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1

Re-Assembling the City in Ivan Vladislavić’s Novels

100%
Caraivan L.
Romanian Journal of English Studies
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2013
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vol. 10
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issue 1
229-234
EN
The paper analyses the various aspects of the city as described by the South African writer Ivan Vladislavić in the novel Portrait with Keys. Hunters, gatherers and urban poachers are the inhabitants of the South African city bordering the veld, a city whose economic centre has been moved to the suburbs due to high rates of crime.
2
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Symbolika i funkcja postaci literackich w "Labiryncie świata i raju serca" Jana Amosa Komeńskiego

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Borkowski A.
Siedleckie Zeszyty Komeniologiczne seria Pedagogika
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2021
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vol. 8
157-167
EN
The presented research concerns the functions and symbolism of the characters in "Labyrinth of the World and Paradise of the Heart" by John Amos Comenius. In this work, the characters are largely typified and are examples that serve the author’s in-depth spiritual reflection. The negative features of the heroes are often shown by Comenius in animal costumes. Symbolic associations with the world of fauna refer to the inner sphere of man and show his moral condition.
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La ville méditerranéenne, en tant qu’espace labyrinthique. Réflexions sur les romans Cités à la dérive et Printemps perdu de Stratis Tsirkas

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Tsakiropoulou E.
Academic Journal of Modern Philology
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2021
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issue 11
177-186
EN
The article aims to analyse the Mediterranean city as a labyrinthine space based on the trilogy Drifting Cities (1961– 1965) and on the novel Lost Spring (1976) by Stratis Tsirkas (1911–1980). In order to represent space-time in a state of instability and crisis, with that space-time being Jerusalem, Cairo and Alexandria during the Second World War, and Athens during the socio-political disturbances of July 1965, the author resorts to the myth of the labyrinth. This myth evokes, on the one hand, the maze-like structure of an unknown urban landscape, and, on the other hand, socio-political disorder. As Mediterranean cities, Romanesque cities are hybrid and complex. For this reason, they appear as an “in-between” of the real and the imaginary, of the past and the present. It is by relying on the concept of thirdspace (Edward Soja), that the complex character of the Mediterranean city will be highlighted. However, each of these cities has its own specific features: Jerusalem appears as a chessboard where secret agents and obscure organisations engage in innumerable parties to satisfy their interests, Cairo presents itself as a political and social labyrinth, Alexandria refers to a labyrinth of intrigue and machinations and Athens is the home of the monsters of power.
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Bludištěm světa? K motivu malby labyrintu románského portálu klášterního kostela v Plasích

100%
Skalický P.
Umění (Art)
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2021
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vol. 69
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issue 4
458-473
EN
The discovery of the Romanesque portal of the western facade of the Cistercian church in Plasy is one of the most important events of recent years for Czech medievalists and conservationists. The exterior side of its tympanum carries a relief, while on the interior side there is a unique wall painting of a labyrinth. On both sides appear repeated crosses. On the relief they are depicted as processional, while in the painting the theme of the cross is emphasised with one cross in the centre of the way through a labyrinth that is itself set in the centre of another cross delineated in the background. In terms of interpretation, the two sides are linked by the idea of movement (the processional crosses, the path through the labyrinth) and this is also connected with the very function of the portal, through which one moves from the external profane world into the sacral church (ecclesia). The theme of the labyrinth has appeared in art from antiquity up to the present day. In every epoch it has been applied in different contexts that corresponding with the different functions. The first labyrinth in a Christian church dates from the 4th century. From the 9th century the labyrinths appear also in manuscripts. In European sacral architecture, the theme appears only in — roughly — the 12th to 15th centuries. The labyrinth in Plasy needs to be considered with an eye to other labyrinths of the period that have survived, particularly in France and Italy, and to medieval etymological interpretations of the word labyrinthus. Labyrinthus represented the hard way of the cross (imitatio Christi), but also a difficult yet triumphant journey into the womb of the Church. These interpretations were not contradictory but rather complementary and could absorb different levels of meaning. Thus, the labyrinth in Plasy could also be associated in one etymological meaning (labor et intus) with the order’s maxim Ora et labor, and also be an allusion to the crusades, which were causing a great stir throughout Europe at the time and inspired artistic production not just in the courts of rulers, but inside the Cistercian order itself.
CS
Nedávný nález románského portálu západního průčelí cisterciáckého kostela v Plasích patří k nejvýznamnější domácí medievistické a také památkářské události posledních let. Výzdoba exteriérové strany jeho tympanonu nese reliéf, v interiéru se nachází unikátní nástěnná malba s motivem labyrintu. Na obou stranách spatřujeme dvakrát opakovaný motivy kříže. Na reliéfu jsou kříže zobrazeny jako procesní, na malbě je kříž akcentován ve středu cesty labyrintem umístěném v centru kříže, který je vymezen pozadím plochy. Obě strany interpretačně spojuje zásadní idea pohybu (procesní kříže, cesta labyrintem), a ta je spjata též se samotnou funkcí portálu; vstupovalo se jím z vnějšího profánního světa do posvátna církve-chrámu (ecclesia). Motiv labyrintu se v umění objevuje od antiky po současnost. V každé z epoch se uplatňoval ve zcela odlišných kontextech, jež korespondovaly s radikálně odlišnými funkcemi konkrétních labyrintů. První labyrint v křesťanském chrámu pochází ze 4. století. Od 9. století jej běžně nalézáme v různých významech v rukopisech. V evropské sakrální architektuře se vyskytovaly přibližně pouze v rozmezí 12. a 15. století. V následných staletích se přesunuly spíše do exteriérů s odlišnými světskými významy (zvl. zahradní bludiště). Labyrint v Plasích je třeba interpretovat na základě soudobých labyrintů dochovaných zejména ve Francii a Itálii a také v zrcadle středověkých etymologických výkladů slova labyrinthus. Na jedné straně reprezentoval nelehkou cestu kříže (imitatio Christi), na druhé formuloval komplikovaný a přitom triumfální vstup do lůna církve. Oba výklady nebyly protikladné, doplňovaly se, a navíc mohly absorbovat další významové roviny. Proto také mohl labyrint v Plasích v jednom ze svých etymologických výkladů (labor et intus) asociovat řádové heslo Ora et labora a v dalších významových odkazech též aktuálně prožívané křížové výpravy do Svaté země, které v té době hýbaly celou Evropou a nebyly živým námětem jen na vladařských dvorech (zakladatelem kláštera byl český panovník), ale právě i v nitru cisterciáckého řádu.
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Labirynt jako przestrzeń mityczna w Biegunach Olgi Tokarczuk

88%
Larenta A.
Białostockie Studia Literaturoznawcze
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2014
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vol. 5
EN
This article is an analysis of Olga Tokarczuk’s novel "Bieguni", the main subject of which is movement. Interpretation of the book aims at demonstrating that the image of labyrinth operates in Olga Tokarczuk’s text as a literary motif or “labyrinthness represented” and as “labyrinthness representing” organizing the structure of the work on many planes.
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Stínadla: mestská štvrť ako priestor tajomstva a dobrodružstiev alebo prečo Rychlé šípy nemôžu nikdy nakresliť mapu Stínadiel

88%
Horváth T.
Česká literatura (Czech Literature)
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2020
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vol. 68
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issue 4
468-489
EN
This study analyses the chromotope of the suburb of Stínadla (“The Shades”), which plays a key role in the narrative organization of the cult “Stínadla” trilogy by Jaroslav Foglar, comprising his novels Záhada hlavolamu (Mystery of the Conundrum, 1941), Stínadla se bouří (The Shades in Revolt, 1947) and Tajemství velkého Vonta (Secret of the High Vont, 1986). The spacial structure of the trilogy’s text is divided into two spheres — the suburbs separated by a boundary, with their distinctive structure. By crossing this boundary the boys in the Rychlé šípy (“Rapid Arrows”) gang enter Stínadla, a labyrinthine chronotope with radically different rules, a dangerous unknown space where they lose their bearings and continually find themselves in danger. The labyrinthine topology of Stínadla impedes the gang and causes them to get lost. As they are escaping, Rychlé šípy come across transverse passageways between individual locations. The atmosphere is another stylistic and motif-based emanation of the Stínadla chronotope. The chronotope textually constructed in this manner helps to generate the mysterious adventure story: as by crossing the boundary and infiltrating the Vont community the protagonists find themselves encountering a space where they generate the events of an adventure story. Another emanation of this chronotope is the special caste of boys who inhabit this space — the Vonts, whose character is determined by the topography and architecture of this labyrinthine suburb. The Vonts’ organization is structured on the model of a secret society with sacralized rituals. The “hedgehog in a cage” conundrum as a talisman is a sacral object symbolizing power and safeguarding unity within Stínadla. It is a mysterious object, a quest object, which sets the story in motion, as well as an object with a market value (an invention). In the trilogy the Stínadla chronotope generates three analogous plots, each of which is a mystery story built on the structure of an investigation, a quest for a mysterious object and the revelation of a dark tale from the past, in each of which the motif of the tragic demise of a boy plays a role, together with the mystery of his death and the notes he wrote before his death. The demonic Stínadla even has a destructive effect upon the Rychlé šípy boys themselves, sowing discord amongst them and an atmosphere of suspicion. For example, this chronotope even generates a dark doppelgänger of the exemplary Mirek Dušín.
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Tajemnice labiryntów. Geneza, znaczenie i perspektywy dla arteterapii

76%
Stępak J.
Kultura-Społeczeństwo-Edukacja
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2016
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vol. 10
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issue 2
295-304
EN
This article is inspired by private research conducted by the author over the past few years. The study involved more than 600 students of WSE UAM in Poznan and WP WSPiA in Poznan. The article describes metaphor of the labyrinth. Labyrinth and its metaphor is known in cultures and religions for more than 4,500 years and is still strongly present in many. The main purpose of this study is to explore and show psychological, cultural and philosophical significance and importance of the labyrinth and its metaphors in the modern world - especially among young adults. The article is also a prelude to a discussion about the use of the metaphor of the labyrinth in therapy by art – especially horticultural therapy.
8
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Zamknięcie Kunstanii

76%
Sztaba W.
Przestrzenie Teorii
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2019
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issue 31
389-398
EN
The Closing of Kunstania is a short tale about art that has been hidden away from its audience in a garden behind high walls. In this refuge, there are neither audio-guides nor art education nor interactive apps. Kunstania reminds us of another possibility to encounter art without mediators, without an aura of masterpieces, and without the promise of an extraordinary event. Instead, a way through a labyrinth of rooms and corridors, where, perhaps, things and tales are stored, but must be found on your own, wandering, returning and recollecting.
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Wiedza i światło u Jana Amosa Komeńskiego w "Labiryncie świata i raju serca" i w twórczości Fiodora Dostojewskiego – podobieństwa i różnice

75%
Wąsowski M.
Siedleckie Zeszyty Komeniologiczne seria Pedagogika
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2021
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vol. 8
185-193
EN
In the works by John Amos Comenius (1592-1670), light often plays a key role in the interpretation of the text. This is related to the philosophy of the Baroque, according to which a person wanders through the metaphorical labyrinth of life and only later, passing through the darkness, can reach the truth. Light in Comenius' works is particularly important for cognition, to which John Amos Comenius devoted a large part of his work, both artistic and pedagogical. Fyodor Dostoyevsky (1821-1881) in his reflections on the nature of man and God also refers to the biblical interpretation according to which light is closely related to the presence of Christ. Man is faced with a choice between the light and the dark, he is lost in the choice, as if in a baroque world-maze and darkness.
10
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Zagubieni w labiryncie: trzy współczesne obrazy filmowe – trzy przestrzenie zagubienia (szkic interpretacyjny)

75%
Karolina Sieńkowska K.
Załącznik Kulturoznawczy
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2014
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issue 1
259-299
EN
The complexity of labirynth’s construction is inseparably connected with the complexity of its symbolical meanings. For centuries mankind − driven by various feelings − has given labirynth figurative meanings. Poetry, pain- ting and all other kinds of art have shown the world as a maze. Cinema as well. This work is an attempt of following the labirynth motive in chosen film works. In each of the cases a labirynth will be discussed in the context of its relations with a man. Researcher focuses mainly on the way the labirynth affects the people inside him.
11
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Ariadne's Weaving in the Musical-Visual Field

75%
Aleksić M.
Kwartalnik Młodych Muzykologów UJ
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2021
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issue 3(50) ENG
5-41
EN
Recognition and reflection of the radially structured semantic intertextual raster in the opera Ariadne auf Naxos Op. 60 by Richard Strauss and Hugo von Hofmannsthal, are the goals of this paper, with the awareness that ‘reading’ of this complex textual amalgam cannot be comprehensive and that this is only one of the possible ways of looking at different languages, their texts, and relationships in which they come in, with the emphasis on the connection between the music and architectural texts. The focus is to spot some of the paths in this specific music-scenic maze. The recognition of the ‘inner’ and ‘outer’ opera house implies the withdrawal of the parallels between the music-dramatic and the architectural level. The concept of ‘opera within the opera’ is simultaneously present in the musical-dramatic sphere (opera Ariadne in opera Ariadne auf Naxos) and in the architectural sphere (opera/residential house in the opera house). By concurring with the different meaning of the word ‘opera’ which it has in the music-drama (opera as a musical-drama work) and architectural language (opera as an architectural object), we carry out the terms meta-opera ‘per square’ (‘metaopera2’) and meta-opera ‘per cube’ (‘metaopera3’).
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Il centro, la via, la strada: tre cronotopi nella narrativa polacca post 1989

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Prola D., Prola D.
Kwartalnik Neofilologiczny
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2020
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issue 4
13
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Шукшинские психи и шизи (в аспекте психопатической классификации Антония Кемпинского)

63%
Shubin R.
Acta Polono-Ruthenica
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2013
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vol. Tom 1 Nr XVIII
123-135
EN
In this article the author considers images of protagonists and the narrator in aspect ofpsychopathic type of epileptoides, described by Antony Kempinsky. This psychotype in article isbeyond especially psychiatric classification and becomes the cultural frame describing aggressive and despotic cultural system with repressions inside and expansion outside, what was socialist system of a period of cold war. Shukshin characters bear on themselves burden of this system: dreaming to become heroes of the country, they focus in themselves negative lines: despotism, hate, anger, rage, rejection. Conflicts between heroes in stories tell about fight of the person against the system which is not leaving freedoms and spirituality. Shukshin artist’s eye snatches out from crowd thin and thick, small and large, weak and strong for heroes and their enemies, butthis choice is predetermined by the single psychopathic situation which has been taken out fromsoul of the writer.
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Milada Součková v labyrintu paměti (na základě prózy Vlastní životopis Josefíny Rykrové)

51%
Woźniak K.
Slovo a smysl - Word & Sense
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2021
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vol. 18
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issue 36
99-114
EN
This article focuses on ‘Josefína Rykrová’s Autobiography’ (‘Vlastní životopis Josefíny Rykrové’) by Milada Součková, dealing in particular with issues related to the motif of memory in the form of labyrinthine prose. The collection of texts that is the subject of this analysis presents a retrospective narration based on the memories of Josefína Rykrová (although it makes multiple references to the biography of Milada Součková). Of particular importance is the fact that, at various times in the text, the subject position is split, suggesting a certain play with identities. Having created the figure of Josefína Rykrová, the author points to the splitting and loss of the self in the memories of others, which in turn become part of one’s own memory. Josefína, the titular heroine and the author of the memoirs, gets to know herself not only through her mother’s stories, but also through photographs. In this case, she draws from descriptions written on the back of the photos as an additional source of information. Součková shapes her text on the basis of an architectural metaphor of memory: the labyrinth. Moving towards the centre of this labyrinth is a complex process of remembering and erasing the traces of the past. The reconstruction of memories is aimed at reaching the first memory which remains entirely untainted. In this labyrinth, it is impossible to find the truth about oneself, yet the multiplicity of voices and images causes the subject to lose any certainty about this ‘self ’. Any certainty regarding the ontological status of the narrator is thus also lost by the reader. The labyrinth of the text, even though it uncovers the reality of intimate memories, never creates any intimate space for the subject, because it is interrupted by other voices — quotes, interjections, comments. Going through the labyrinth of memory is a symbolic attempt to confront one’s own identity and determine who one is.
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The Labyrinth: Revisited and Reinhabited. Interpreting the Minoan Myth as a Metaphor For Contemporary Culture

51%
Gladden-Obidzińska B. J.
Dialogue and Universalism
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2018
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issue 1
177-194
EN
This article reconstructs and interprets the evolution of the Minoan myth’s reception in literature, fine arts, and urban development during the twentieth century. The author’s understanding of this evolution is based on three assumptions: a) myth is a polysemantic symbol of metaphysical and historical origins and function; b) myth reflects the relationship of the cognitive vs. creative mechanisms of human activity; and c) as symbolic, myth’s form must be treated as an image as much as it is a (discursive) narrative. As a motif in literature and the arts, the Minoan myth in particular has displayed all three of these aspects by allowing first its heroic narrative and, more recently, its formal structure (i.e., the tragic maze of moral and intellectual values) and visual setting (i.e., the actual labyrinth) to serve as porte-paroles of ongoing social and civilisational transformations: aestheticisation, deconstruction of cognitive and political hierarchies, technicisation, and intensive urbanisation. The displacement of the narrative and of the figure of the Minotaur is interpreted from the perspectives of psychoanalysis and post-structuralism.
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