iconography, and translation. A diverse study of the phenomenon of the contemporary and global Shakespeare.

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Szekspir w teatrze Stanisława Koźmiana, Kraków: 1865-1885

Author(s): Marta Gibińska / Language(s): English,Polish Publication Year: 0

Koźmian, director of Cracow’s City Theatre in the years 1865–1885 and a theatre reviewer, created a well-organized theatrical enterprise with a distinct artistic profile and well-balanced repertoire in which the best Polish plays were shown together with the canonical French, German and Russian classics. Shakespeare loomed large in the Theatre’s repertoire because for Koźmian his plays were the top achievement of European drama. The paper examines Koźmian’s ideas about drama, theatre and acting; his emphasis on both Polish and European plays in the repertoire results from the ambition to change the provincial stage into a national one, influencing and stimulating intellectual and artistic life in the then partitioned country. In this context the gradual introduction of Shakespeare’s plays (or rather their adaptations) in new translations is shown as a process of appropriating them as part and parcel of Polish culture.

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Bolesław Prus podziwia Helenę Modrzejewską

Author(s): Józef Bachórz / Language(s): English,Polish Publication Year: 0

Bolesław Prus took a lively interest in Polish theatre, which he followed out of a sense of journalistic duty (throughout his life Prus earned most of his income through journalism). He took careful note of major events in Poland’s cultural life, notably those taking place in the Russian-occupied Kingdom of Poland, where the theatres were licensed to produce plays in Polish. Prus did not put a lot of a weight on theatre, which he never saw as fundamental to the nation’s life (he was similarly unimpressed by the other arts, including, perhaps a touch surprisingly, literature), and tended to focus instead on those areas which he saw as more fundamental to the well-being of society, such as education, science, economic development or relationships between social classes. Having said that, Prus enjoyed his theatre, and he paid attention to productions taking place in Warsaw. Notable among his numerous columns on the problems, events and personalities of Warsaw’s theatre are those which focus on the actress Helena Modrzejewska. Many of his columns written in 1882 and 1885 pay considerable attention to the actress. Prus believed that Modrzejewska was one of the most eminent artists of the theatre in Poland and abroad, and he ranked her alongside the famous Sarah Bernhardt. He admired here xtraordinary talent and range of expression, noting how her professionalism was based on reliability and diligence. Prus never joined her critics who decried Modrzejewska’s decision to pursue a career in the United States and did not see her as being unpatriotic. He criticised instead the Polish version of the tall poppy syndrome whose poisonous brew of envy and backbiting encouraged the more enterprising individuals to leave the country for an international career.

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Hamlet i Hamlet 1914. Rekonesans

Author(s): Jan Michalik / Language(s): English,Polish Publication Year: 0

This article was inspired by a handwritten outline of the “screenplay” for a largely forgotten 1914 production of Hamlet in Kraków; drafted by Tadeusz Pawlikowski, widely regarded as the greatest director and theatre principal of late 19th- and early 20th-century Poland. The article opens with a description of the manuscript, a hitherto unknown document which preserves traces of the creative effort leading to the production’s premiere. The first section pieces together evidence from the manuscript with details gleaned from contemporary reviews to reconstruct the structure of the production (which involved over a dozen separate scenes), and the structure of the stage-space which used elements of a 1909 (1912) Max Rheinhard production at the Deutsches Theater in Berlin. The second section of the article argues that the production was a turning point in the critical appreciation of Karol Adwentowicz’s performance as Hamlet, more than five years after the great modernist actor added the character to his repertoire. The article is intended as a sort of reconnaissance mission to encourage further scholarly attention to what was arguably one of the most interesting theatrical productions of Hamlet in Poland.

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Z szekspirowskiego archiwum reżysera

Author(s): Kazimierz Braun / Language(s): English,Polish Publication Year: 0

The essay presents Kazimierz Braun’s Shakespeare productions directed in the United States. It opens with recollections of productions of plays by Shakespeare in which Braun either acted (Twelfth Night, Poznań University, 1957) or which he directed. These included Romeo and Juliet (Teatr Polski, Warsaw 1963), Hamlet (Teatr im. J. Osterwy, Lublin 1968), Twelfth Night (Teatr Współczesny, Wrocław 1981), Hamlet (PWST Theatre Academy in Wrocław, 1984), and also Twelfth Night in Esslingen, West Germany (1984). In America, Braun first directed his own medley of love scenes from Romeo and Juliet and Twelfth Night (Swarthmore College, 1985). Next, he directed a series of the Bard’s plays at the Shakespeare in Delaware Park Festival in Buffalo, New York: Henry V (1987), Julius Caesar (1988), King Lear (1989), and As You Like It (1991). He also staged Richard III at the Kavinoky Theatre in Buffalo (1999), where he was responsible for directing and stage design. Directing Shakespeare in its original English and in an open air setting helped Braun discover what he calls new Shakespearean horizons: the blank verse which is “actional” and totally integrates the actor’s words and deeds, controlling the actor not unlike a horse bridle, and at the same time guiding the actor’s actions, energizing him/her and imposing a rhythm on speech and movement; and secondly, replicating in the open-air theatre the potentially three-dimensional space of Elizabethan theatre, allowing a smooth and expressive structuring of the action.

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Shakespeare, the Polish Director’s Contemporary

Author(s): Kathleen Cioffi / Language(s): English,Polish Publication Year: 0

“Shakespeare, the Polish Director’s Contemporary” considers two Polish productions of Shakespeare plays in the National Audiovisual Institute’s “Polish Contemporary Shakespeare” series. The author discusses the Polish tradition of “Shakespeare mania” and then analyzes Jan Klata’s production H. (an adaptation of Hamlet) and Krzysztof Warlikowski’s production Burza. Both directors apply Jan Kott’s idea that Shakespeare can be our contemporary to their productions, but they do so in different ways. The directors’ ability to achieve contemporaneity in their productions depends not only on stylistic directorial choices, but also on the changing nature of contemporary reality itself in the post-1989 era. Klata’s production seems to be almost an illustration of Kott’s discussion of Hamlet in Szkice o Szekspirze, yet at the same time, it has a curiously old-fashioned, Cold War–era feeling. H. enlists Shakespeare in the argument over European Union accession, an argument that was au courant in 2004 when the production was first staged but now seems dated. Warlikowski’s production appears less immediately contemporary in Kott’s sense than H., yet it illustrates Kott’s notion that Burza is “a passionate reckoning with the real world” as it was influenced by the controversy over Jedwabne, an issue that remains resonant to this day.

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Poznańska dyrekcja Janusza Wiśniewskiego albo Czas na klasyków

Author(s): Tomasz Milkowski / Language(s): English,Polish Publication Year: 0

Janusz Wiśniewski’s auteur theatre project was born in Poznań in the early 1980s, catalysed by the production of Balladyna by Juliusz Słowacki in Teatr Nowy and followed by several more productions of original plays (including Koniec Europy [The End of Europe]). From the outset, Wiśniewski’s project provoked extreme reactions, enthusiastic or otherwise, with Andrzej Żurowski acting as a major advocate. Following the collapse of communism in the early 1990s, Wiśniewski tried to start a theatre company in Warsaw. When the project foundered after two premieres, he spent several years in Germany before coming back to Poznań, first as a director in Teatr Nowy, and later as theatre principal in 2003–2011. Wiśniewski successfully combined the roles of director and auteur. His Teatr Nowy tackled a number of dramatic forms ranging from traditional dramatic theatre (Romeo and Juliet) to metaphysical comedy (Richard III) and visual narrative theatre (The Tempest). Notably, Wiśniewski explored Polish and world classics at the time. This basic outline attempts to recreate Janusz Wiśniewski’s years at the helm in Poznań, and looks at his auteur productions which enjoyed good critical reception in Europe.

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Hamlet spod znaku globalizacji

Author(s): Patrice Pavis / Language(s): English,Polish Publication Year: 0

Peter Brook’s 2000 Hamlet (filmed in 2001) is an example of a globalised production where great pains are taken to make sure that the diverse backgrounds of its international cast can gel homogeneously. The interpretation is a sort of net force far removed from a critical reengagement of the text. The production seems to be guided by the impulse to try and come up with a versatile production fit for viewing and appraisal in a wide range of contexts. Is this shortage of vision and interpretive ambition a sign of humility, or is it a symptom of slick directing which fails to rise to the task of achieving critical engagement with the text?

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Mirrored Image and the Dislocation of Culture in Ninagawa’s Shakespeare

Author(s): Manabu Noda / Language(s): English,Polish Publication Year: 0

Yukio Ninagawa (b. 1935) is one of the most internationally known Japanese theatre directors for his productions of Western classics. However, he often seems defensive about directing them. My essay tries to argue that his defensiveness can be interpreted as a form of self-imposed Orientalism which consigns the mind to the West, the body to the East. For instance, in his praise of Tatsumi Hijikata’s 1972 butō piece Shiki-no tameno Nijūichi-ban [Twenty-seven Nights for the Four Seasons], Ninagawa showed his strong sympathy with the way Hijikata mixed the intellect of the West with the physicality of the East. Hijikata’s dances were broadly regarded as an unsightly form of parading and grotesque physicality, but as Ninagawa saw it, Japan’s origins were in this dark deformity. The dark origins of the indigenously Japanese was to Hijikata what the archetypal populace is to Ninagawa. The volatility of the crowd which Ninagawa loves to stage reflects the ambivalent modernity of post-World War II Japan. Ninagawa looked back on some imagined past for the origin or archetype of their nationality which he hoped might serve as an alternative to the kind of modernity of their undeniably westernized country. My paper examines ambivalent modernity in the way Ninagawa stages Shakespeare and other plays as mirroring the populace of the post-World War II political milieu of Japan.

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Metafory i praktyki teatru

Author(s): Georges Banu / Language(s): English,Polish Publication Year: 0

The attempts at describing theatre inform all works of Shakespeare though he never offers a consistent and homogeneous declaration of principles. The article is a brief survey of the multiplicity of references to the theatre and various practices known by men of the stage such as Shakespeare himself along with the metaphorical, or even symbolic use of these theatrical patterns, stage sets, actors and manners of characterization. If for Shakespeare all the world’s a stage, it is reasonable to explore the distribution of patterns underneath the plentitude of theatrical allusions scattered over his whole work.

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“My dreams presage too true”: Dreams as a Dramatic Device in Elizabethan Drama

Author(s): Pavel Drábek / Language(s): English,Polish Publication Year: 0

Throughout the entire period of Elizabethan drama dreams were used as a powerful dramatic device. They served as a means of character development (an early type of psychology), popular metaphysics as well as techniques of drama construction. This paper discusses dreams and their role in several plays by Shakespeare, The First Part of the Contention (also known as King Henry VI, Part II), King Richard III, Romeo and Juliet, and in the apocryphal Arden of Faversham and Sir Thomas More. These plays – although not a full list of Elizabethan plays that have dreams in them – may be read and understood within a single context, historically, that of the years 1590–93, in which they were all written and performed. As the dramatic function of the dream is analogical in those plays, the group may be referred to as forming a subgenre of the Elizabethan dream play.

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Conflict and Rhetoric. On the Structuring of Roles in Conflict in Shakespeare’s (Non)dramatic Poetry

Author(s): Jacek Fabiszak / Language(s): English,Polish Publication Year: 0

It appears that conflict, so fundamental in drama and theatre, assumes a theatrical vest in Shakespeare’s dramatic and non-dramatic poetry. It does not matter what the nature of the conflict is: be it military, moral, ethic, etc. It does not matter either whether there are at least two conflicted characters, as the conflicted parties, especially in the case of poetry, can be contained within a single lyrical I. The key issue in the structuring of roles in conflict is of course the omnipresent rhetoric, which was an obligatory subject in the English Renaissance education system. For this reason, neither Shakespeare (who probably did go to King’s New School in Stratford) or his contemporaries (e.g. Christopher Marlowe) were well versed in it and purposefully or inadvertently employed it in their works, especially in the situation of VERBAL conflict when one party tried to argue with another. In such a conflict, characters, or their alter egos, posed as if they were actors on stage. The scrutiny centres on two examples of Shakespeare’s poetry: a sonnet (nondramatic verse) and a monologue from Macbeth (dramatic poetry). I will try to show how in each case, with the help of rhetorical rules, the speaker constructs his interlocutor in the process of solving a conflict.

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Shakespeare’s Unhistorical Inventions and Deviations from Holinshed, and Their Dramatic Functions in Richard II

Author(s): Yun-Cheol Kim / Language(s): English,Polish Publication Year: 0

Much of the dramaturgical genius of Shakespeare’s later master tragedies is already to be found in Richard II, especially in his treatment of the main source: Holinshed’s Chronicles. This essay aims to explore Shakespeare’s departures from Holinshed in terms of characters and structure, and to see how they function in the drama. Shakespeare has changed Holinshed’s self-seeking Gaunt into an aged patriot to emphasize Richard’s weaknesses as King. He has matured Queen Isabel from a historical seven-year-old child to a fully grown woman, and facilitated Richard’s journey into self-discovery. In the garden scene that Shakespeare has invented, he even lets her, as Richard’s proxy, eavesdrop on the gardener’s admonitions on royal governance, in which Richard has failed. Most importantly, in terms of structure, Shakespeare puts the deposition scene before a large assembly in Westminster Hall, unlike historic Richard whose resignation was tendered by letter in the Tower of London. This invention, or deviation, enhances Richard as a tragic hero who has finally achieved self-knowledge, reconciliation to his fate, and victory in defeat. Shakespeare’s inventions and deviations from Holinshed in Richard II have foreshadowed some dramaturgical principles of his later great tragedies and surely put the play into a drama of truly tragic stature.

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Reviving the Anglican Confession in the Victorian Novel

Author(s): Monika Mazurek / Language(s): English Publication Year: 0

The Tractarian movement and the subsequent Ritualist movement sought to bring the Church of England back to what they believed was its Catholic roots. The means through which they tried to accomplish that were, among others, the revival of the Catholic forms of liturgy. These activities attracted much attention, often unwelcome, from Evangelical circles, who feared all these activities were the indication of a Popish “fifth column” working in the midst of the Anglican Church. One of the most controversial revivals was that of re-introducing auricular confession. Confession was in the eyes of many Anglicans tainted by its associations with the Roman Catholic Church, and especially the confessions of women, in an intimate encounter with a man who was not their father or husband, were particularly troubling. Probably the most famous confessional scene in Victorian literature is the one described by Charlotte Brontë in "Villette" (1853). This article discusses this and other confessional scenes, but focusing on confession in the Anglican context, presenting both the novelists attacking it, such as Mrs Henry Wood or Emma Worboise, but also supporting it, such as Charlotte Mary Yonge or Christina Rossetti. It is notable that while confession was very important for Tractarian religious practice, it is mentioned relatively rarely in the works of the writers connected with this movement, or described in a rather coded way. A possible explanation could be the Tractarian doctrine of reserve, which encouraged the followers of the movement to exercise caution when speaking about subjects they considered holy, especially with an uninitiated audience, such as the potentially random readers of their novels.

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Dickens Writes Trauma

Author(s): Magdalena Pypeć / Language(s): English Publication Year: 0

This article examines Dickens’s depiction of PTSD symptoms in connection with his country’s aggressive imperial actions. With a colonial other suffering from a pathological mental and emotional condition, the novel portrays colonialism as an inveterately traumatising phenomenon, the young Ceylonese’s trauma narrative being indicative of the collective race trauma afflicted on a larger community by colonial violence. Apart from portraying the traumatic inner landscape of his character, the novelist is equally engaged in offering ways of healing and recovery.

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1827: Real, Fictional, and Mythic Time in "The Pickwick Papers"

Author(s): Dominic Rainsford / Language(s): English Publication Year: 0

The action of "The Pickwick Papers" begins in 1827, ten years before the novel was published. Quite how seriously we should take this date is debateable. In Chapter 2, Mr Jingle claims to have been present at the deposition of the Bourbons, which leads Dickens to issue a correction (of sorts) in a footnote to the 1847 edition: “A remarkable instance of the prophetic force of Mr Jingle’s imagination; this dialogue occurring in the year 1827, and the Revolution in 1830”. So, Dickens was not exactly scrupulous in setting up the novel’s original chronology, and may have thought that being so would have been slightly absurd (a kind of Pickwickian pedantry). Nevertheless, he does eventually spot the mistake with the Bourbons, and draws attention to it. And there are reasons for thinking that, in some ways, he may have been deeply invested in 1827 as the opening year. To be precise, "Pickwick" begins in May of that year, a month that Dickens will have vividly recalled, as it was then, as a 15-year-old office boy in Gray’s Inn, that he began his white-collar career. In fact, it is by no means impossible that May 12th, 1827, the day on which Mr Pickwick delivers his epoch-making paper on ponds and ‘tittlebats’, may have been the very day (in the real world) on which young Charles began work. Taking its starting point from a range of internal and external hints, forms of evidence, and loose ends, such as these, this article anatomises the dating of "Pickwick" in terms of Dickens’s personal history; his sense of the social and political specifics of the 1820s; the amateur antiquarianism that is satirised within the novel; and its fictional placement in a literary no-man’s-land between Romanticism and the Victorian.

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Political Plotters or Puppets?

Author(s): Katarzyna Strzyżowska / Language(s): English Publication Year: 0

Indisputably, 18th century English society was male-dominated and male-oriented. The fundamental justification for the subjection of women was found in the Bible, and allowing women to make individual decisions or hold public offices was considered irrational. However, the situation had to be re-examined when Queen Anne came to the throne and often sought other women’s advice on issues which were to change the fate of the country. Examining a number of texts by contemporary men of letters who commented extensively on current political questions, helps to formulate conclusions on whether the women closest to the throne were personally and consciously interested in shaping the political arena, or were simply manipulated by politicians who chose to exploit their female naivety and folly.

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The Semiotics of the Gothic Country House in Jane Austen’s "Northanger Abbey"

Author(s): Urszula Terentowicz-Fotyga / Language(s): English Publication Year: 0

The article discusses the semiotics of the gothic setting in Jane Austen’s "Northanger Abbey". It argues that the novel’s dialogic form juxtaposes contrasting genres and codes constructing a multi-layered and vibrant dialogue between the realistic and the fantastic modes of the novel.

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