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Brandel i sztuka europejska jego epoki

100%
Szczepińska-Tramer J.
Biuletyn Historii Sztuki
|
2010
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vol. 72
|
issue 4
403-426
EN
This article contains a series of new proposals as well as corrections that its authoress, occupying herself for a period of over forty years with the art of this Polish painter and graphic artist (1880-1970) who lived in Paris on a permanent basis from 1903 onwards, wishes to contribute to the current state of research into this artist. The first part of this article comprises a critical assessment of the most recent proposals for dating graphic works by Brandel together with the handwritten catalogues compiled by the artist himself. The second part of the article comprises a discussion on the place Konstanty Brandel’s creative work occupies among the main currents in European art during the period he was active. Here, specific attention is given to the painting and graphic art of German Expressionism, this being an area of Brandel’s artistry thus far ignored by specialists which the authoress wishes to point out while postulating the necessity of detailed research in the future.
2
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The Figure of Ophelia in Expressionist Poetry: German and Czech Comparison

71%
Malý R.
Porównania
|
2020
|
vol. 27
|
issue 2
197-217
PL
Artykuł dotyczy interpretacji postaci Ofelii w czeskiej poezji współczesnej w porównaniu z poezją europejskiego ekspresjonizmu. Estetyka obrazu śmierci Ofelii z dramatu Hamlet Szekspira wpłynęła na literaturę tego okresu i ją zainspirowała. Wpływ ten wyraziście odzwierciedlił się w poezji ekspresjonizmu niemieckiego, szczególnie w twórczości Georga Heyma, Gottfrieda Benna i Georga Trakla. Czescy poeci, którzy prezentowali to zjawisko w duchu ekspresjonizmu, to Jan Skácel, Holan i Jiří Orten. Studium rozpatruje tę twórczość z punktu widzenia kompleksu Ofelii zdefiniowanego przez Gastona Bachelarda.
EN
The study deals with the rendition of the figure of Ophelia in Czech modern poetry in comparison with the poetry of European Expressionism. The image of Ophelia’s aesthetic death from Shakespeare’s drama Hamlet has influenced and inspired a whole range of artworks. It strongly reverberated in German Expressionist poetry, especially that by Georg Heym, Gottfried Benn and Georg Trakl. The Czech poets who approached this topic in the spirit of Expressionism include Jan Skácel, Vladimír Holan and Jiří Orten. The study further addresses these works in the light of the Ophelia complex as defined by Bachelard.
3
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Nowatorstwo modernistycznej prozy Alfreda Döblina na przykładzie opowiadania "Die Ermordung einer Butterblume" (Mord na kwiecie kaczeńca)

63%
Kołodziejczyk-Mróz B., Uniwersytet Pedagogiczny im. KEN w Krakowie W. F., beatakol@poczta.onet.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2016
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vol. 33
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issue 3
EN
Alfred Döblin’s short story Die Ermordung einer Butterblume (The Murder of a Buttercup), from the collection Die Ermordung einer Butterblume und andere Erzählungen (1910–1911), is considered a key prose text of early German expressionism. It describes the deconstruction of an individual by nature, the superiority of which must be recognised by a man living in a big city, alienated and “uprooted” from nature. Any attempt to return to the original place of life is bound to fail. Employing a dual (real and surreal) image of the world, Döblin creates an innovative portrayal of the protagonist – Michael Fischer, presenting the reader with the world of his internal and external experience and treating his case as a study of psychosis.
4
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Nowatorstwo modernistycznej prozy Alfreda Döblina na przykładzie opowiadania "Die Ermordung einer Butterblume" (Mord na kwiecie kaczeńca)

51%
Kołodziejczyk-Mróz B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 33
|
issue 3
311-320
EN
Alfred Döblin’s short story Die Ermordung einer Butterblume (The Murder of a Buttercup), from the collection Die Ermordung einer Butterblume und andere Erzählungen (1910–1911), is considered a key prose text of early German expressionism. It describes the deconstruction of an individual by nature, the superiority of which must be recognised by a man living in a big city, alienated and “uprooted” from nature. Any attempt to return to the original place of life is bound to fail. Employing a dual (real and surreal) image of the world, Döblin creates an innovative portrayal of the protagonist – Michael Fischer, presenting the reader with the world of his internal and external experience and treating his case as a study of psychosis.
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