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ЯЗЫКОВАЯ РЕПРЕЗЕНТАЦИЯ ВЗАИМОДЕЙСТВИЯ МЕЖДУ ОБЩЕСТВОМ И ГОСУДАРСТВОМ В ОЧЕРКАХ АНДРЕ ЖИДА ВОЗВРАЩЕНИЕ ИЗ СССР И ПОПРАВКИ К МОЕМУ «ВОЗВРАЩЕНИЮ ИЗ СССР»

100%

Кулагина О.

Conversatoria Litteraria

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2019

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vol. 13

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issue XIII

153-160

PL

For a long time André Gide had been considered as one of the loyal "friends of the U.S.S.R.". However, after his trip to the Soviet Union in 1936, he published essays in which he expressed his strong disappointment. In this article main lan-guage features that are used for the transmission of the author’s impressions from the journey are analyzed, in particular the degree of interference of the to-talitarian state in the citizens’ life and the consequences of this interference.

2

L’inquiétante sincérité : Baudelaire et Chopin lus par André Gide

89%

Voegele A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2021

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issue 41

247-263

EN

Why does André Gide so often compare Chopin to Baudelaire? For several reasons: because for him, the two artists are unique, irreplaceable, incomparable; because both were initially misunderstood; and because they are both classics of the nineteenth century. In other words, what distinguishes them, according to Gide, is their aesthetics of discretion, which is verysimilar to the one he develops in his own works – particularly those in which he defends the homosexual cause.

3

Alger, un foyer culturel pour les écrivains exilés de la France combattante (novembre 1942-août 1944)

75%

JAFFEUX V.

Planeta Literatur. Journal of Global Literary Studies

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2014

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issue 1. Europe - Maghreb: exchanged glances / L'Europe et le Maghreb: les regards croisés

85-102

FR

Le rayonnement du microcosme littéraire nord-africain dans les années 1940 résulte indéniablement de l'attention portée par la communauté d'Alger aux écrivains métropolitains exilés. Suite au débarquement angloaméricain de novembre 1942, la Ville blanche accède au rang de capitale de la France libre. Elle accueille alors les principales forces politiques œuvrant pour la libération du territoire national, mais également de nombreux artistes reconnus souhaitant contribuer au relèvement moral du pays. La participation de ces figures renommées aux projets éditoriaux de la Résistance ne relève cependant pas uniquement de motivations idéologiques ; elle s'avère également la conséquence de stratégies élaborées par la jeune génération algéroise pour attirer à eux leurs aînés. Cette étape apparaît en effet décisive dans l'élaboration d'un véritable pôle culturel au Maghreb. En s'attachant les services de plumes connues, le vivier littéraire nord-africain de l'entre-deux-guerres entend bien remettre en cause sa position marginale au sein du paysage éditorial français.

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De Gide à Denis ou de Cézanne à Athman : la relation peintre–écrivain face à la question du classicisme

75%

Canovas F.

Romanica Wratislaviensia

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2017

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vol. 64

57-73

EN

In 1900, French writer André Gide purchased Maurice Denis’s Homage to Cézanne, nowadays in the collection of Musée d’Orsay. Considered a turning point in Denis’s career, the painting celebrates the new values of classicism that Denis discovered in the company of Gide while in Rome two years earlier. This essay discusses the similarities between the painter’s and the writer’s own definitions of classicism, while focusing also on the way in which each one of them applied this definition to their own work.

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Homoerotyzm, mimesis i „Kunst der Fuge”. Twórczość André Gide’a („Korydon”, „Fałszerze”) w literaturze polskiego Dwudziestolecia międzywojennego

75%

Śmieja W.

Pamiętnik Literacki

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2018

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vol. 109

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issue 3

51-69

PL

Artykuł prezentuje wpływ twórczości André Gide’a na sposoby przedstawiania homoseksualności w polskiej literaturze Dwudziestolecia. Omawiane są utwory literackie (np. "Pożegnanie jesieni" S. I. Witkiewicza), publicystyka (T. Boy¬-Żeleński) i korespondencja (P. Hertz, J. Iwaszkiewicz). W drugiej części szkicu przedstawiona została szczegółowa interpretacja opowiadania Jarosława Iwaszkiewicza, zatytułowanego "Przyjaciele", jako utworu przełomowego dla Iwaszkiewiczowskiej poetyki, a zarazem wyrastającego bardzo mocno z inspiracji "Fałszerzami" Gide’a, których Iwaszkiewicz był tłumaczem.

EN

The article presents the influence of André Gide’s creativity over the mode of homosexuality representation in Polish Inter-war literature. It discusses literary pieces (S. I. Witkiewicz’s “Pożegnanie jesieni ”), political commentary journalism (T. Boy-Żeleński), and correspondence (P. Hertz, J. Iwaszkiewicz). The second part of the sketch offers an insightful interpretation of Jarosław Iwaszkiewicz’s short story entitled “Przyjaciele (Friends)” as a breakthrough story for Iwaszkiewicz’s poetics and also as that which heavily relies on inspirations by Gide’s “Les Faux-monnayeurs (The Counterfaiters)” of which Iwaszkiewicz was the translator.

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Le mythe de Narcisse dans la littérature « fin de siècle » : autour des limites de l’intertextualité

71%

Kučerová M.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2015

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vol. Special Issue: Le monde de la litérrature

167-173

EN

The author of the article deals with specific features of literary myth concerning intertextuality, and mainly the issue of identification of hypotext in literary texts rewriting the mythological narrative. Providing works of the three writers as an example — André Gide, Jean Lorrain, Paul Valéry — the author points out the French literature tendency « fin de siècle » to ambiguous oscillation between the creation of the myth itself and its interpretation beyond the scope of one comprehensive artistic discourse.

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The Labyrinth: Revisited and Reinhabited. Interpreting the Minoan Myth as a Metaphor For Contemporary Culture

51%

Gladden-Obidzińska B. J.

Dialogue and Universalism

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2018

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issue 1

177-194

EN

This article reconstructs and interprets the evolution of the Minoan myth’s reception in literature, fine arts, and urban development during the twentieth century. The author’s understanding of this evolution is based on three assumptions: a) myth is a polysemantic symbol of metaphysical and historical origins and function; b) myth reflects the relationship of the cognitive vs. creative mechanisms of human activity; and c) as symbolic, myth’s form must be treated as an image as much as it is a (discursive) narrative. As a motif in literature and the arts, the Minoan myth in particular has displayed all three of these aspects by allowing first its heroic narrative and, more recently, its formal structure (i.e., the tragic maze of moral and intellectual values) and visual setting (i.e., the actual labyrinth) to serve as porte-paroles of ongoing social and civilisational transformations: aestheticisation, deconstruction of cognitive and political hierarchies, technicisation, and intensive urbanisation. The displacement of the narrative and of the figure of the Minotaur is interpreted from the perspectives of psychoanalysis and post-structuralism.

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1 Dialogue and Universalism

1 Pamiętnik Literacki

1 Planeta Literatur. Journal of Global Literary Studies

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Romanica Wratislaviensia

1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Canovas F.

1 Gladden-Obidzińska B. J.

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