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Matka Sinobrodego. Tonka Roberta Musila jako aneks ideowy do biografii postaci literackiej

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Pilipowicz A.
Acta Philologica
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2015
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issue 47
61-72
PL
Tajemnica ciąży Tonki w opowiadaniu Tonka (Tonka) Roberta Musila i tajemnica komnaty Sinobrodego w bajce Sinobrody (La barbe bleue) Charlesa Perraulta są elementami łączącymi oba utwory i inicjującymi poszukiwanie Sinobrodego z tekstu Perraulta w tekście Musila. Sinobrodego można odnaleźć w Tonce, która staje się również jedną z jego żon, ale przede wszystkim ma cechy czyniące z niej matkę Sinobrodego. W ten sposób Musil poszerza biografię Sinobrodego, którego egzystencja wykazuje silne podobieństwo do egzystencji Chrystusa – tym bardziej, że życie Tonki jest głęboko zakorzenione w świecie Biblii i odzwierciedla życie Matki Boskiej: jeśli syn Marii pojawia się w jej łonie w wyniku Dziewiczego Poczęcia, to syn umierającej Tonki przychodzi na świat w wyniku dziewiczych” narodzin.
EN
The parallel between the mystery of Tonka’s pregnancy in Robert Musil’s short story Tonka (Tonka) and the mystery of Bluebeard’s chamber in Charles Perrault’s fairy tale Bluebeard (La barbe bleue) initiates the article’s search for Bluebeard from Perrault’s text in Musil’s text. Bluebeard can be found in Tonka, who becomes one of his wives but, more importantly, also has features that make her Bluebeard’s mother. Thus Musil extends the biography of Bluebeard. His existence bears a strong resemblance to the existence of Christ; analogously, Tonka’s life, deeply rooted in the world of the Bible, parallels the life of Madonna: if Mary’s son appears in her womb in consequence of the Virgin Conception, so also the son of the dying Tonka comes into the world in consequence of the “virgin” birth.
DE
Das Geheimnis von Tonkas Schwangerschaft in Robert Musils Erzählung Tonka und das Geheimnis von Blaubarts Kammer in Charles Perraults Märchen Blaubart (La barbe bleue) sind Elemente, die beide Werke verbinden und die Suche nach Blaubart aus Perraults Text in Musils Text initiieren. Man kann Blaubart in Tonka finden, die auch zu einem seiner Frauen wird, aber vor allem hat sie Merkmale, die aus ihr die Mutter von Blaubart machen. Auf diese Weise erweitert Musil die Biografie von Blaubart, dessen Existenz eine starke Ähnlichkeit mit der Existenz von Christus aufweist – umso mehr, als das Leben von Tonka in der Welt der Bibel tief verwurzelt ist und das Leben der Gottesmutter widerspiegelt: Wenn der Sohn von Maria in ihrem Schoß infolge der Jungfräulichen Empfängnis erscheint, kommt der Sohn der sterbenden Tonka infolge der „jungfräulichen“ Geburt auf die Welt.
2
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Der Tod in den Gedichten von Hans Erich Nossac

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Pilipowicz A.
Acta Neophilologica
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2005
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issue VII
51-62
EN
Hans Erich Nossack had written his poems for several years. He treated them as a study of dramatic forms that he soon abandoned as well in order to present his own contact with the reality in the prose at last. The poem Vorspruch und Frage [The prologue and the question] opening his only anthology Gedichte [Poems] establishes an index of the essential elements of this German writer's poetics. Just here, the connecting of the national socialism's context with many poems proofs a pertinent step because the meaning strata of separate expressions are unveiled deepest in that case only. The death that is anticipated by the feeling of timelessness and by the appaling silence (Gefangenenwärter [The jail-keeper]) becomes a rock for sensibility and autonomy of the individual. The meeting with the death, provoked by the inversion of the sequence of result and cause, appears as the last chance to be delivered from the space overwhelmed with the totalitarism (An den Tod [To the death]). That ist what makes the similarity to Matthias Claudius's poem with the same title who notes the final possibility to set the world free from the evil in the death. The death also intensifies the feelings derived from the life and can even draw some fife from the places suspected of its default (Der Tod [The death]) - the ability that arises in consequence of the shrinking of the reality after the losing of a near person in Rainer Maria Rilke's poem (Todes-Erfahrung [The experience of the death]). An attempt to stop the death contains the poem Ein Mädchen spricht mit dem Tod [A gril talks to the death] that the historical background venishes in and where the love calls up to fight for the life: The girl struck with that feeling is confronted with the power of the death that the heroine of the poem tenderly admonishes not to run in front of the life yet but to come back to its place and to locate itself behind the life.
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Vom Engel zum Menschen. Uber Hans Erich Nossacks und Karl Jaspers’ kognitive Struktur des Ichs

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Pilipowicz A.
Acta Neophilologica
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2007
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issue IX
175-188
EN
The article "From the angel to the man. About Hans Erich Nossack’s and Karl Japsers’s cognitive structure of the I” relates the problem of forming of the human nature. The protagonists of Nossack’s works experience their angels when the deepest part of man’s I sets free as result of the friction between the internal and external world. It is revealed as an impalpable glittering that strikes with the vision of the existence of a higher level - a glittering whose tension is produced by an absorbing contact with death, with art or with another individual. The angels by Nossack keep silence over what the angels by Jaspers talk about. They deny that the man coming into the world is ready-made and summon him to look for the sense of the existence through the incessant (re)constructing of himself. Owing to that they give the direction to the existence and constitute themselves as the most exacting and ownest idea. A dare devil who tries to robe it with the matter annihilates himself. He dies by condemning his angel to the extermination in that consequence because in the empiric reality filled brim-full there is neither a place for doubling the matter of one being nor a place for living without the idea that completes the life with the spirit.
4
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DER REGEN - METAPHER DER EINSAMKEIT. EINE STUDIE UBER R.M. RILKES EINSAMKEIT UND K.K. BACZYŃSKIS DESZCZE

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Pilipowicz A.
Acta Neophilologica
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2008
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vol. X
147-159
EN
The rain is a strikingly modest metaphor of solitude. However, it can deliver both its mutable intensity and dynamics (The solitude by Rainer Maria Rilke) and its life-giving and death-bringing power (The rains by Krzysztof Kamil Baczyński). The solitude proves that existential element that almost abolishes the limit between God and the man: The divine and the human get mixed in the raindrops that falling down embrace the world like God and that reflect the man as much as he seems to be inside.
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DIE DEKONSTRUIERUNG EINER IDEE. DIE (ENT)KREUZIGUNG JESU CHRISTI IN CHRISTUS UND DAS KREUZ VON IWAN FRANKO UND IN IM DUNKEL VON GEORG TRAKL

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Pilipowicz A.
Acta Neophilologica
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2012
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vol. XIV/1
223-233
EN
The article treats of the symbol of the cross, which deconstruction creates the possibility to get out of the Christianity and to return to the Antiquity which gives the individual a chance of a more complete self-realization on the basis of a larger space of freedom and of a deeper contact with the own identity.
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Der tödliche Nachkrampf des Schoßes. Die antik-christliche Dialektik und ihre Variabilität in Die Braut von Korinth von Johann Wolfgang Goethe und in Die Ertrunkene von Taras Schewtschenko

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Pilipowicz A.
Acta Neophilologica
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2013
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issue XV/2
149-163
EN
The article shows the relationship between the mothers and the doughters in the context of the Antique-Christian antagonism. The conflict caused by the belonging of the women to the adverse cultures leads to the doughters’ death that bears signs of an adjourned miscarriage.
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MARIA CALLAS W DRAMACIE MARIA CALLAS. LEKCJA ŚPIEWU TERRENCE’A MCNALLY’EGO I W POWIEŚCI WIELKI BAGAROZY HELMUTA KRAUSSERA

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Pilipowicz A.
Acta Neophilologica
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2011
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vol. XIII
251-270
EN
The text deals with Maria Callas and with the connections of art and love, fame, cognisance and death. Callas is shown as a person whose voice builds a space turning the auditors into the characters that are evoked by her singing and made of human emotions. That is the way the people not only meet themselves but also discover some parts of their nature that they could not get known in the real world.
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JENSEITS DES SALOME-TANZES. ANHAND EINER BEZIEHUNG ZWISCHEN DEM 2. TEIL DES GEDICHTS DREI BLICKE IN EINEN OPAL VON GEORG TRAKL UND DEM GEDICHT SCHLEIERTANZ VON GÜNTER GRASS

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Pilipowicz A.
Acta Neophilologica
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2014
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vol. XVI/1
203-213
EN
The death of John the Baptist is the result of Salome’s dance in the Bible. In the 2nd part of the poem Three Gazes into an Opal by Georg Trakl and in the poem Veil Dance by Günter Grass the image of Salome is evoked by veils which are identifi cation marks of that fi gure in the drama Salome by Oscar Wilde. The dance of a woman in both poems is not connected with death any more but with life – with the return into mother’s womb in the text by Trakl and with the entrance to the art’s womb in the text by Grass.
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Diabeł w operze. „Pajac” Tomasza Manna w kontekście „Fausta” Johanna Wolfganga Goethego

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Pilipowicz A., Katedra Filologii Germańskiej U. W.-M. w. O.
Acta Universitatis Lodziensis. Folia Germanica
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2015
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vol. 11
EN
The protagonist of Thomas Mann’s short story "The Clown" ("Der Bajazzo") cannot became an artist because he hasn’t got enough talent. He is also unable to live among people as an ordinary citizen because his social competencies haven’t been completely developed. That is why he can be regarded as a literary figure who tries to leave the real world and to penetrate the literary world. The devil who appears in Charles Gounod’s opera "Faust" based on Johann Wolfgang Goethe’s drama "Faust" and who is watching the protagonist from the stage during the opera performance seems to be the only person who can help him to find his existential space.
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