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1
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„Widzialny porządek” czy „ukryty wymiar”? Haiku-images Stanisława Grochowiaka

100%
Krawczyk A.
Postscriptum Polonistyczne
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2012
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issue 1(9)
197-214
EN
The article is dedicated to Haiku-images, the last poetic work of Stanisław Grochowiak. The author attempts to show how difficult it is to read oriental type of poetry, even if we know its structure and philosophical base. The only thing that we can do is to find common places between haiku and European tradition. The author points to grotesque, surrealism, imagism and magic realism. There are similarities between Grochowiak’s last poetic work and Jacek Yerka’s magic realism in painting. This leads to conclusion that Haiku-images is still an im-portant poetic voice concerning reality and world we live in.
2

Magic Realism, Minimalist Realism and the Figuration of the Tableau in Contemporary Hungarian and Romanian Cinema

88%
Pieldner J.
Acta Universitatis Sapientiae, Film and Media Studies
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2016
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vol. 12
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issue 1
87-114
EN
The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the “real” in the Central Eastern European geocultural context. New Hungarian Film tends to display narratives that share the features of what is generally assumed as being magic realist, accompanied by a high degree of stylization, while New Romanian Cinema is more attracted to creating austere, micro-realistic universes. The paper argues that albeit apparently being forking modes of representation that traverse distinct routes, magic realism and minimalist realism share a set of common elements and, what this study especially focuses on, converge in the preference for the tableau aesthetic. The paper examines the role of tableau compositions and tableaux vivants in representative films of the Young Hungarian Film and the Romanian New Wave, namely Szabolcs Hajdu’s Bibliothèque Pascal (2010) and Cristian Mungiu’s Beyond the Hills (După dealuri, 2012). An excessive use of the tableau can be detected in both films, with many thematic connections, in subtle interwovenness with female identiy and corporeality performed as a site of traumatic experiences, upon which (institutional, colonial) power relations are reinscribed. The tableau as a figuration of intermediality performs the tension between the sensation of the “real” and its reframed image, and proves especially suitable for mediating between low-key realism and highly stylized forms.1
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Representations of Female Alterity in Contemporary Hungarian and Romanian

88%
Pieldner J.
Acta Universitatis Sapientiae, Philologica
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2013
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vol. 5
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issue 1
95-110
EN
The present study carries out a comparative/contrastive analysis of two ways of contemporary Hungarian and Romanian film discourse, namely magic realism and micro-realism, and will focus on the representation of the woman in the contemporary films entitled Witch Circle (Dezső Zsigmond, 2009),exploring a subversive female mythologem of a confined traditional community, that of the Csángó people, Bibliothéque Pascal (Szabolcs Hajdú, 2010),which creates a private mythology, materialised in form of surrealist images, of the female self interpreting herself out of her conditions, and Beyond the Hills (Cristian Mungiu, 2012), drawing its topic from a real event -reality generating fiction-that inspired Tatiana Niculescu Bran’s Deadly Confession [Spovedanie la Tanacu), Judges’ Book [Cartea Judecătorilor), as well as Zsolt Láng's The Monasteryr of Protection (Az oltalom kolostora). Beyond dealing with related female patterns, the films imder discussion are engaged in mediating collective and private mental representations, as well as in creating film narratives with the convergent feature of juxtaposing the real and the mythical. The films approach the topic from distinct possibilities of cinematic representation and offer, in my view, a complementary and intercultural image of the woman trapped between the East and the West, between social and religious institutions and victimised by the stereotypical view of society.
4
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Franz Kafka: un escritor checo en los reinos del “realismo mágico” y otras confusiones conceptuales Franz Kafka: a Czech writer in the kingdoms of ‘magic realism’, and other conceptual confusions

75%
Volek E.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2023
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vol. 33
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issue Special Issue
165-175
EN
The essay considers different aspects of Kafka’s influence on Latin American literature and culture. It focuses on the concept of ‘influence’ and its interpretation in Borges, on the modalities of the absurd, and on the vexing confusions around the concept of ‘magic realism’.
5
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Various aspects of freedom in John Fowles novels The Collector and The Magus

63%
Ładuch E.
Forum Filologiczne Ateneum
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2022
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vol. 10
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issue 1
317-332
PL
Niniejszy artykuł przedstawia analizę różnych aspektów wolności przedstawionych w powieściach Johna Fowlesa „Kolekcjoner” i „Mag”. Przedmiotem analizy są takie elementy, jak wolność w odniesieniu do konwencji społecznych, moralności, seksualności i wolnej woli. Praca wprowadza aspekty postmodernizmu z uwzględnieniem egzystencjalizmu i realizmu magicznego. Zagadnienie wolności jest tematem niezwykle rozległym i aktualnym we współczesnym świecie przepełnionym łamaniem praw człowieka i prawa jednostki do samostanowienia, dlatego też esej ten wpisuje się w dialog o tych, jakże ważnych dla ludzkości, sprawach.
EN
This paper presents an analysis of the various aspects of freedom pictured by John Fowles in his novels The Collector and The Magus. The analysis consists of elements related to freedom in terms of social conventions, morality, sexuality, and free will. The methodology of the work is based on theories of postmodernism with an emphasis on existentialism and magical realism. The issue of freedom is a very extensive and up-to-date concept in the contemporary world, full of situations related to the violation of human rights, which is why this work is an interesting dialogue relating to this topic, so important for the humanity.
6
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The Ambiguous Identity of a Dog as a Mongrelized Storyteller in John Berger's King (1999)

63%
Leleń H., University of Warmia and Mazury in Olsztyn, Halszka Leleń is Assistant Professor in the Department of English Studies at the University of Warmia and Mazury in Olsztyn P.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2015
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vol. 3
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issue 1
EN
The dog named King, the central character and narrator of John Berger’s “King” published in 1999, is the offshoot of many apparently incongruent genre conventions as well as the offspring of the ambivalent prejudice and praise of the species encoded in the English idioms. This presentation aims to overview the contributing elements which gave rise to the Bergerian shift in character-narrator shaping and to discuss the function of such perspective for the novelistic format adopted. The discussion points out the central role of the ambiguity of King as a dog, demonstrating the post-fantastic nature of his characterisation rooted in the conventions of magic realism. The patterns used to shape King, the dog, as one of the community and at the same time the Other are discussed. He is a befriended dog who becomes almost a family member for the beggars and, at the same time, he is the other, different species. He is both one of the homeless and at the same time the independent one, the stranger who sees more because of the distance inscribed into his nature of a rambling dog. Such is also the function of the fantastic in his shaping, as it is sometimes not quite clear that he is just a talking dog, derived from the tradition of animal fable. He might as well be taken as a mentally challenged human being who lost his identity. The merging of perspectives on all levels of the novel contributes to the dialogic quality of the narration in the Bakhtinian sense, to which the central ambiguities inscribed in the shaping of the quasifantastic dog add the quality of uncertainty and polyvalence.
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Podmiot, czas, swiatlo. Gaspara Noé eksperymenty z realizmem we Wkraczając w pustkę

38%
Michnik A.
Kwartalnik Filmowy
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2011
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issue 75-76
209-236
EN
The article deals with Gaspar Noé’s Enter the Void (2009). The author analyses different ways of presenting reality that Noé employs in his work in relation to various concepts of extending realism. Michnik compares Enter the Void with 19thcentury French paintings and various trends in cinematography and visual arts of the 1960s: structural film, Stanley Kubrick’s 2001: A space odyssey, op-art, Andy Warhol’s multimedia experiments, and objects by Dan Flavin and Bruce Nauman. Basing his argument on the work and thoughts of Michael Fried and Robert Smithson, Michnik considers various models of vision employed by the director and the relation of his film to the concept of time. He also analyses Noé’s use of the Tibetan Book of the Dead. He uses the concepts of Hal Foster’s “traumatic realism”, Fredric Jameson’s „magic realism” and Luis Felipe Noé’s, Gaspar Noé’s eminent father, “subjective realism”.
8
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Жанровый синкретизм современного романа (на материале романа «зулейха открывает глаза» Гузель Яхиной)

38%
Andreyevna Levitskaya N.
Roczniki Humanistyczne
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2021
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vol. 69
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issue 7
209-219
PL
Synkretyzm gatunkowy powieści współczesnej (na podstawie powieści Zulejka otwiera oczy Guzel Jachiny) W artykule na przykładzie powieści Zulejka otwiera oczy Guzel Jachiny ujawniane są cechy współczesnej powieści, a szczególnie synkretyzm gatunkowy, przejawiający się w hybrydyzacji formuł gatunkowych. Przedmiotem badań jest model powieściowy, w którym w ramach jednego utworu nastąpiło połączenie i przekształcenie formuł gatunkowych oraz różnych cech nowatorskich. W tekście przeanalizowane zostały kolejno przejawy synkretyzmu gatunkowego w powieści Jachiny: wykorzystanie wyznaczników powieściowych realizmu socjalistycznego i realizmu magicznego oraz intermedialność. Według autorki artykułu zastosowane zabiegi pozwalają na ukazanie wielopoziomowego konfliktu, który poszerza granice narracji.
EN
This article uses the example of the novel Zuleikha opens her eyes by Guzel Yakhina to identify some features of the modern novel: genre syncretism, manifested in the hybridisation of genre formulas. The subject of the study is the model of a novel in which, within the framework of a single work, genre formulas and features of various traits of the novel are merged and transformed. The novel’s genre syncretism manifests itself in the use of multi-level conflict, which contributes to the expansion of the boundaries of the narrative.
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