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Emigracja wewnętrzna Giacinto Scelsiego — studium przypadku

100%

Skupin R.

Aspekty Muzyki

2014

vol. 4

53-65

Giacinto Scelsi — actually Count Giacinto Scelsi Francesco Maria d’Ayala Valva — be-longed to this type of artists whose life is inextricably associated with his work. Despite the fact that his countrymen were definitely “alien” to him, he lived and worked the last thirty years of his life in Rome, via di San Teo-doro No. 8, alienated from the Italian musical environment and underestimat-ed as a composer in his homeland. Extremely strict fusion of the life and work of Scelsi allows one to read his artistic decisions materialized in his work and his life choices as a uniform quasi-text. The evolution of his musical language (from the influence of Debussy, the neo-classicism, dode-caphony, machinisme to the highly individual musical poetics inspired by the spiritual and musical cultures of the Orient) closely merged with biographical threads (travels around Europe, real and imaginary internal journeys to the East). Aristocratic origins and privileged social position biased the reception of his work in changing Italian reality (i. a. fascism and communism). The fascination of the Indo-Tibetan tradition of understanding the essence and function of sound led Scelsi to the crystallization of individual musical poetics of Scelsi the composer and at the same time — to the conversion of Scelsi the man to Buddhism, individually conceived and “professed”. The Yoga of Sound practice was treated by composer as a self-therapy and at the same time as his compositional modus operandi, which aimed to explore the third dimension of the sound — its depth in a musi-cal and spiritual sense. Scelsi devoted his personal life to his creativity and “composing” — to the specifically understood transcendence. The role of “the proteus” has initially not been the choice of Scelsi, however, with time and after his life experiences it was deliberately incorporated into his life and creative plan. It can be interpreted as the Scelsian strategy of internal emigration in his own country.

Memoiren in Romanform. Zu Hans Falladas Gefängnistagebuch 1944

63%

Brylla W.

Orbis Linguarum

2018

issue 52

215-235

Memoirs in the Novel Form. Hans Fallada’s Gefängnistagebuch 1944 As opposed to other German-speaking authors, Hans Fallada did not decide on emigration from the Hitlerite Germany. The author of the topos of the man in the street stayed in The Third Reich, where, while wanting to keep on writing, he had to subject to the propaganda censorship. Although his books did not appear on the blacklist, he was rather unpopular in the Party. He was imprisoned twice. When being incarcarated in 1944, he started writing a prison diary, a fact which he managed to conceal from the wardens. In these diaries, in the first person, he describes his own struggles as an average citizen of the Nazi Germany. He takes up motifs typical for other compatriots; the reform of the authorities’ system, the so-called internal emigration, which he after did not belong to, his writings despite the existing censorship, or the general attitude towards Jewish people. When it comes to the narrative form, the diary, which content was camouflaged by Fallada in extenso between the lines of The Drinker, partially resembles the genre of memoirs with the first-person narrative voice. Curiously enough, despite using this particular kind of narrator, from whom one can expect far-reaching subjectivity, he remains in his narration extremely mature, precise and above all-credible. As a result, the prison diary is one of the most authentic literary documents concerning the life of a common man in Nazi Germany and a unique insight into his everyday dilemmas.

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Emigracja wewnętrzna Giacinto Scelsiego — studium przypadku

Memoiren in Romanform. Zu Hans Falladas Gefängnistagebuch 1944