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Na przekór przykazaniu: Nie będziesz naśladował… Proza Brunona Schulza i Zdzisława Beksińskiego

100%

Jarnotowska M.

Schulz/Forum

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2016

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issue 8

77-86

PL

The paper is an attempt to analyze the literary relationship between Beksiński and Schulz. From spring 1963 till February 1964 the future painter Zdzisław Beksiński was trying to write fiction. At that time, he was writing short stories, fragments, and sketches, observing discipline which was supposed to help him become a writer. Suffering from the “anxiety of influence,” he made withering comments on the margins of manuscripts. One particular story by Beksiński, Mannequins [Manekiny], is a kind of ekphrasis referring to Schulz’s fiction. A struggle with Schulz’s style was one of the most intriguing episodes in Beksiński’s artistic biography.

2

Brud jako metafora w twórczości Brunona Schulza

100%

Jarnotowska M.

Prace Polonistyczne

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2014

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vol. 69

117-128

EN

The study describes anthropological and philosophical aspects of dirt as a metaphor. The author interprets the motif in the context of hygiene rhetoric (crystal palace, cleansing the society of unnecessary elements, dirt as a form of revolt, dirt as stigma etc.). Based on the example of Dwugłos o Schulzu by Kazimierz Wyka and Stefan Napierski she analyzes the meaning of metaphors and axiologically characterized pictures, favouring the analogy: if it is dirty, it is immoral. The author is interested in the idea of cleanliness and dirt as understood and pictured by the authors of the interwar period. It is these notions that literary critics of the named period refer to while formulating allegations towards Schulz’s works. The author presents dirt as a historically and culturally variable category, which was influenced by the development of medicine, cosmetic industry and advertising. She confronts Schulz’s modern guardian of order — Adela, with Jacob, an eccentric who introduces chaos and impropriety. The author is trying to grasp these metaphors and pictures due to which dirt in Schulz’s world stands for a creative potential.

3

„Tajemnica pozostała jeszcze w głębi serc…”. O zwierzętach i wyobraźni Brunona Schulza

100%

Jarnotowska M.

Schulz/Forum

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2015

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issue 6

57-70

PL

In his stories, Bruno Schulz told the history of animals or, rather, animalized humans or humanized animals. He multiplied similarities and differences, inquiring about the nature of their origin. His artistic imagination was replete with flies, cockroaches, horses, dogs, birds, etc. The accumulation of animal and animal-like characters is one of Schulz’s characteristic methods of creation. It is a method common for writers who appreciate independence and carefully reflect on detail in their writing. In such a context, the author finds similarities between Schulz’s and Rainer Maria Rilke’s work. In “Dodo,” she identifies rhetorical devices that are typical for Schulz’s fiction, e.g., repetitions and animal similes. Those devices make the truth about relations between the characters quite complex – the “particularly privileged” Dodo of an extinct flightless species and the “heavy madman” Hieronim, a tawny owl.

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Na przekór przykazaniu: Nie będziesz naśladował… Proza Brunona Schulza i Zdzisława Beksińskiego

Brud jako metafora w twórczości Brunona Schulza

„Tajemnica pozostała jeszcze w głębi serc…”. O zwierzętach i wyobraźni Brunona Schulza