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Augusta Cesarca (nie)realistyczny portret przygłuchej Tonki

100%
Pieniążek-Marković K.
Poznańskie Studia Slawistyczne
|
2020
|
issue 18
173-193
EN
In the centre of the article’s interest, there are the expressionist ideas present in the work by Croatian writer from the inter-war period (1893–1941). The mini-novel/novella in question entitled Tonkina jedina ljubav (1931) is considered the work belonging to the epoch of the new/social realism which dominated in the 1930s, however, the author, as is shown on the basis of the article’s research, did not managed to free himself from influence of expressionism that shaped the most Croatian consciousness as for the avant-garde historical time (1910–1930). Focusing attention on a disabled woman along with her small-town environment of Zagreb before the World War I, the author draws her exaggerated, cartoonish portrait which has little to do with the realistic and mimetic reflection of reality. The work is a kind of aesthetic and ethical provocation, and serves as unmasking the idyllic image of Zagreb which turns out to be a city inhabited by intolerant and narrow-minded society convinced, however, of its civilisation superiority. The titular character is a victim of this society, and at the same time she remains its part. The aesthetic and ethical provocation concerns the disabled woman together with „inefficient” society living in the terrifying city.
2

Trivialität im neusachlichen Gewand. Einige Bemerkungen zu Hans Falladas Kleiner Mann, Großer Mann

87%
Brylla W.
Germanica Wratislaviensia
|
2015
|
vol. 140
41 - 59
EN
Hans Fallada’s novel Kleiner Mann, großer Mann (1941) is in principle regarded as a trivial novel and it is for this reason that it has very seldom aroused interest among the literati. Yet, Fallada himself at one time called his texts written in the Nazi Germany a kind of entertaining or popular literature. However, with the careful analysis of Kleiner Mann, großer Mann one should state that the novel about the offcial Max Schreyvogel, at least with respect to the narration, does not come under the criterion of triviality. The somewhat trashy story (histoire albo narrative) is being told with the new objective (new objectivity), realistic means (discourse) which are in cotrast to the banality of the main topic.
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