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1
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Galeria z Wierzchowni. Preliminaria

100%
Zieliński J.
Colloquia Litteraria
|
2014
|
vol. 17
|
issue 2
77-90
PL
Galer from Wierzchownia. Preliminaries The papter contains the analyis of Marcel Proust’s pastiche Sainte Beuve et Balzac, it juxtaposes the fragments from Balzac’s letters written by Proust with the original texts. The paper concentrates on the issues which are very rarely undertaen-Proust’s and Balzac’s attitudes to Poland before its partitions at the end of the 18-th century and its cultural heritage.
2
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Mahomet jako centralna postać wyobrażonej opery w opowiadaniu „Gambara” Balzaca

88%
Gamrat M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2022
|
issue 42
97-119
EN
The article discusses the fragment of Balzac’s short story Gambara in which the titular character discusses his opera. The focal point of this article is a character from the opera written by Paolo Gambara – Muhammad. The elements used to build the character (character traits, transformations, biography, relationships with his environment, actions, emotions etc.) were analysed in the context of the musical means used to present them and of the entire short story. The background of this analysis consists of a short overview of the philosophical ideas about music and science expressed by Gambara in order to better present the sources of his ideas and the musical solutions that he used.
3
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Nesrozumitelnost světa a nevymezitelnost viny: kafkovské poznámky

71%
Koťátko P.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2021
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vol. 31
|
issue 1
26-40
EN
The paper focuses on the functions of detailed analyses and pedantic explanations of situations and events provided by Kafka’s characters. Taken together, they create the impression of a solid orientation within the system. Nevertheless, the more elaborate and compact they are, the more they make it clear that the system, by its very nature, resists understanding. The incomprehensibility of the world, amplified by explanations, implies the inextricability of guilt (in analogy to Quine’s inextricability of meaning): it is impossible to identify those elements of the protagonist’s biography which constitute his guilt and separate them from the “innocent” rest.he article overviews the evolution of The Art of Translation by Jiří Levý starting with the genesis of the original Czech version, which can be considered the culmination of the author’s academic career. The first foreign languages the book was translated into were German and Russian. Since the Czech original was strongly imbedded in the Czech culture and literature, the translation required adaptations to the target cultures. The paper aims to trace the translation process of Levý’s publication with the main focus on its German version. Together with the Czech original, this version served as the basis for the second Czech edition. the final part of the article focuses on the international reception of Levý’s masterpiece and introduces its recent translations into foreign languages.
4
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Perdus entre l’Ancien Régime et la Restauration. Revenants, politique et réalisme dans 'Le Centenaire' et "Le Colonel Chabert' de Balzac

71%
Morselli M.
Cahiers ERTA
|
2023
|
issue 34
9-33
EN
The article aims at suggesting the role of the Napoleonic supernatural in Balzac’s youth novel Le Centenaire (1822) as a counter-discourse to – and thus a locus of negotiation for – his later poetics of Realism. The investigation is held through a socio-poetical, close-reading based analysis of the revenant theme in both Le Centenaire and Le Colonel Chabert (1832-1844). First, the well-known political nature of Chabert as a revenant is associated to Bérigheld as his binary opposite: if Chabert embodies the uncanny persistence of the Empire during the Restauration, the centuries-old sorcerer who haunts Tullius, a young Napoleonic general, symbolizes Tullius’ monarchist temptation during the Empire. Nevertheless, the supernatural powers Tullius receives from Béringheld can be associated with the mythological features the Napoleonic soldiers accorded to their Emperor. If Chabert represent a counter-discourse to Tullius’ supernatural abilities, Balzac’s realism in the Comédie humaine can thus be considered as a reversal of the Napoleonic myth, so rooted in the authors early years.
5
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Une économie de la pensée chez le jeune Balzac

63%
Kaznowski J., Kaznowski J.
Kwartalnik Neofilologiczny
|
2020
|
issue 2
6
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La musique sacralisée dans les œuvres de quelques écrivains romantiques

63%
Opiela A.
Quêtes littéraires
|
2013
|
issue 3
66-75
EN
This article analyses poetic visions, based on synesthesia and referring to Swedenborg’s correspondence theory, evoked by listening to music. In these visions the musical impressions are in some way sanctified and they contribute to the development of the spiritual area. This aesthetic phenomenon is noticeable in Balzac’s novels. The music for him is the light penetrating the listener’s soul and a means of accessing divine mysteries. Similarly, in George Sand’s works music is the inspiration to create soulful poetic visions and the character of Consuelo who, by her singing, is vouchsafed by divine revelations.
7

Korespondencja sztuk, czyli monotonia pagórków

38%
Chlebowski P.
Studia Norwidiana
|
2012
|
vol. 30
229-244
EN
The article is concerned with a discussion and assessment of Ilona Woronow’s book “Romantyczna idea korespondencji sztuk. Stendhal, Hoffmann, Baudelaire, Norwid” (The Romantic Idea of Correspondence of Arts. Stendhal, Hoffmann, Baudelaire, Norwid) (Kraków 2008) devoted to one of the most important ideas in the epoch. The author tries to define the theoretical and critical basis of the whole phenomenon in the perspective of four important figures of literary life of that time. She focuses first of all on the semantic dimension of the problem – she tries to show and solve the intricacies and ambiguities of Romantics judgments and opinions. However, she pays almost no attention to the aesthetic or axiological aspect of the concept of “correspondence of arts”, which leads to narrowing the whole research perspective. This unconscious limitation also leads to a great degree to a lack of clarity of the argumentation. In the book only the chapter devoted to Stendhal is redeemed, as well as some parts treating about Norwid (a good reading of the poem “Nie myśl, nie pisz – podmaluj” (Do not think, do not write – just paint) is noteworthy). The whole has a fragmentary nature, which presses heavily on it, and the multitude of quotations devoid of their context and of penetrating commentaries, the numerous digressions and unexpected turns of the narrative lead the reader towards some “semantic forest”, and not to a clear conclusion: in fact, there is no clearly distinguished point of departure and no clearly determined aim. This is why the reader who was promised a view from the tallest mountain is disappointed, as he is only given the monotony of hills.
8
Publication available in full text mode
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Korespondencja sztuk, czyli monotonia pagórków

38%
Chlebowski P.
Studia Norwidiana
|
2012
|
vol. 30
229-244
EN
The article is concerned with a discussion and assessment of Ilona Woronow's book Romantyczna idea korespondencji sztuk. Stendhal, Hoffmann, Baudelaire, Norwid (The Romantic Idea of Correspondence of Arts. Stendhal, Hoffmann, Baudelaire, Norwid) (Kraków 2008) devoted to one of the most important ideas in the epoch. The author tries to define the theoretical and critical basis of the whole phenomenon in the perspective of four important figures of literary life of that time. She focuses first of all on the semantic dimension of the problem – she tries to show and solve the intricacies and ambiguities of Romantics judgments and opinions. However, she pays almost no attention to the aesthetic or axiological aspect of the concept of “correspondence of arts”, which leads to narrowing the whole research perspective. This unconscious limitation also leads to a great degree to a lack of clarity of the argumentation. In the book only the chapter devoted to Stendhal is redeemed, as well as some parts treating about Norwid (a good reading of the poem Nie myśl, nie pisz – podmaluj (Do not think, do not write – just paint) is noteworthy). The whole has a fragmentary nature, which presses heavily on it, and the multitude of quotations devoid of their context and of penetrating commentaries, the numerous digressions and unexpected turns of the narrative lead the reader towards some “semantic forest”, and not to a clear conclusion: in fact, there is no clearly distinguished point of departure and no clearly determined aim. This is why the reader who was promised a view from the tallest mountain is disappointed, as he is only given the monotony of hills.
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