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1

Późny romantyk w świecie duchów. Gotycyzm w powieści Jana Bittnera Dziennik kustosza

100%

Gawarecka A.

Poznańskie Studia Slawistyczne

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2011

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issue 1

EN

Romanticism, one of the most important philosophical and artistic periods in modern European culture, was never the mainstream tradition in Czech literature. Nor did the Gothic novel influence this literature in a significant way. In his Deník kastelána (Custodian’s Diary), Jan Bittner tries to use the formulas of traditional literary horror. The main aim of this renovation seems to be to search for a narrative form which is appropriate to show the problems and priorities of the modern self. The hero of the novel, who runs away from Prague and decides to live far from the postmodern civilization with its relativity of values and lack of metaphysical horizons, finds in the haunted baroque village castle a place where he can once again define the sense of life.

2

Arbesovo romaneto Sivooký démon a Urbanova novela Michaela (Literárněteoretická komparace s ohledem k žánrovému profilu)

92%

Změlík R.

Studia Slavica

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2013

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vol. 17

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issue 2

141-152

EN

The article discusses two mystery novellas: The Grey-Eyed Demon by Jakub Arbes (1840–1914) and Michaela by Miloš Urban (b. 1967). Although the gap between the two texts is more than 130 years, a common influence of gothic novel is discernible in both of them. Each of the works, however, adapts this influence in different cultural and literary contexts. Arbes entered the world of Czech literature in the 1860s and his ambition was to create a genre of prose narrative that would be able to absorb both the techniques of high literature and the elements of popular reading. By achieving this, he wanted to create a modern literary genre. The Grey-Eyed Demon is an exemplary case of such an encounter. In this text, Arbes makes use of the devices of gothic fiction, whose romantic itinerary, however, the author tries to transform into a realistic mode of representation. Theencounter of two different sets of artistic techniques and principles in this romanetto, however, is not without some difficulties, represented by striking „seams“ that are discernible especially on the thematic and narrative levels. It is not without interest that, in the same year, Arbes published an important romanetto, entitled Saint Xaverius, in which these dividing lines are not as obvious – indeed, Saint Xaverius is one of the peaks of Arbes’s oeuvre. Urban’s novella is a different case of contextualisation of gothic fiction. Urban makes use of the genre’s devices in post-modern fiction, in which they serve an entirely different purpose. In this case, it is an indexical reference (thematisation) to an older genre, which had lost its direct lineage in literature. This reference takes place within a post-modern tendency, which might be understood as discourse overlapping, a palimpsest-like quality, a semantic game based on re-contextualisation of historicising themes, motifs and other elements.

3

Сборник рассказов Шляхтич Завальня, или Беларусь в фантастичных повествованиях Яна Барщевского в контексте русской готической прозы

81%

Macapura L.

Acta Polono-Ruthenica

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2016

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issue 21

195-203

EN

The article deals with the collection of stories by J. Barszczewski Nobleman Zawalnia, or Belarus in Fantastic Stories (Szlachcic Zawalnia czyli Białoruś w fantastycznych opowiadaniach, 1844-1846) in the context of Gothic literary tradition in Russian literature of the 30-40-es of the XIXth century. The author comes to the conclusion that folk motives in the cycle Nobleman Zawalnia... transform under the influence of Gothic literary tradition, which could be perceived by J. Barszczewski indirectly, through the oeuvre of other authors. The usage of comparative methods allows to find out typological relations between the cycle by Barszczewski and the cycles of stories Evenings on a Farm near Dikanka by N. V. Gogol and An Evening on Khoper by M. N. Zagoskin.

4

Gotycyzm/gotycyzmy – rekwizyty i metamorfozy

70%

Izdebska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2017

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issue 30

325-338

EN

The article deals with phenomena of the Gothic the most often described as a set of often-linked elements rather than a fixed genre. The text presents a variety of cultural incarnations of the convention: from the eighteenth century novel by horror movies to subcultural style of Goths. This essay also examines the basic Gothic concepts, like the uncanny and the abject, which determine the worlds depicted in Gothic narratives, especially characters who remain in close connection with the space formed as a labyrinth. Finally, the article is an attempt to answer the question about the source of the expansion of the aesthetics of the Gothic in the contemporary culture.

5

Wpływ egzemplów barokowych na wyobraźnię twórczą Anny Mostowskiej na przykładzie powieści Zamek Koniecpolskich oraz Matylda i Daniło

70%

Vincůrková D.

Meluzyna. Dawna Literatura i Kultura

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2015

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vol. 1(2)

59-72

XX

The article compares the novels Zamek Koniecpolskich and Matylda i Daniło by Anna Mostowska (ca. 1762– before 1833) with the Baroque Jesuit exempla collected in Historie dziwne i straszliwe. The Jesuit stories from early XVIII century were edited by Mariusz Kazańczuk. The novels by the Vilnius writer and the Baroque exempla share similarities in presenting the fictional world: the scenery of the events and the characters. The ghosts in Mostowska’s stories have the features of the so called ‘returning ghosts’ who come down to the world to ask the living for the prayers. These phantoms appear in the Jesuit texts as well as in Zamek Koniecpolskich and Matylda i Daniło. The ghosts of Władysław and Edgwarda are related to the teachings of the Catholic Church (intensified after the Council of Trent) regarding the purgatory and the penance. Mostowska’s sources of inspirations were diverse. She was inspired with the Western Gothic stories (e.g. The Monk by Matthew Gregory Lewis, The Castle of Otranto by Horace Walpole and The Italian by Ann Radcliffe) as well as religious didactics.

6

Między nekrofilią a objawieniem tajemnicy. Mortualne poszukiwania Ladislava Klímy

58%

Gawarecka A.

Slavica Wratislaviensia

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2019

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vol. 168

275-287

EN

Between necrophilia and epiphany: Thanatological fascinations of Ladislav Klíma Thanatological themes often appear in Ladislav Klíma’s prose as a characteristic keystone of his anthropological project. In some of the writer’s novel and short stories (e.g. Utrpení knížete Sternenhocha, Jak bude po smrti, Slavná Nemesis) the topic of death introduces large-scale philosophical or metaphysical speculations. It also functions as a way depicting death which is confirmed in the cultural tradition. In both cases Klíma plays a perverse and complicated game with the typical components of the European eschatological imagination. On the one hand, he shows those components in a grotesque manner, which means treating the human mortality without appriopriate respect and dignity, on the other hand he incorporates thanatological topics into his controversial project of a new cosmogony and deification of man.

CS

Mezi nekrohilií a odhaleným tajemstvím. Mortuální hledání Ladislava Klímy Mortuální tematika v tvorbě Ladislava Klímy tvoří specifický klíč k jeho antropologickému projektu. V některých Klímových románech a povídkách (například Utrpení knížete Sternenhocha, Jak bude po smrti, Slavná Nemesis) téma smrti otevírá cestu k široce pojatým filozofickým nebo metafyzickým úvahám a aktivizuje kódy mortuálních obrazů utkvělých v představách tradiční kultury. V obou případech Klíma vede složitou a určitým způsobem přelomovou hru s komponenty tanatického imaginaria umístěného ve všeobecných, skupinových evropských představách. Těmto komponentům propůjčuje groteskní rozměr, čímž zpochybňuje povinnost zobrazování eschatologických motivů s úctou či respektem a začleňuje je do svého — komplikovaného a kontroverzního — projektu nové kosmogonie a koncepce lidské deifikace.

7

Użycie konwencji. Instrumentarium grozy i jego misja w Ciemno, prawie noc Joanny Bator

58%

Zatora A.

Acta Humana

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2015

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vol. 6

EN

The article is an attempt at presenting Joanna Bator’s novel Ciemno, prawie noc as a book belonging to engaged literature and using the popular convention to criticise society. The first part contains examples and theoretical considerations about the changes in the convention of the horror novel, which consists of a gothic novel with various genres such as horror, thriller and detective story. The matter of their social dimension was touched on, for instance, with reference to Noël Caroll’s theory, Scandinavian detective story or the books by Alice Munro. The second part of article is composed of the review of conventional implements used by Bator that are typical of gothic novel, detective story, horror and fairytale. The use of specific implements, their accumulation and the disturbance of the convention are interpreted as a way of getting the readers to loose the well-known schema and drawing their attention to the relevant social problems. The convention of popular literature in Ciemno, prawie noc is designed for something more than only entertainment.

PL

Artykuł stanowi próbę przedstawienia powieści Joanny Bator Ciemno, prawie noc jako utworu należącego do literatury zaangażowanej i wykorzystującego popularną konwencję w celu dokonania krytyki społeczeństwa. W części pierwszej znajdują się głównie poparte przykładami teoretyczne rozważania na temat przeobrażeń konwencji powieści grozy. Zalicza się do niej powieść gotycką z jej dalszymi odmianami gatunkowymi, takimi jak horror, thriller i kryminał. Kwestia ich potencjalnego wymiaru społecznego zostaje poruszona w nawiązaniu między innymi do teorii Noëla Carolla, kryminałów skandynawskich czy utworów Alice Munro. Na część drugą tekstu składa się przegląd wykorzystanych przez Bator konwencjonalnych narzędzi przynależnych do powieści gotyckiej, kryminału, horroru i baśni. Użycie określonego instrumentarium, jego nagromadzenie i zaburzenie konwencji jest zinterpretowane jako sposób na wytrącenie odbiorcy ze znanego schematu i zwrócenie jego uwagi na istotne problemy społeczne. Konwencja literatury popularnej służy w Ciemno, prawie noc czemuś więcej niż tylko rozrywce.

8

Motywy okultystyczne w powieści gotyckiej XVIII i XIX wieku

50%

Szargot H.

Tematy i Konteksty

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2017

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vol. 12

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issue 7

438-451

EN

This text’s topic are all the forms of occultism and magic presented in four examples of gothic novel: Matthew Gregory Lewis’ The Monk, Edward G. Bulwer-Lytton’s The Last Days of Pompeii, William Beckford’s Vathek and Alexandre Dumas’ The Wolf Leader. The work presents the part, which magic plays in characters’ lives: how it is considered as art and wisdom, how important are rituals, why do people want to use it, how evil it can be, how it separates magicians from others, and how it can destroy the protagonist’s life.

9

« Le fondement d’une affreuse existence », ou ce que boivent les princes des ténèbres

47%

Szkopiński Ł.

Acta Universitatis Lodziensis. Folia Litteraria Romanica

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2019

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issue 14

139-147

EN

La Vampire, ou la vierge de Hongrie [The Vampire, or the Hungarian Virgin] (1825) by Étienne- Léon de Lamothe-Langon (1786-1864) belongs to a very heterogeneous field of Gothic fiction, a genre which was particularly popular in the late 18th and the early 19th centuries. The main purpose of the present study is to examine the role played by blood in the analysed work. In order to demonstrate this aspect of the novel more successfully, it will be preceded by a general overview of the gradual popularisation of the vampire as a concept in the 18th-century Western Europe, with a particular emphasis placed on the role of Dom Augustin Calmet (1672- 1757) and his Traité sur les apparitions des esprits et sur les vampires [Treatise on the Apparitions of Spirits and on Vampires] (1751) in this process. Thereafter, a more detailed consideration will be given to the way in which Lamothe-Langon explores the typical vampiric traits while portraying the main character of his book, namely the demonic Alinska.

FR

La Vampire, ou la vierge de Hongrie (1825) d’Étienne-Léon de Lamothe-Langon (1786-1864) fait partie d’un groupe fort hétérogène de romans gothiques, genre particulièrement fécond à la fin du XVIIIe et au début du XIXe siècle. Le but principal de la présente étude est d’analyser le rôle joué par le sang dans l’ouvrage en question. Afin de mieux développer cet aspect du roman, nous esquisserons d’abord l’avènement du concept de vampire en Europe occidentale au XVIIIe siècle, en mettant particulièrement l’accent sur le rôle de Dom Augustin Calmet (1672-1757) et de son Traité sur les apparitions des esprits et sur les vampires (1751) dans ce processus. Par la suite, nous nous pencherons sur la manière dont Lamothe-Langon explore les traits typiquement vampiriques en construisant le personnage principal de son ouvrage, la démoniaque Alinska.

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