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MAREK HLASKO'S SHORT STORY 'SZUKAJAC GWIAZD' (SEARCHING FOR THE STARS) AS A PARABLE OF THE HOLOCAUST AND A MYTHICAL 'INITIAL EVENT' IN HIS OUTPUT (Opowiadanie M. Hlaski 'Szukajac gwiazd' jako ...Holocaustu i .. 'wydarzenie poczatkowe' w tworczosci..)

100%
Dobrosielski P.
Zaglada Zydów. Studia i Materialy (Holocaust. Studies and Materials)
|
2008
|
vol. 4
408-412
EN
Marek Hlasko's short story 'Szukajac gwiazd' was published in 1963. It has all the properties of a parable and is a kind of parable about the Holocaust. Its conventional character points to the ethical controversies related to such a kind of Holocaust presentation, i.e. we deal here with the temptation of universalisation. The hero undergoes a specific rite of passage from childhood to adulthood, centred around the Holocaust, being at the same time a mythical 'original event', underpinning the existential condition of 'a man without innocence' - a figure designed by Marek Hlasko. The boy will later become all the men in the writer's stories and novels. What is interesting is the superposition of a typical Hlasko motive, i.e. frustrated love, on the Holocaust situation, and the resultant impossibility of an authentic encounter between the I and the Other. Existential loneliness and being lost in the world are combined with the memory of the Holocaust.
2

Lending an Ear to the Silence Phrase: Lyotard's Aesthetics of Holocaust Memory

80%
Glowacka D.
Teksty Drugie (Second Texts)
|
2007
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issue 1/2(103/4)
41-59
EN
Drawing on Jean-François Lyotard's concept of the differend, the authoress points out a radical incommensurability between different ways of 'speaking about Auschwitz'. She argues that Holocaust literature has become the site of the conflict between ethics and aesthetics, and she refers to this conflict as the differend between the aesthetic and ethical phrases. Holocaust remembrance today requires that we bear witness to this differend. In his writings on the sublime, Lyotard redefines Kant's category as the affective testimony to the happening of the event. In The Differend, he deploys the idiom of the sublime to communicate the differend's resistance to representation, which can only be signaled through a silent feeling. Lyotard relates this silence to the silence imposed on Holocaust survivors' 'phrase' by the regimen of knowledge. In Holocaust literature, however, 'silence' is also a powerful rhetorical figure, the figure of the sublime. Yet, considerations that fall under the domain of rhetoric and aesthetics are often excluded from the debates about the Shoah since they are thought to be subservient with respect to the ethics of memory. Glowacka argues against the subsuming of aesthetics by ethics within 'the Holocaust genre of discourse': on the contrary, it is the force of the tension between them that constitutes the affective force of Holocaust literature. In this way, Holocaust literature bears witness to the continuity of Holocaust memory, to the life of the memory phrase 'Remember'!
3

Geografia i topografia Ziemi Nod Radosława Kobierskiego

70%
Cieślak T.
Białostockie Studia Literaturoznawcze
|
2012
|
vol. 3
97-108
EN
The article constitutes an attempt at analysing the function of creation of space in Radosław Kobierski's (b. 1971) postmodern novel Ziemia Nod (Warszawa 2010). The novel recounts the fates of several dozen characters, Poles and Jews, between the interwar period and the first few years of the Polish People’s Republic who all inhabit the topography of Tarnów as reconstructed by Kobierski in literature with an antiquarian exactness, care, and precision. The pre-war space of the city is a textual sign defining social, religious and/or ethnic belonging of individual characters as well as their identity. During the war and after its conclusion the abovementioned space undergoes disintegration, and Tarnów becomes a figure of the Holocaust, death and irreparable loss.
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