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Bośnia − hortus horridus. Obraz Bośni w podróżach franciszkanów Grgi Marticia i Ivana Frano Jukicia

100%
Pieniążek-Markowić K.
Prace Filologiczne. Literaturoznawstwo
|
2014
|
issue 4(7)
263-278
EN
The subject of discussion in the present article are travel accounts of the nineteenth century given by two Franciscans, namely, Grgo Matić and Ivan Frano Jukić as a result of their visit in Bosnia. The image of the territory, reconstructed on the basis of their accounts, manifests itself as a devastated Arcadia. Bosnia turns out to be a country which may not be taken under rational consideration, since it is embroiled in absurdities and contradictions, streaked with poverty, but rich in all resources of nature. The visited country is perceived as a paradisiac place destroyed by its contemptible in habitants, who being dirty themselves, sully the whole space with their own impurity. It is a place where everything is out of place, which is transformed into a borderland, dominated by divisions, far from social and divine order. Presented as such, Bosnia, hortus horridus, becomes a sort of gothic garden in which, among beautiful, yet wild, nature and ruins imperfect and scared people live; their tainted women who transgress against the established roles, the oppressor (Ottoman Turks), a lazy local Muslim, and a member of the Orthodox Church who breaks out of the Illyrian common visions.
2
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Die Wiedergeburt der verlorenen Heimat aus dem Geist des Romans. Der Schriftsteller Horst Bienek und Schlesien als synästhetischer Grenzraum

85%
Voß T.
Convivium. Germanistisches Jahrbuch Polen
|
2017
25-49
PL
Artykuł tematyzuje syntestezyjne obrazy obszarów granicznych w twórczości Horsta Bienka. Dzięki analizie powieści, liryki i esejów pisarstwo Bienka zostaje ukazane jako kreatywne podejście do historii. Zapisywanie pamięci pozwala zachować to, co minęło i dzięki ukazaniu indywidualnych losów ukazać wydarzenia pierwszej połowy XX w. Gliwickie powieści Bienka a także jego wiersze są częścią kultury pamięci, będącej zarówno subiektywnym wspomnieniem jak i reprezentatywnym zapisem historii. Dzięki stylistyce, posługującej się synestezją ożywiona zostaje utracona ojczyzna, Górny Śląsk Horsta Bienka.
EN
The essay deals with synesthetic constructions of spatial borderlines in the works of Horst Bienek. As an analysis of his novels, poems and essays shows, Bienek’s writing can be understood as a creative approach to history. The recording of history makes it possible to give presence to a time that is lost, and it also reveals the events of the first half of the 20th century through the reflection of individual experience. Bienek’s novels and poems about Gliwice can be described as a part of a culture of memory, which is both subjective memory, and a representative recording of history. His synesthesia-based aesthetic offers the possibility of revivifying Upper Silesia – the lost homeland of Horst Bienek.
DE
Der Beitrag setzt sich mit der synästhetischen Gestaltung von Grenzräumen im Werk Horst Bieneks auseinander. Anhand der Berücksichtigung von Romanen, Gedichten und Essays werden Bieneks Praktiken der Erinnerung als ein kreativer Umgang mit Geschichte verstanden, der es ermöglicht, das Verlorene ebenso lebendig zu halten und zu gestalten, wie auch die historischen Ereignisse der ersten Hälfte des 20. Jahrhunderts aufgrund ihrer Vermittlung – über ganz private Schicksale – an den Rezipienten. Bieneks Gleiwitzer Romane und Gedichte werden dadurch zu einem Stück Erinnerungskultur, die sowohl subjektiv als auch repräsentativ sein kann und zusätzlich über Verfahren der Synästhesie die verlorene Heimat wieder zu reanimieren versucht.
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