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Pochwała bowaryzmu w powieści „Az isten háta mögött” („Za plecami Pana Boga”) Zsigmonda Móricza

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Sagata M.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
255-264
EN
The purpose of this paper is to analyse the role of bovarysme in Zsigmond Móricz’s novel Az Isten háta mögött (Behind God’s Back). Transtextual relationships between the novel and Gustave Flaubert’s Madame Bovary allow reconstructing Móricz’s original understanding of bovarysme and its place it in the broader, socio-literary context of modernising Hungary at the turn of the 20th century.
2
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„Lubić to, czego nie ma”. Pani Barbara Niechcicowa – studium rozczarowania

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Samborska-Kukuć D.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
265-281
EN
The psychological conditions of the protagonist of Noce i dnie as depicted in literary criticism are in line with bovarysme. An instance of this similitude is the state of disillusionment, caused by a clash of imagery and reality, as well as fallacies and facts. Mrs Niechcic’s multifaceted frustration with her love life and with her daily grind varies in intensity. The protagonist’s unhappy love casts an irrational shadow on her (poor substitute of) marriage, while the rural milieu, acting as a barrier from “real life” is juxtaposed with the city. Barbara Niechcic is disappointed in everything, as she cannot strike a viable balance between the world of dreams and the challenges of reality; however, her life path is different from that of Flaubert’s protagonist. After a period of erring and throwing tantrums, she mellows down and appreciates the mechanisms guiding her actions; as the novel comes to an end, she is content to merely carry on with her life. The stages of her existence make for the readers’ selfreflections on the complexity of human nature.
3
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Teresa, Giacinta i Helena – włoskie siostry Emmy, czyli „Pani Bovary” Gustave’a Flauberta w literaturze włoskiej XIX wieku

88%
Krasnopolska Z.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
151-167
EN
Through a comparative study, the author tries to outline the differences and similarities between Madame Bovary and three 19th century Italian novels by De Roberto, Verga and Capuana along with an intertextual game the writers engage in with the French original. By a close analysis of the protagonists’ childhood, marriage/adultery, literary education and psychological disorders, the author argues that whilst Emma Bovary falls victim of her illusions, and Elena with Giacinta are only partially Mesdames Bovary, Teresa comes to realise the male power of novels.
4
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Potęga niemocy, czyli bowaryzm ułomny w „Dworze w Ulloa” Emilii Pardo Bazán

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Kołakowski M.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
101-122
EN
The House of Ulloa (1886) is considered the most significant work of Emilia Pardo Bazan, who is said to have introduced Zola’s naturalism into the Spanish narrative. Although some of its characters show direct affinity with the bovarist psychological model (dreaminess, disappointment with reality, and unrealistic expectations), this particular aspect of the novel –a masterpiece of the 19th century Spanish literature – has not yet been researched, even within the Spanish-speaking literary criticism. The comparatist perspective of the present study required a closer look at some elements of the diegesis: space, customs represented by the secondary characters and the inner world of the main characters. The primary aims of the paper are to juxtapose Flaubert’s mentality models with those in The House of Ulloa, consider the specificity of the bovarist model as shown in the classic as well as to demonstrate that this peculiar take on the Emma Bovary syndrome enriches the symbolic dimension of the novel and represents the symptomatic state of mind of the Spanish at the end of the 19th century.
5
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Cécile – starsza siostra Effi Briest

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Pacholski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
219-238
EN
This paper deals with Theodor Fontane’s novel Cecile published in 1886. This novel is the first part of the unofficial trilogy of the so-called Berlin novels, which also include Irrungen, Wirrungen (Trials and Tribulations, On Tangled Paths) and Stine. Among these three novels, Cecile is the only one which has not been translated into Polish. In each of these novels, the central motif is misalliance, which in two cases (Cecile and Stine) leads to a tragic end. The motif of a duel, in turn, in which the husband kills the lover or the admirer of the heroine links Cecile to Effi Briest – the most famous of Theodor Fontane’s works. This article attempts to interpret the novel in the context of the similarities between Cecile and Emma Bovary, the protagonist of the masterpiece by Gustave Flaubert and from the perspective of bovarysme –a term coined by Jules de Gaultier. In the analysis, what is important is not only the characterization of Cecile as a character but also the discussion of the role of a letter in the plot of the novel, a letter being a motif used by Fontane in an interesting and surprising way.
6
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„Regentka”: w poszukiwaniu dróg ucieczki ze świata-więzienia

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Mańkowska J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
123-149
EN
The Regent’s Wife is a 19th century novel by Clarin, i.e. Leopoldo Alas, considered the second most important Spanish novel after Don Quixote. It is also representative of the Spanish variety of Naturalism. Within the Spanish culture, its main character, Ana Ozores, is the most popular and commonly recognizable character similar to Emma Bovary. The paper presents the similarities and differences between the two characters. Ana is shown as a victim of the society she is part of. She tries to free herself from the boredom of a life without purpose, to make sense of it by means of religion or love. Nevertheless, her endeavours turn out to be futile for a she is but a 19th century lady from some Spanish province. The article focuses on two potential escape routes from the world in which Ana feels oppressed and presents the reasons of her failure. The protagonist of The Regent’s Wife can also be interpreted (in accordance with previous scholarship) as a symbol of trans-historic Spain.
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