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POLISH ROMANTIC LITERATURE AND THE REVIVAL OF THE FREE RESEARCH AT THE END OF THE 1950IES (Polska romanticka literatura a obnovenie jej slobodneho vyskumu koncom patdesiatych rokov 20. storocia)

100%
Winczer P.
World Literature Studies
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2011
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vol. 3 (20)
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issue 1
76-84
EN
The article surveys of the study of the Polish literary Romanticism starting with the period between the two world wars since the 1970ies and 1980ies. The author shows that the question of the ‘rewriting Romanticism' in Polish literary scholarship from the 1930ies is connected with the methodological innovations. Nevertheless, 'rewriting Romanticism' depends on the cultural political context as well. The crucial breaking point came at the end of the 1950ies, when the Stalinist simplifications in the literary scholarship were abandoned and the scholars began to look for the methodological reorientation (Marxist sociology of literature, cultural studies, partly structuralism).
2

'Me: a room to display things rewritten'. Miron Bialoszewski, or, literature as a form of existence

100%
Kunz T.
Teksty Drugie (Second Texts)
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2006
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issue 5(101)
36-54
EN
This article deals with attempted reconstruction of a performative variety of literary subjectivity which emerges from the interpretation of a few selected poems by Miron Bialoszewski. Particular attention is paid to the ingenuous concept of 're-writing', which for the author of the essay is a sort of interpretative key to understanding the specificity of a relationship between the world, language, and subject in Bialoszewski's output. The author argues that the act of writing (or rather, re-writing) becomes a privileged method of subjective existence, spanning over both the empirical and textual spheres. Bialoszewski's writing strategy is described as a 'fagic' one, with a reference to the poet's extremely unique capability of transforming any forms of experience (particularly, linguistic experience) into his own individual idiom. This peculiar skill contains Bialoszewski's basic self-creative existential formula consisting in a conscious creation of the 'self' through it being rewritten in a new linguistic order. This attitude is conditioned by the radically anti-essentialist input concept of existence, the original ontological weakness of the 'self', which, in an integrated form filled with a sense, may seemingly manifest itself in a text, owing to the act of writing.
3
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NAPRAVIT SAMA SEBE. POSTKOLONIÁLNÍ PŘEPIS V DÍLE HELLY S. HAASSE

100%
Vitáčková M.
World Literature Studies
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2012
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vol. 4 (21)
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issue 3
69 – 82
EN
The article introduces the concept of post-colonial rewriting into Czech and Slovak academic discourse while adding the literature in Dutch to the interest area of post-colonial theory, which is mainly English – and/or French - centred. It presents a short introduction of the term and proposes a number of characteristics of this phenomenon. The practical part consists of a comparative analysis of two works of the Dutch writer Hella S. Haasse, claiming that the first one is a colonial work and the latter a post-colonial adaptation of it – a rewriting. The shift in thinking of the writer herself, but also of the Dutch society as such, is the best visible on the comparison of closing paragraphs of the both novels. Even though the author uses the same words in the analysed passages, their tone and conclusion are radically different.
4
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PREKLAD AKO ORIGINÁL, PLAGIÁT AKO ŽÁNER (PRÍPAD DUMAS – POE)

88%
Benyovszky K.
World Literature Studies
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2013
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vol. 5 (22)
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issue 4
11 – 26
EN
In the magazine L’Indipendente issued in Naples on 28th December 1860 the first chapter of the Italian translation of Alexandre Dumas’s short story called Lassassinio di Rue Saint-Roch was published. The last part was published on 8th January 1861. As it can be seen from the text, it originated under the influence of E. A. Poe‘s world known short story called The Murders in the Rue Morgue (1841) that had already been available in French at that time. The short story was published for the first time in 2012 in Italian in Uga Cundari’s edition and with his circumstantial summary to it. The name of the translator is unknown and the French original disappeared, too. The editor says that this work of the French author presents a document that literary works up the personal meeting of Poe and Dumas in Paris in the 1830s. The aim of this study is to take critical reflection on Cundari’s argumentation and to analyse the relationship between these two texts taking into consideration the issues of translation, plagiarism and rewritings.
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