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Doświadczenie lektury wobec praktyk codzienności (od afirmacji do kontestacji)

Author(s): Jakub Skurtys / Language(s): Polish Issue: 3/2014

The author considers the idea of a reader, which he borrows from the sociological theory of everyday by Michel de Certeau. He dissociates himself from the majority of structur-alist and communication approaches, considering them to be too oppressive, using the "reader" dominated by textocentric vision of work. Aside from a specific reader or a readership, the author presents the "regular reader" from the writings of the French sociologist as an empty and utopian figure, but thanks to his/her indeterminate nature and anarchic freedom capable of eluding classic sociological and literary depictions. Then, he juxtaposes such figure with the idea of biopolitical (immaterial) labour by M. Hardt and A. Negri, presenting reading practice as an important part of social activities of an emancipatory character.

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Największy pisarz argentyński

Author(s): Ewa Kobyłecka-Piwońska / Language(s): Polish Issue: 3/2014

The paper presents Ricardo Piglia (b. 1940), one of the greatest writers of Latin America, and discusses his interest in Witold Gombrowicz.

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Dokąd zmierza literatura?

Author(s): Anna Zatora / Language(s): Polish Issue: 3/2014

Rec. Tomasz Mizerkiewicz, Literatura obecna. Szkice o najnowszej prozie i krytyce, Towarzystwo Autorów i Wydawców Prac Naukowych UNIVERSITAS, Kraków 2013, ss. 404. Reviewing author focuses on the status and place of literature in the modern world. The book consists of a collection of texts (scholarly and opinion-forming) focusing on a number of thematic fields: history of recent literature, departing from postmodernism, relation between literature and politics, otherness (Jewish and gender themes), popular genres, debut, biography, and criticism. The author, in a very subjective and individual way, answers the question of whether and how literature is still present. He diagnoses recent Polish prose, determines trends and directions of literature. The book concludes with a manifesto by the author and critic in the form of a questionnaire.

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Odzyskiwanie Conrad

Author(s): Małgorzata Medecka / Language(s): Polish Issue: 3/2014

Rec. Polskość i europejskość w Josepha Conrada wizjach historii, polityki i etyki, pod red. W. Krajki, t. 2 serii: Joseph Conrad a Polska, Europa Środkowo-Wschodnia i św iat, Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej, Lublin 2013, ss. 326. The text is a discussion of the UMCS [Maria Skłodowska-Curie University in Lublin, Poland] publication Polskość i europejskość w Josepha Conrada wizjach historii, polityki i etyki [Polishness and Europeanism in Joseph Conrad's Vision of History, Politics and Ethics] edited by Wiesław Krajka. This is the second volume in the series Joseph Conrad a Polska, Europa Środkowo-Wschodnia i świat [Joseph Conrad and Poland, Central and Eastern Europe and the World], is part of the research activities carried out by the Conrad Research Department at the UMCS. The monograph, like its predecessor, is a selection of texts previously published in English in the 22 volumes of the series Conrad: Eastern and Western Perspectives. The review highlights the qualities of the publication, which presents works by leading Polish and foreign Conrad experts. In addition to popularizing the author, it also is an attempt to recover Conrad, who is almost absent in the Polish education.

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Zlatna greda

Author(s): Vanja Radaković / Language(s): Serbian Issue: 499/2016

Vanja Radaković: KRITIČKI OSVRT NA ČITANJA DANIJELA DERONDE I PITANJE IDENTITETA

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The Self and the Labyrinth in Lewis Carroll’s »Through the Looking-Glass« and Jorge Luis Borges’ »The House of Asterion«

Author(s): Dana Sala / Language(s): English Issue: 1/2013

The chosen literary works contrasted here are »Through the Looking-Glass« and »What Alice Found There« by Lewis Carroll and »The House of Asterion« (La casa de Asterión in original), by Jorge Luis Borges. The relationship explored in this article is that between enclosure and openness in labyrinthine spaces, such as the Looking-glass House, for Alice, irrespectively his house where “any particular place is another place”, for Asterion. We, the readers, can be inside the labyrinth revealed by text only through the interiorities experiencing it. The spatial structures of labyrinth allow the retrieval not just of the symmetrical double of the mirror but also the opening of the self, the Open in Heideggerian terms, which is present at a deeper level. Labyrinth is also the secret writing, the El Aleph, and it is intertextuality that can play the role of initiation from one level to another. Dream is the link between all levels and between the self and the labyrinth. By analyzing the main characters, Alice and Asterion, and their relationship with the labyrinthine space, it appears that it is the self who shapes the maze rather than the other way round.

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Close reading / reading closely a twórcze pisanie. O przepisywaniu literatury w programie nauczania twórczego pisania

Author(s): Natalia Lemann / Language(s): Polish Issue: 1/2017

This paper is concerned with the methodological, practical and analytical dimension of creative writing training. Lectures and seminars for first year students „Literary masterpieces of XX–XXI Century”, have been dedicated to the education of close reading skills, which is an introduction to the skills of creative writing, understood as rewriting, or re-formulation of canonical literary texts. Creative writing students have been instructed how to find their own voice on the margins of famous texts. This approach for creative writing education is presented by Nicholas Delbanco, author of The Sincerest Form. Writing Fiction by Imitation. Close reading and creative re-writing of canonical literary works is a significant exercise of stylization, pastiche, narrative modes, point-of-view technique, focalization and world and character building processes. Exercises like these are not only creative writing training but also a workout of critical thinking, based on influential paradigms like post-colonialism, feminism, cultural studies, due to the subversive potential of re-written literature. This is an interesting challenge for both sides of the education process: for students and for academic teachers. This paper is a review of analytical procedures, practical exercises, questions and issues which were given to students during a course on „Literary masterpieces of XX–XXI Century” (dedicated to Lord Jim by J. Conrad, The Death in Venice by T. Mann; The Stranger by A. Camus) and an opportunity to present students’ short stories and exam task fragments.

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Pisarz (i czytelnik) w laboratorium, czyli od twórczego pisania do twórczego programowania — przypadek Twine

Author(s): Agnieszka Przybyszewska / Language(s): Polish Issue: 1/2017

This paper proposes a reflection on how to introduce some aspects of programming into creative writing study programs. Educational implementation of Twine is an analyzed case study. The problem is discussed in the context of the modern reflection on digital literature pedagogy (methods, topics) as well as of statements on the need of new media literacies. Nick Montfort’s conception of creative/exploratory programming is also used and discussed.

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BEGINKA WE WSPÓŁCZESNEJ EUROPIE. O filmie „Hadewijch” Brunona Dumonta

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BEGINKA WE WSPÓŁCZESNEJ EUROPIE. O filmie „Hadewijch” Brunona Dumonta

Author(s): Joanna Wojnicka / Language(s): Polish Issue: 4/2016

The article focuses on Hadewijch, a film by the French director Bruno Dumont. The film is discussed from the perspective of the contemporary religious experience. Bruno Dumont, one of the most interesting French directors, refers in his movie to the tradition of Robert Bresson. The protagonist of Hadewijch, a contemporary girl fascinated by the medieval mystic Hadewijch, experiences her religiousness in a world completely devoid of any metaphysical context. Her loneliness draws her near the circles of Islamic terrorists. Dumont’s ambiguous movie poses numerous questions and while it does not offer an unequivocal answer to any of them, it succeeds in providing a painful diagnosis of the condition of contemporary Western Europe.

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Między oswajaniem a swojskością. Ziemie Zachodnie w opowiadaniach Zygmunta Trziszki

Author(s): Kamila Gieba / Language(s): Polish Issue: 4/2015

The theme of this article is the motives of homeliness and taming place in prose by Zygmunt Trziszka, which relates to Polish Western Lands. According to official cultural policy, the writers were supposed to present the lands attached to Poland after World War II as „eternally Polish”. According to this propaganda, so-called Regained Territories were to be homeliness. This assumption was to authenticate about the monolithicity the state and legitimize the post-war displacements. Meanwhile, the settlers has just tamed this lands.They arrived to a place which for many of them was unfamiliar and temporary.In the stories of Zygmunt Trziszka can be seen implementation of propaganda discourse, but also attempt to denial it. Ambivalence in the perception of post-Yalta reality makes prose of Trziszka is an interesting case – its allows to capture differences between the postulates of state power and individual experiences of forced migrants.

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Sebald, az utazó – Sebald utazói

Author(s): Judit Pieldner / Language(s): Hungarian Issue: IV/2017

W. G. Sebald’s works are preeminently related to the motif of travel, both concretely, spatially and in an abstract sense, as incessant rambling in the spaces of writing and reflection. Sebald’s „ambulatory” prose is characterised by manifold connections between the concrete, physical journey and the sphere of reflection. Th e study is aimed at presenting the traversed historical, geocultural and medial spaces and at exploring Sebald’s enigmatic routes.

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Valós, virtuális-imaginárius, fiktív két 21. századi regényben

Author(s): Zsuzsa Tapodi / Language(s): Hungarian Issue: IV/2017

According to the philosophy of language, understanding and interpretation are bound to language, historicity and reason. How do such terms as real, imaginary and fi ctitious defined by Wolfgang Iser, or the components of the syntagm magic realism booming from the seventies and the concept of natural sciences, the virtual, becoming part of daily life due to the development of the computer technology, relate to each other? I have tried to provide an answer to these questions in connection with two contemporary novels, Zsolt Láng’s Bestiarium Transylvaniae. Th e Animals of Fire and Water (2003) and Ádám Bodor’s The Birds of Verhovina (2011). In both novels we have to do with an apparently real image of the contemporary Eastern European society, but the postmodern poetics and the postcolonial discourse activate such poetic and rhetorical elements that turn the imaginary reality into a fictitious, virtual one.

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Un exemple de ré-écriture post-moderne du mythe du «bon sauvage» des Lumières dans Vendredi ou les limbes du Pacifique de Michel Tournier

Author(s): Floarea Mateoc / Language(s): French Issue: 1/2012

M. Tournier is concerned with “a bricolage” of myths whose initial meaning he re-interprets in an idiosyncratic manner in his work. Here, he uses the myth of the “bon sauvage” and its ethnological foundation together with the literary figure of Robinson Crusoe so as to suit his own philosophical projects. Tournier’s singularity resides in his reversing the consacrated roles of the two protagonists, Robinson and Vendredi, whereby he reflects upon the condition of man in western society. This is an example of re-writing which uses post-modernist techniques both at content and rhetorical level which the article intends to focus upon.

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Argument to this issue’s topic: Modernism and Postmodernism. The Fortunes of the Novel in the Victorian Age

Author(s): Adrian Radu / Language(s): English Issue: 1/2013

As this articles delineates, the Victorian novel has a strong personality of its own, offering the great realistic tradition for many modern prose creations associated with what is called the modern British novel but also exhibiting traces of modernity, offering creative alternatives and foreshadowing the fictional creations of modernism and postmodernism of the twentieth and twenty-first centuries.

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Manques, objets, réconstructions de l'identité par l'écriture

Author(s): Simona Laura Şuta / Language(s): French Issue: 1/2013

Our study focuses on the "descriptiocentrist" character of Perecquian creation, because the history of Georges Perec, made up of shortcomings, is reconstructed based on objects, which in his case can circumvent a hole identity and then the space which it recovers.

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Die Nostalgie des Nicht-Seins in Günter Grass »Die Blechtrommel«

Author(s): Monica Bușoiu / Language(s): German Issue: 1/2013

Oskar Matzerath’s hiding strategies, the main character of the novel ‘The Tin Drum’ by Günter Grass, reveal the fact, that the utopian non-existence-status of a person can be spatially localized. In this interpretation hiding rituals and strategies are more than plain childhood games and represent both a way to elude reality and also a manifestation of the nostalgia for the non-existence. The research on such experiences like the nostalgia for the non-existence can be traced back to the studies on the trauma of birth, made by the psychoanalyst Otto Rank.

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Globalization and Localization: Experiments in Scottish Fiction Today

Author(s): Magda Danciu / Language(s): English Issue: 1/2013

The study aims at acknowledging the way in which traditionally marginal cultures wedge in the mainstream body through adopting and incorporating the trends that facilitate such a shift. The selection of texts belonging to the corpus of Scottish contemporary fiction attempts to demonstrate the validity of such a change through their readiness to experiment and absorption of novelty.

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Language and Metamorphosis in A. S. Byatt’s »Possession«

Author(s): Ágnes Molnár / Language(s): English Issue: 1/2014

The study aims to examine the concept of metamorphosis in Byatt’s »Possession« both on structural and on metafigurative level. The parallel mythical, Victorian and postmodern story lines, the recurrent archetypes all make us recognize that the stories and the characters are only figurations, metamorphic variations of a solid structure. On the basis of Solodow’s and Joseph Hillis Miller’s definition I investigate the concept of metamorphosis as a mode of representation, a way of perception and interpretation. Also, starting out from Paul de Man’s theory, I regard language as a carrier of prosopopoeic nature, giving face and voice to the perceived world, but also disfiguring it.

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The Priest of the Normal and his Victims in Peter Shaffer's »Equus«

Author(s): Antonia Pâncotan / Language(s): English Issue: 1/2014

My study on Peter Shaffer's »Equus« raises issues I believe to be central in the play, namely the debate regarding such concepts as: reality, normality, madness, civilization, truth, right and wrong. Shaffer merely needed a background to uncover the relativity of these concepts and of the modern reality itself. Reality has no substance, is an illusion, this is what Martin Dysart, the main character of the play, discovers. Therefore he chooses to make the journey back - with the help of Alan Strang, another key character in the play - from modern society to the purity of perception, leaving behind all conventions.

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Detecting Kunstlerroman in Conrad’s The Secret Agent: A Self-reflexive Type

Author(s): Maggie Holland / Language(s): English Issue: XI/2016

“Detecting Kunstlerroman in Conrad’s The Secret Agent: A Self-reflexive Type” argues that Joseph Conrad’s The Secret Agent: A Simple Tale (1907) is a double-voiced, double-genred, co-dependent text. The novel’s detective story voice both supports, and is dependent on, the Kunstlerroman voice. The novel’s voice supports the mise-en-abyme Kunstlerroman genre in that it, as a detective story, alerts the reader to the literary clues and hints to authorial self-reflexivity that are not overtly apparent in the text and hardly at all apparent in the story. The paper goes to some length to show that in its compliance with detective story conventions, with foregrounding its own method of detection, Conrad’s novel belongs to a self-reflexive genre. Nonetheless, the detective story dependents on the Kunstlerroman to show both genres in its two facing mirrors. The Kunstlerroman―through the self-assertive interpolation of a first-person narrator in a third-person narrative―highlights the self-reflexive nature of the detective story. In so doing the paper claims that, though reciprocal, the Kunstlerroman declares its own authority. The two voices are, paradoxically, mutually dependent and independent. The paper substantiates this rather obscure reciprocity claim by citing what it considers to be the analogous “Prefaces” to the Conrad / Ford Madox Ford 1924 epistolary novella collaboration, The Nature of a Crime (1909). While these prefaces contribute a plausible analogy between the novel and the novella, the paper also relies on Edward Said’s remarks on Conrad’s letters to add credence to the claim that The Secret Agent belongs to the Kunstlerroman- as well as to the detective story genre. Narratologists Linda Hutcheon as well as Susana Onega and Jose A.G. Landa provide scholarship on both genres, and Eric Meyer’s essay on The Nature of a Crime proves invaluable.

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