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Paweł Huelle Śpiewaj ogrody, Znak, Kraków 2014

100%
Prola D.
pl.it / rassegna italiana di argomenti polacchi
|
2015
|
issue 6
207-209
2

Miasto jako przestrzeń groteskowego wyobcowywania (w perspektywie błazna i kaznodziei) w Blaszanym bębenku Guntera Grassa i Ostatniej Wieczerzy Pawła Huellego

80%
Wesołowska M.
Rocznik Komparatystyczny
|
2011
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vol. 2
p. 165-178
EN
The article presents a comparative analysis of two literary images of Gdańsk city. The author compares Freie Stadt Danzig immortalized by Gunter Grass in his famous novel The Tin Drum [Die Blechtrommel, 1959] with a postmodern Gdańsk of Paweł Huelle described by the Polish writer in his recently published book The Last Supper [Ostatnia wieczerza, 2007]. The theory of the grotesque – introduced by German researcher of this mode, Wolfgang Kayser (Das Groteske. Seine Gestaltung in Malerai und Dichtung, 1957) – serves as a tool for this comparative analysis. Although Gdańsk in The Tin Drum and in The Last Supper is presented as a radically different city, that is to say, as the historic Free City of Danzig (the Gdańsk of Germany) in The Tin Drum and a futuristic metropolis (the Gdańsk of Poland) in The Last Supper, a common ground for these two diff erent accounts can be established. Gdańsk is introduced by both novelists as a city on the brink of revolutionary historic events – it becomes a place of grotesque alienation where the status quo of the co-existing cultures is threatened and return to the previous state is impossible. Kayser’s idea of the grotesque as an alienating world has been employed here to present the ways of manifesting, inter alia, the desecration of cultural sacrum, the encounter with madness and the threat that comes from the outside as well as from the inside of German or Polish culture. Furthermore, the author introduces the idea of a clown-narrator and a preacher-narrator as the complementary ways of telling a story by using the grotesque mode.
3
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"Ostatnia Wieczerza" Pawła Huellego (i Jany Unuk) jako konfrontacja z tradycją, z własną i cudzą kulturą

70%
Tokarz B.
Przekłady Literatur Słowiańskich
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2013
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vol. 4
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issue 1
185-207
SL
Slovenski prevod romana Zadnja večerja Pawła Huelleja je izšel leta 2010, komaj tri leta po izidu izvirnika, prevedla ga je Jana Unuk. Miselna shema Zadnje večerje (kot podlaga stereotipa), ki jo sestavljajo skupna večerja Jezusa in apostolov na način daritvene gostije, Jezusova vednost o Judeževi izdaji, lastnem mučeništvu in žrtvovanju ter preobrazba in sporočilo vere — obsega strukturo celotnega romana. Stereotip je vključen v kontekst sodobnih dogajanj kot argument širšega dialoga na temo skupnosti, svobode, izdaje, vere in umetnosti. Jana Unuk je pri prenašanju smisla in ideje izvirnika v slovensko kulturo glede na uresničeni jezikovni transfer do določene mere soustvarjalka romana. Kljub prevajalkini zvestobi izvirniku in njenim prevajalskim veščinam miselna shema Zadnje večerje, naravnana na prihodnost, zaradi drugačne pragmatike slovenskega jezika in nekoliko drugačne kulturne imaginacije ni dosegla vseh potencialov izvirnika (zbujajočih upanje). Ko izvirnik vstopa v ciljno kulturo, privzema njene lastnosti celo na ravni prevoda tako univerzalnih stereotipov, kot so religiozni stereotipi.
EN
In 2010, only three years after the Polish edition, a translation by Jana Unuk of the novel Ostatnia Wieczerza (‘The Last Supper’) by Paweł Huelle appeared. The mental schema of The Last Supper (the basis of a stereotype), which is in the character of a sacrificial feast and consists of: the shared supper of Jesus and the apostles, the knowledge of Jesus about the betrayal by Judas, about His own martyrdom, sacrifice and transubstantiation and the message of faith, covers the structure of the entire novel. The stereotype has been introduced into the context of the contemporary events as an argument of a broader dialogue on the topic of community, freedom, betrayal, religion and art. In a way, Jana Unuk has become a co-author of the novel by transferring the sense and the idea of the original version to the Slovenian culture, due to the performed language transfer. Despite the faithfulness to the original and the translation art of the translator, the mental schema of The Last Supper that is oriented upon the future did not receive the potentiality of the original (giving hope) because of the different pragmatics of the Slovenian language and its slightly different cultural conception.
4
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Powieść wagnerowska – powieść muzyczna? (Gabriele D’Annunzio – Élémir Bourges – Paweł Huelle)

70%
Sokalska M.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2019
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vol. 52
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issue 1
291-312
EN
This article discusses the genre of the Wagnerian novel, one of these phenomena which are a testament to the wide and diverse reception of Richard Wagner’s work in the European culture. The composer was admired as a charismatic persona, the author of excellent works of musical drama and the creator of sophisticated aesthetic concepts. In novels such as The Triumph of death (Trionfo della morte) by Gabriele D’Annunzio, The Twilight of the Gods (Le crépuscule des dieux) by Élémir Bourges and Sing Gardens (Śpiewaj ogrody) by Paweł Huelle, the main foci of interest are plots of Wagner’s musical dramas and not their musical score. Even descriptions devoted to instrumental parts clearly indicate the tendency to treat them as narrative stories. Much more interesting than the sound of Wagner’s music seems to be (to the narrators and heroes of the Wagnerian fiction) an implied message that flows from musical dramas such as Tristan and Isolde, Valkyrie or the fictive The Pied Piper of Hamelin. For the recipients of Wagner’s works, these operas become an indication of their own conduct, usually directing them to self-destruction and death.
PL
Artykuł poświęcony jest powieści wagnerowskiej, jednemu ze świadectw szerokiej i różnorodnej recepcji twórczości Richarda Wagnera w kulturze europejskiej. Kompozytor podziwiany był jako charyzmatyczna postać, autor doskonałych dzieł dramatu muzycznego i twórca wyrafinowanych koncepcji estetycznych. W powieściach takich jak Triumf śmierci Gabriela D’Annunzio, Zmierzch bogów Élémira Bourgesa oraz Śpiewaj ogrody Pawła Huellego głównymi przedmiotami zainteresowania okazują się motywy fabularne z wagnerowskich dramatów muzycznych, nie zaś ich partytura muzyczna. Nawet opisy poświęcone partiom instrumentalnym wyraźnie wskazują na tendencję do traktowania ich jako narracyjnych opowieści. O wiele bardziej interesujący niż brzmienie muzyki Wagnera wydaje się narratorom i bohaterom powieści wagnerowskich niepisany przekaz, który płynie z dramatów muzycznych takich jak Tristan i Izolda, Walkiria czy fikcyjny Szczurołap z Hameln. Dla odbiorców dzieł Wagnera stają się one wskazówką własnego postępowania, zwykle kierując ich ku autodestrukcji i śmierci.
5

Paweł Huelle – czytany z Walterem Benjaminem

57%
Brandt M.
Pamiętnik Literacki
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2021
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vol. 112
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issue 1
111-118
PL
Autorka interpretuje powieść Pawła Huellego „Weiser Dawidek” na tle tez historiozoficznych Waltera Benjamina. Wskazuje na podobieństwa między myślą Benjamina o czasie zatrzymanym jako momencie pojawienia się Mesjasza a powieścią Huellego. Do spotkania narratora z Weiserem dochodzi w chwili, gdy przerwany zostaje regularny bieg czasu, a samego Weisera można odczytać jako uosobienie stłumionej przeszłości i jej „sekretnego wskaźnika, który odsyła ją ku zbawieniu” (Benjamin). W dalszej części artykułu autorka porównuje powieść „Weiser Dawidek” z innymi tekstami Huellego, w których akcja przebiega według podobnego wzoru.
EN
The author interprets the novel “Weiser Dawidek” (“Who Was David Weiser?”) by Paweł Huelle against the background of Walter Benjamin’s historiosophical theses. She points out the similarities between Benjamin’s thought of the time stopped at the moment when the Messiah appeared and Huelle’s novel. The encounter between the narrator and Weiser occurs when the regular flow of time is interrupted, and Weiser himself can be interpreted as the incarnation of the suppressed past and its “secret index by which it is referred to redemption” (Benjamin). In the further part of the article the author compares the novel “Weiser Dawidek” (“Who Was David Weiser?”) with other Huelle’s texts the action of which follows a similar pattern.
6

Kłopotliwa (nie)pamięć o Zagładzie: wymazywanie żydowskości w recepcji i ekranizacji Weisera Dawidka Pawła Huellego

51%
Mach A.
Rocznik Komparatystyczny
|
2014
|
vol. 5
p. 331-351
EN
In my text I analyse Weiser Dawidek – a novel written in the mid-1980s by Paweł Huelle (who was a novice author at the time) and its film version Weiser, adapted and directed by Wojciech Marczewski in 2001. I focus on reception of both of the works. The story, which was recognized as one of the most important literary phenomenon in the late 1980s, begins with a “primal scene” of an anti-Semitic harassment and assault performed by Catholic male adolescents on their schoolmate Dawidek. Nevertheless, the Jewish aspect of the novel and its apparent reference to the Holocaust was not perceived by most of the reviewers and literary critics. I draw upon various theoretical contexts (e.g. Freudian and Lacanian psychoanalysis, memory and trauma studies) as I attempt to discuss the complex problem of the legacy of the Holocaust in Poland.
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