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    Tytuł:
    Podmiot groteskowy w dramatach Olega Bogajewa
    Autorzy:
    Juchniewicz, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/1022308.pdf
    Data publikacji:
    2020-10-27
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    the grotesque subject
    irony
    the grotesque
    simulations
    contemporary drama
    Opis:
    The article analyses three dramas written by Oleg Bogayev (The Russian National Postal Service. A Room of Laughter for a Lonely Pensioner; Bashmachkin and Sansara). The purpose of the work was primarily to expose various forms, due to which we can talk about the grotesqueness of the subject, i.e. the relationship I – Others, the violation of the boundary between the categories of significant and signified, subject-object relations, the subject of the act of behaviour and the act of speech as well as the occurrence of the Voice as a separate unit from the subject. The author emphasises the fact that the contemporary figure of the subject has been reduced to the language level and experiences a crisis of self-identification, which in turn leads to the crisis of the drama itself. Comic characters balance between the real and the fantastic world. Their statements are often pictures-simulations, heavily saturated with irony, the grotesque and absurdity.
    Źródło:
    Studia Rossica Posnaniensia; 2020, 45, 2; 127-136
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Holocaust and the Grotesque: the Case of Artur Sandauer’s Fiction
    Autorzy:
    Wołk, Marcin
    Powiązania:
    https://bibliotekanauki.pl/articles/545314.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Gdański. Wydział Filologiczny
    Tematy:
    The Holocaust
    the grotesque
    Artur Sandauer
    modern Polish literature
    Opis:
    The paper brings an analysis of the forms and functions of the grotesque in Artur Sandauer’s literary works as well as more general reflections on non-conventional means of artistic expression applied to the Shoah experience. In Sandauer’s fiction, the grotesque poetics serves not only to expose chosen aspects of the Holocaust but it also helps to create metaphors concerning the basic mechanisms and fundamental processes of the catastrophe.The grotesque in the works of this and other Holocaust writers is a much wider issue, worthy of thorough study. The authors variously employ images of dehumanisation, ironically reproduce Nazi propaganda, mock highbrow culture, expose the contradictions intrinsic in 19th and 20th century humanitarian discourse or in language itself. The grotesque makes readers uncomfortable, questions readymade interpretations and judgements, demands independence in taking a stance on things which are beyond understanding. That is why it becomes an efficient device of artistic expression concerning subjects which do not easily lend themselves to more traditional and conventional approaches.
    Źródło:
    Jednak Książki. Gdańskie Czasopismo Humanistyczne; 2016, 6; 187-196
    2353-4699
    Pojawia się w:
    Jednak Książki. Gdańskie Czasopismo Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Groteskowe transformacje w filmach animowanych Jana Lenicy
    Grotesque Transformations in Animated Films by Jan Lenica
    Autorzy:
    Nędzi, Emilia
    Powiązania:
    https://bibliotekanauki.pl/articles/1929417.pdf
    Data publikacji:
    2011
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    film animowany
    groteska
    groteska w filmie animowanym
    Jan Lenica
    polska szkoła animacji
    animated film
    the grotesque
    the grotesque in animated film
    Polish school of film animation
    Opis:
    This paper elaborates the problem of the grotesque style in a selection of animated films by Jan Lenica (1928-2001). The main objective of the paper is to justify the thesis posed by the author. The thesis is that the grotesque style is an aesthetic category that organizes the world of moving images in Lenica’s films. The perspective adopted by the author, as expressed by the thesis, allows to better understand the creativity and the artistic talents that manifest themselves in Lenica’s film works. The first part of the text gives a definition of cinematographic animation. Essential differences were pointed out between an animated and a feature film. Referring to the Freudian concept of das Unheimlich – the incredible (a concept that is fundamental for comprehending animation, both its aesthetics and its impact on the viewer), the author pinpoints “the grotesque” as a distinctive feature of the animated film medium. This is because animated film makes use of specific means of realizing the impression of the incredible. Animation blurs the borderlines between reality and dream, between the dead and the living. In this way, a new world is born, in which there obtain relationships that are impossible anywhere outside of it. The latter part of the text concentrates on the analysis of the particular film elements as used by Lenica to construct his poetics of the grotesque. These elements consist of: a specific spatial composition, a specific way of representing figure movement, types of protagonists, numerous cases of the situational grotesque and the sound background. At the end, the paper brings answers to the most important questions that can be asked in relation to the subject matter under analysis: what does the world seen through the grotesque look like and why did Lenica use this aesthetic category? The author also refers the reader to the sources of Lenica’s inspiration and the roots of his grotesque perception of reality.
    Źródło:
    Roczniki Humanistyczne; 2011, 59, 4; 235-269
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Institutul de teorie și critică literară G. Călinescu, Bucureşti
    The Uruzs literary case from the perspective of aesthetics of grotesque
    Autorzy:
    Cofan, Aluniţa
    Powiązania:
    https://bibliotekanauki.pl/articles/1050890.pdf
    Data publikacji:
    2014-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    the Urmuz’s case
    the rhetoric of grotesque
    Romanian literature
    Romanian authors from early XX-th century
    Alfred Jarry
    Opis:
    We are trying in the following phenomenological approach to go on with our description concerning the grotesque in Romanian literature. In the first part of our work, we will make a short and diachronic review of the most important writings belonging to Romanian authors from the XIX-th century till the first decade of the XX-th century. It is then when a mysterious and shy Romanian writer, called URMUZ, gave birth to a few but influential literary pages of the absurd and the grotesque. In the second part of our work we will analyze the distinguishing traits of his ten works of prose through the mirror of the grotesque. This ignored Romanian writer was baptized “a new Alfred Jarry”, although he never had heard about this French author and never read about Ubu. The hidden influence of Urmuz unknowingly modernized the concept of literarity.
    Źródło:
    Studia Romanica Posnaniensia; 2014, 41, 2; 59-71
    0137-2475
    2084-4158
    Pojawia się w:
    Studia Romanica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Uważajcie na kałamarz! Wokół Historyjek o Alicji… Gianniego Rodariego
    Watch Your Inkpots! Some Remarks about Stories about Alice… by Gianni Rodari
    Autorzy:
    Ożóg-Winiarska, Zofia
    Powiązania:
    https://bibliotekanauki.pl/articles/1918738.pdf
    Data publikacji:
    2017
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    Alice Cascherina
    Boero Pino
    Groteska
    Kultura masowa
    Parabola
    Włoska literatura dla dzieci i młodzieży
    Rodari Gianni
    Alice Cascherina. Boero Pino.
    The grotesque.
    Italian literature for children and young people.
    Mass culture.
    Parable.
    Opis:
    W artykule podjęto próbę ukazania inspiracji i wzorów pozaliterackich twórczości dla dzieci Gianniego Rodariego na przykładzie ciekawego cyklu opowiadań Le favolette di Alice (polski przekład Historyjki o Alicji, która zawsze wpadała w kłopoty). Wskazano na bardzo bliskie związki dzieła G. Rodariego z rozwojem współczesnej kultury masowej i jej wirtualnego, także transgresywnego i eksploracyjnego charakteru. Na kreacje literackie włoskiego pisarza niewątpliwie miał wpływ rozwój telewizji, oceanografii (Jacques Cousteau) oraz program kosmiczny (rosyjski i amerykański Sojuz–Apollo). Wraz z dostępnymi dzieciom i młodzieży formami tradycyjnymi kultury masowej, jak malarstwo, filatelistyka czy widowiska w parkach rozrywki, procesy te kształtowały wrażliwość, wyobraźnię masową i wzory czasoprzestrzenne nowego człowieka – uczestnika i współtwórcy kultury masowej oraz nowego bohatera dziecięcego i młodzieżowego. Ciekawość poznawcza, dążenie do przekraczania wszelkich granic i przestrzeni świata rzeczywistego oraz wyobrażonego, kulturowego, stanowią pomosty między literaturą a realnym życiem. Jest to motywowane podmiotowością człowieka, jego aktywnością, która otwiera różne przestrzenie i umożliwia poznanie przedmiotów oraz istniejących w nich form i zjawisk. Gianni Rodari odkrywa przed dzieckiem świat współczesny i przybliża jego bogactwo w makro- i mikroskali, dzięki stosowaniu – obok realizmu magicznego – groteski oraz paraboli, które autor ten zamienia na grę i zabawę, czyniąc metaforycznymi znakami rzeczywistości.
    The article attempts to present the inspiration and extraliterary models of the children’s literature by Gianni Rodari on the basis of the example of an interesting series of stories entitled Le favolette di Alice [Stories about Alice]. The article indicates close relations between Rodari’s works and the development of modern mass culture and its virtual, also transgressive and exploratory, nature. The literary creation of the Italian writer was doubtlessly influenced by the development of television, oceanography (Jacques Cousteau) and the space programme (the Russian and the American “Apollo” programme). Along with the traditional forms which are accessible to children and young people such as painting, philately or shows organised in amusement parks, these processes formed the sensibility, the mass imagination and the temporal and spatial models of the new man – the participant and the co -creator of mass culture and the new hero/protagonist of children and young people. Cognitive curiosity, the drive to intensively transgress any boundaries and the areas of the real and imagined, culture-related world, constitute bridges between literature and real life. This is motivated by the man’s objectivity, his activity, which opens various areas and facilitates the cognition of objects, and the forms and phenomena which exist in these objects. Gianni Rodari reveals the modern world for the sake of children and familiarises the latter with its richness in the macro scale and in the micro scale, owing to the use of the grotesque and parables (apart from magic realism) which the author replaces with entertainment and amusement, creating metaphorical signs of reality.
    Źródło:
    Nowa Biblioteka. Usługi, Technologie Informacyjne i Media; 2017, 2(25); 21-34
    1505-4195
    2451-2575
    Pojawia się w:
    Nowa Biblioteka. Usługi, Technologie Informacyjne i Media
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Subwersywny potencjał śmiechu, czyli Ključ od velikih vrata Hinka Gottlieba
    The Subversive Potential of Laughter in Hinko Gottlieb’s Ključ od velikih vrata [The Key to the Great Gate]
    Autorzy:
    Giergiel, Sabina
    Powiązania:
    https://bibliotekanauki.pl/articles/30148706.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Hinko Gottlieb
    the Holocaust
    Croatia
    grotesque
    humour
    fantasy
    Opis:
    This paper focuses on a short work of fiction written in the 1940s by the Croatian Jew, Hinko Gottlieb. The manuscript of the book was found in one of the Jerusalem archives and,about seventy years later was, prepared for publication in Croatia in 2021.  Undermining the readers’ previous habits, the book uncharacteristically problematises the Holocaust. Gottlieb uses humour as his major aesthetic device to describe internment. the story may also be ascribed to the fantasy genre, or to speculative fiction to be more precise. The purpose of the thought experiment presented here is to examine (in prison conditions) the possibilities that the socalled space capacitor has to offer. Besides acknowledging the occurrence in the text of such categories as science fiction, grotesque and surrealism, the article endeavours to answer the question about their use in the story of the Holocaust.
    Źródło:
    Poznańskie Studia Slawistyczne; 2023, 24; 43-63
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jak opisać „świat piramidalnego absurdu”? – czyli o grotesce w literaturze łagrowej
    How to describe “the world of pyramidal absurd” or grotesque in the camp literature
    Autorzy:
    Sucharski, Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/649187.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    a soviet camp
    a grotesque
    a satire
    the totalitarianism
    hyper-reality
    Opis:
    The main aim of the paper is to reflect on the various forms of the disclosure and the use of the grotesque in the Polish camp literature. Prisoners, authors of books devoted to life in the camps, experienced life in conditions that we did not normally recognize as impossible. In this sketch I try to show the ways of using (or not-using) of this experience in literature. Many Polish writers emphasized the importance of ridicule in the description of the world of the camp, because “it sees sharper, it clearly draws”, but that perspective often lacked in their books. However, there were writers (Grubiński and Wittlin) who put the world of Soviet slavery in satirical way, often in the form of “laughter through tears” (close to Bachtin’s conception). There were also writers (Lipski and Mayewski) who dispassionately exposed the horror of the atrocity of the camp, they took the game with the absurd (close to Kayser’s conception). Finally, there was a writer (Olszewski) who attempted to capture the entire Stalinist world as a grotesque.
    -
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2017, 42, 4
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    How to describe “the world of colossal absurd”? On the grotesque in Gulag literature
    Autorzy:
    Sucharski, Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/649604.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    a soviet camp
    a grotesque
    a satire
    the totalitarianism
    hyper-reality
    Opis:
    The main aim of the paper is to reflect on the various forms of the disclosure and the use of the grotesque in the Polish camp literature. Prisoners, authors of books devoted to life in the camps, experienced life in conditions that we did not normally recognize as impossible. In this sketch I try to show the ways of using (or not-using) of this experience in literature. Many Polish writers emphasized the importance of ridicule in the description of the world of the camp, because “it sees sharper, it clearly draws”, but that perspective often lacked in their books. However, there were writers (Grubinski and Wittlin) who put the world of Soviet slavery in satirical way, often in the form of “laughter through tears” (close to Bachtin’s conception). There were also writers (Lipski and Mayewski) who dispassionately exposed the horror of the atrocity of the camp, they took the game with the absurd (close to Kayser’s conception). Finally, there was a writer (Olszewski) who attempted to capture the entire Stalinist world as a grotesque.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2017, 46, 8
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Inside the crystal ball of tradition
    Autorzy:
    Woźniewska-Działak, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/17909918.pdf
    Data publikacji:
    2021-06-11
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    baroque
    mannerism
    Enlightenment
    Romanticism
    Romantic irony
    the nineteenth century
    literary tradition
    grotesque
    infinity
    Opis:
    The article reviews Agata Seweryn’s book titled Between the Worlds. Studies in the Literature of the Enlightenment and Romanticism, accounting for the composition of the book, examining research problems raised in it in greater detail, and discussing essays included in the publication as supplementing existing interpretations of selected Romantic works. Seweryn is argued to draw attention to those aspects that reveal the richness inherent in the discussed works, which are demonstrated as not having been exhausted yet. These works are analysed in the reviewed book by pursing references to the baroque tradition, or by reflecting on their relationship with normative poetics and rhetoric.
    Źródło:
    Studia Norwidiana; 2020, 38 English Version; 240-251
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”
    Autorzy:
    Tink, James
    Powiązania:
    https://bibliotekanauki.pl/articles/2048126.pdf
    Data publikacji:
    2021-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jan Kott
    grotesque
    absurd
    Macbeth
    adaptation and appropriation
    Macbeth, Macbeth
    Ewan Fernie
    the posthuman
    Opis:
    Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesque to suggest where it indicates a potential interrogation of the human and posthuman in Shakespeare, especially at points where the ideas of the grotesque or absurdity indicate other ideas of causation, agency or affect, such as the “grand mechanism” It will then argue for the continuing relevance of Kott’s work by examining a recent work of Shakespearean adaptation as appropriation, the 2016 novel Macbeth, Macbeth by Ewan Fernie and Simon Palfrey which attempts a provocative and transgressive retelling of Macbeth that imagines a ‘sequel’ to the play that emphasises ideas of violence and ethics. The paper argues that this creative intervention should be best understood as a continuation of Kott’s idea of the grotesque in Shakespeare, but from the vantage point of the twenty-first century in which the grotesque can be understood as the modification or even disappearance of the human. Overall, it is intended to show how the reconsideration of the grotesque may elaborate questions of being and subjectivity in our contemporary moment just as Kott’s study reflected his position in the Cold War.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 71-85
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czytanie Süskinda
    Reading Süskind
    Autorzy:
    Jokiel, Irena
    Powiązania:
    https://bibliotekanauki.pl/articles/2012651.pdf
    Data publikacji:
    2016-06-01
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    śmierć
    fantazmat
    metafory końca
    groteska
    ironia
    death
    interpretation
    phantasm
    metaphors of the end
    grotesque
    irony
    Opis:
    Plots created by Patrick Süskind are transparent and uncomplicated; they follow a conventional path, seemingly aloof from formal modernist experiments, and close with distinctive endings; in popular reception, they give a sense of confidence that even the most fantastic worlds, derived from the corners of imagination, may be set into a familiar and closed whole. Perhaps this simplicity makes it easy to be satisfied by their seductive plot and steer clear off tracks leading to the content encrypted within the deep structure. The author of the present paper attempts to interpret the short stories: Maître Mussard's Bequest and The Story of Mr Sommer as a metaphorical and grotesque vision of man's existential death anxiety.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2016, 6(9); 339-350
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Deconstruction of Emotional Discourse in the Novel Gullo Gullo by Miodrag Bulatović
    Razgrađivanje emotivnog diskursa u romanu Gullo Gullo Miodraga Bulatovića
    Autorzy:
    Đurišić-Bečanović, Tatjana
    Powiązania:
    https://bibliotekanauki.pl/articles/636062.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    emotional discourse
    primary emotions
    the index character
    subversive strategies
    grotesque
    nonverbal codes
    pornography
    syntactic figures
    Opis:
    The paper deals with a detailed analysis of the characteristics of emotional discourse, organized in a literary text, specifically in the novel Gullo Gullo by Miodrag Bulatovic. Since expressing of emotions can be verbal and non-verbal, both codes relating the organization of emotional discourse have been activated. In the analysis of literary coded emotional discourse the author had to consider two-instance system of art. The fiction as a basic distinctive feature of a literary text has a crucial influence on the emotional semiosis resulting in producing emotional meaning. That process has always been influenced by various features of poetic language and its combinatorics, which are significantly different from encoding in real chronotope expressed in native language forms, governed by quite different rules of expressing emotions and transferred by the people and not the literary structure. Since the fact that disorders of phatic function of a language, communication and culture, are defined as major agents of the process in question their accepted values novels written by Miodrag Bulatovic, the author points out the importance of carnival, grotesque, pornography and satire which have been used as the main degradation processes of the canonized cultural and communication patterns in the novel, whose destructive operation inevitably affects the emotional discourse.
    Źródło:
    Poznańskie Studia Slawistyczne; 2015, 9
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Swojskie przestrzenie absurdu
    Autorzy:
    Pawłowska-Jądrzyk, Brygida
    Powiązania:
    https://bibliotekanauki.pl/articles/1042260.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Franz Kafka
    Przemiana
    metamorfoza
    proza groteskowa
    absurd
    wyobraźnia artystyczna
    przestrzeń przedstawiona
    parabola
    symbol
    The Metamorphosis
    grotesque prose
    absurdity
    artistic imagination
    depicted space
    Opis:
    Przedmiotem analizy w artykule jest Przemiana (1915) Franza Kafki. Autorka podejmuje próbę uchwycenia różnorodnych aspektów fenomenu przestrzeni kafkowskiej w kontekście funkcjonowania motywu murów/ścian/sufitów w tym bodaj najsłynniejszym opowiadaniu literatury światowej. Badaczka traktuje przy tym utwór Kafki jako niedościgniony wzór artystycznego kształtowania scenerii: takiego mianowicie, które plastyczność i konkret motywów oraz relacji przestrzennych czyni swego rodzaju residuum wysublimowanych, symbolicznych znaczeń, realizujących się w pełni dopiero za pośrednictwem wyobraźni odbiorcy, w toku kontemplacyjnej lektury i towarzyszącego jej przeżycia estetycznego. Wywód prowadzi do konkluzji, że Kafka w swym parabolicznym, absurdalnym, pełnym niedopowiedzeń (a jednak zaskakująco konkretnym) opowiadaniu nie odsłania sensu historii bohatera przemienionego w stawonoga, pozwala nam jednak ten sens przeżyć i przeczuć – jako treść naszego własnego życia.
    The subject of analysis in the article is The Metamorphosis (1915) of Franz Kafka. The author attempts to capture various aspects of the Kafka space phenomenon in the context of the functioning of the wall / ceiling motif in this probably the most famous narrative of world literature. At the same time, the researcher treats Kafka’s work as an unsurpassed pattern of artistic scenery shaping: namely, which plasticity and concrete motifs and spatial relations make a kind of residuum of sublime, symbolic meanings, realizing fully only through the imagination of the recipient, in the course of contemplative reading and accompanying it aesthetic experience. The argument leads to the conclusion that in his parabolic, absurd, full of understatement (and yet surprisingly specific) piece of work, Kafka does not reveal the sense of the story of a hero transformed into an arthropod, but allows us to experience this sense and presage it – as the content of our own lives.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2020, 59, 4; 29-44
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bohater groteskowy "Ferdydurke" Witolda Gombrowicza w przekładzie Katariny Šalamun-Biedrzyckiej
    Groteskni lik v Gombrowiczevim romanu "Ferdydurke" v prevodu Katarine Šalamun-Biedrzycke
    The grotesque character of Witold Gombrowicz’s "Ferdydurke" translated by Katarina Šalamun-Biedrzycka
    Autorzy:
    Osmólska, Marzena
    Powiązania:
    https://bibliotekanauki.pl/articles/487311.pdf
    Data publikacji:
    2012-10-01
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    Witold Gombrowicz
    Ferdydurke w przekładzie słoweńskim
    groteska
    bohater
    przekład
    Ferdydurke v slovenskem prevodu
    karakter
    prevod
    Ferdydurke in the Slovenian translation
    grotesque
    character
    translation
    Opis:
    Groteska je estetska kategorija, ki ruši ustaljeno predstavo o svetu, predstavlja sestavljenost in tuje oblike pojavov, ki vzbujajo začudenje. Na Poljskem se je izraz groteska prvič pojavil na začetku XIX. stoletja kot izposojenka iz nemškega jezika. Raziskovalci književnosti in umetnosti XX. stoletja trdijo, da se je groteska v poljski književnosti pojavila ob koncu modernizma. Možen je tudi drugačen pogled, ki pravi, da je bila umetnost modernizma groteskna skoraj v celoti. Groteska v romanu Ferdydurke obsega vsa področja dela, tudi jezik. Ta groteskni jezik, ki ga med drugim zaznamujejo neologizmi, prepletanje patetičnega in pogovornega jezika, je lahko izziv za prevajalca. Pri oblikovanju grotesknega lika pomembno vlogo odigravajo deli telesa (npr. ritka in fris), ki imajo v romanu simboličen pomen. Pisatelj uporablja tudi neologizme in ruši besedni red, da bi dosegel grotesken učinek dogodkov. Prevajalka si je prizadevala, da bi v prevodu ohranila enako sliko grotesknega lika, čeprav ni mogla včasih premagati jezikovnih ovir. Ohranila je enak pomen na leksikalnem in skladenjskem področju. Prevajalka oponaša skladenjske strukture izvornega besedila ali uporablja druge slovnične kategorije. Vsak prevajalec namreč mora ohraniti v prevodu enak model sveta.
    The grotesque is an aesthetic category, which undermines the conventional and acknowledged image of the world, illustrates the complexity of certain phenomena and their other surprising aspects. In Poland the term „grotesque”, being a calque from German, was first used at the threshold of the 19th-century. However, according to the Polish 20th-century literature and art researchers, grotesque becomes prominent in Polish literature on the verge of modernism. The assumption that modernist art had an almost entirely grotesque character cannot however be ruled out. Grotesque manifests itself in the novel Ferdydurke on each level of the work, including language. The grotesque character of the language is shown among other things through neologisms and a mixture of pompous and colloquial style. Body parts (such as bottom and mug), having a symbolic meaning throughout the novel, play an important part in giving the figures their grotesque character. The language of the novel may undoubtedly constitute a problem for the translator, as the writer uses neologisms and disturbs the word order to achieve a grotesque character of events. The translator tried to deliver an identical image of the grotesque character in her translation. Frequently, the translator couldn’t however disturb the correctitude of the Slovenian language. She preserves the sense of the original on the lexical and syntactic level through imitating the syntactic structures of the original or through replacing them with other grammatical categories. Each translator must recreate the model of the world embedded in the source text.
    Źródło:
    Przekłady Literatur Słowiańskich; 2012, 3, 1; 119-132
    1899-9417
    2353-9763
    Pojawia się w:
    Przekłady Literatur Słowiańskich
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    «Что делает дьявол на нашем диване?»: Холокост и Ленинградская блокада в прозе Сильвии Хутник, Игоря Остаховича, Андрея Тургенева
    “What is the Devil Doing on our Sofa?”: The Holocaust and the Leningrad Blockade in the Prose of Sylvia Chutnik, Igor Ostachowicz, Andrei Turgenev
    Autorzy:
    Adelgejm, Irina
    Powiązania:
    https://bibliotekanauki.pl/articles/29433555.pdf
    Data publikacji:
    2021
    Wydawca:
    Karpacka Państwowa Uczelnia w Krośnie
    Tematy:
    Holokaust
    oblężenie Leningradu
    postpamięć
    wielka narracja
    trauma historyczna
    Warszawa
    Muranów
    groteska
    dekonstrukcja
    terapia prowokatywna Franka Farrelliego
    Holocaust
    the Siege of Leningrad
    post-memory
    big narrative
    historical trauma
    Warsaw
    grotesque
    deconstruction
    provocative therapy of F. Farrelli
    Opis:
    W artykule zaanalizowano teksty polskich autorów Igora Ostachowicza i Sylwii Chutnik oraz rosyjskiego pisarza Andrieja Turgieniewa (pseudonim Wiaczesława Kuricyna), zrodzone perspektywę postpamięci, wcześniej czy później odsłaniającej i wypełniającej „białe plamy” – przez poczucie, że adekwatny dyskurs nie został wypracowany lub też istniejący już dyskurs nie funkcjonuje. Teksty literackie odnoszą się do tej części traumy historycznej, która nie została dostatecznie przepracowana albo została wyparta ze względu na haniebny lub przynajmniej nieheroiczny charakter doświadczenia, co uniemożliwia włączenie go do wielkiej narracji. Głównym pytaniem, na które stara się odpowiedzieć autorka artykułu, jest psychologiczno-artystyczny powód posługiwania się groteską, sarkazmem, czarnym humorem w odniesieniu do tematów sakralizowanych przez samą skalę ludzkiej tragedii – doświadczenie Holokaustu i oblężenie Leningradu.
    The article analyzes the texts of the Polish authors Igor Ostachowicz and Sylvia Chutnik and the Russian writer Andrei Turgenev (the pen name of Vyacheslav Kuritsyn), generated by post-memory perspective, sooner or later revealing and filling the «blank spots», through the feeling that an adequate discourse has not been worked out or the existing discourse «doesn’t work». The literary texts refer to the part of historical trauma that was not (at all or sufficiently) worked through, was repressed because of its shameful or, at least, non-heroic nature, which prevents the inclusion of this experience into the «big narrative». The main question that the author of the article is trying to answer concerns the psychological and artistic reasons for using grotesque, sarcasm, and black humor when referring to topics sacralized by the very scale of human tragedy – the experience of the Holocaust and the Siege of Leningrad.
    Źródło:
    Studia Pigoniana; 2021, 4, 4; 103-119
    2657-3261
    Pojawia się w:
    Studia Pigoniana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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