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Postmodernistyczny retelling baśni — garść uwag terminologicznych

100%
Skowera M.
Creatio Fantastica
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2016
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issue 2(53)
41-56
EN
Nowadays, new versions of well-known fairy tales are extremely popular. However, it is debatable how to define such works. The author of the paper Postmodern Retelling of Fairy Tales — A Handful of Terminological Comments suggests using the term “retelling” in relation to a particular group of postmodern works which tell canonical, traditional fairy tales in new ways. Andrzej Sapkowski’s definition of “retelling” and differences between this notion and the others (such as “rewriting” or “adaptation”) are also considered. The article concludes with a proposal to form a new definition of “retelling”. It is based on the conviction that this term should be used to call both the mode of storytelling and such works in which various aspects of pre-texts undergo essential revisions.
2
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Herstory in Young Adult Fiction by Joanna Rudniańska Based on the Examples of „Rok Smoka” and „Kotka Brygidy”

100%
Slany K.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2019
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issue 8
301-325
EN
The paper discusses young adult fiction by Joanna Rudniańska, whose works belong to the stream of non-conformist coming-of-age novels marked by experiences of exclusively teenage girls/women, developing in Poland since the 1990s. Both Rok Smoka and Kotka Brygidy emphasise the personal quality of teenage girls and women, and present their fates with a particular consideration of their fairly individualised processes of maturation and intentional development of their identities. The author of this paper employs feminist methodologies to emphasise the ambivalent, borderline, and negative female experiences in the analysed texts. She offers a detailed interpretation of how the protagonists of the above-mentioned novels experience the world; she applies a metaphorical and fantastic perspective of telling herstories, while searching for matrilineal traces, the phenomenon of sisterhood, drastic rituals inscribed in the feminine domain, and the special kind of coming-of-age which constitutes the starting point for personal and subjective herstories.
3
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«The Wicked Witch of the East»: Baba Yaga в современном американском фэнтези

84%
Криницкая Н.
International Journal of Slavic Studies Transgressive, Pragmatic and Speculative Horizons of Popular Literature and Culture
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2021
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vol. 1
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issue 3
15-28
EN
The paper observes the Slavic-inspired young adult fiction and fantasy that is a recent and unexplored phenomenon in the U.S. literature. The author focuses on Baba Yaga, a powerful witch and boogeyman from the Slavic folklore, and studies the sources about her and the interpretation of this ogress in Naomi Novik’s novel Uprooted, Catherynne M. Valente’s novel Deathless and Katherine Arden’s Winternight Trilogy. For these writers, Yaga embodies feminine power, knowledge, true vision, intuition and magic. At the same time, these authors try to move away from the fabulous Baba Yaga, either bringing her closer to the goddess of nature (Novik), or socializing and caricaturizing as much as possible (Valente), or humanizing (Arden). All the main heroines of the considered works evolve from a “maiden in trouble” to a “warrior maiden” who is able not only to help herself, but also to save others. It is concluded that the image of the Yaga warrior could reflect the ancient contacts of the Slavs, and, possibly, the Germans (Goths) with the Sarmatian or Greek women, the so called “amazons”, from the Black Sea or Azov coast. Accordingly, to a greater or lesser extent, the Slavic Yaga implements a feminist worldview, understandable to American readers, and acts as an assistant and a good advisor to the heroines on the path of their coming of age.
4
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Baśniowe herstory. Postmodernistyczne strategie reinterpretacyjne Angeli Carter, Tanith Lee i Emmy Donoghue

84%
Kostecka W.
Creatio Fantastica
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2016
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issue 2(53)
23-39
EN
The aim of the article A fairy-tale herstory. Postmodern strategies of reinterpretation by Angela Carter, Tanith Lee, and Emma Donoghue is to analyze selected postmodern fairy tales written by Angela Carter, Tanith Lee, and Emma Donoghue. The most important literary strategy applied by all three authors consists in presenting fairy tales from a new, female perspective. As a result, this strategy reveals “facts”, contexts, and meanings that have so far been unnoticed, ignored, or omitted in the original story, turning it into a fairy-tale “herstory”. Postmodern fairy tales by Carter, Lee, and Donoghue are revisionist stories that critically engage the “canonical” material, i.e. fairy-tale pre-texts. The authors question traditional social values as well as petrified cultural “norms”, rules, hierarchies, and images. At the same time, they often suggest a new order and new values. Consequently, the genre of fairy tale is given back to women—the social group so far discriminated, according to feminist discourse. By challenging the traditional socio-cultural context and constructing the new one, Carter, Lee, and Donoghue change the meaning of fairy tales. Therefore, classic fairy-tale stories become the subject of a postmodern, intertextual play.
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Two Perspectives on the Performative Social Body: Teenage Make-up Routines in „Fanfik” and the Jeżycjada cycle

67%
Mochocka A.
Miscellanea Posttotalitariana Wratislaviensia
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2017
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vol. 7: Special Issue, vol. II, POST-COMMUNIST CHILDREN’S CULTURES IN CENTRAL, EASTERN, AND SOUTHEAST EUROPE
87-115
EN
The article discusses make-up as an important element in a storyworld of YA fiction. It uses examples taken from novels by two Polish authors, the well-established and acclaimed Małgorzata Musierowicz, the author of the Jeżycjada cycle (1977–2015), and Natalia Osińska, who has recently debuted with a novel entitled Fanfik (2016). The article shows that Osińska’s novel can be seen as a transformative rendition of Musierowicz’s works. It also focuses on the paratexts adding meaningful context in the case of both Musierowicz and Osińska, as well as comments on the public recognition of Musierowicz’s fiction, the responses of Musierowicz’s fandom to the alleged ideological message of her novels, and the political agenda of the publishing house that put Osińska’s book on the market. The concepts of the performative social body, the cosmetic paradox, and glamour are employed to argue that Osińska’s book is intended as a critique of the world-view presented in Jeżycjada’s storyworld. Although a direct relationship between the two fictional worlds cannot be established, the article highlights some tangent points between them: in both cases, make-up serves the expression of the value system. In the Jeżycjada cycle, it is presented mostly as disguise and deception even though at the same time discreet make-up is meant to be part and parcel of womens’ lives. By contrast, featuring queer teenagers, Osińska’s debut novel highlights the transformative function of cosmetics as tools used to create the social body.
RU
В тексте рассматривается макияж как важный элемент мира беллетристики для юных читателей. В статье использованы примеры из романов двух польских авторов: из­вестной Малгожаты Мусерович, автора цикла Jeżycjada, и Натальи Осинской, которая недавно дебютировала c романом Fanfik. Текст объясняет тот факт, что роман Oсинской был провоз­глашен своего рода интерпретацией произведений Мусерович. В статье проанализированы паратексты, создающие значимый контекст, в произведениях Мусерович и Осинской. Автор исследования затрагивает вопрос об общественном признании литературы Мусерович. В статье прокомментированы ответы фэндома писательницы на предполагаемое идеологическое посла­ние ее романов и рассмотрена политическая позиция издательства, которое выпустило книгу Осинской на рынок. В статье также идет речь о концепции перформативного социального тела, косметического парадокса и гламура. Книга Осинской считается критикой мировоззрения, представленного в мире Jeżycjady. Хотя прямая связь между двумя вымышленными мирами не может быть установлена, между ними, безусловно, есть некоторые точки пересечения. В обоих случаях макияж служит для выражения системы ценностей. В цикле Jeżycjada макияж представ­лен в основном как маскировка и обман, но в то же время сдержанный макияж — неотъемлемая часть жизни женщин. С другой стороны, опиcывая квир подростков, Осинская подчеркивает в своем дебютном романе трансформационную функцию косметики как инструмента, исполь­зуемого для создания социального тела.
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Słowiański cykl Żniwiarz Pauliny Hendel: gender i genologia

67%
Kocznur A.
Polonistyka. Innowacje
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2022
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issue 16
55-66
EN
The article addresses the issue of genre (genology) and gender in the book cycle The Reaper by Paulina Hendel. The first part of the article presents the position of Hendel’s book series in the field of Polish young adult literature, particularly in the current context of the popularity of Slavic motifs in contemporary juvenile literature, followed by an interpretation of some of the Slavic motifs present in the series and their function. The second part of the article examines issues in the field of gender studies, especially in the aspect of slutshaming and victimblaming that appear in the novels
PL
W artykule podjęta zostaje kwestia gatunku i gender w cyklu książek Żniwiarz autorstwa Pauliny Hendel. Pierwsza część artykułu skupia się na umiejscowieniu cyklu książek Hendel na tle polskiej literatury dla młodzieży, w szczególności w kontekście mody na słowiańskie motywy we współczesnej literaturze młodzieżowej, następnie zinterpretowane zostają niektóre słowiańskie motywy obecne w cyklu, wraz z pełnioną przez nie funkcją. W drugiej części artykułu zostaje poruszona tematyka z zakresu gender studies, w szczególności w kontekście pojawiającego się w powieściach slutshamingu i victimblamingu.
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Fiktionalisierung der eigenen Kriegskindheit in den Jugendromanen von Anatolij Pristavkin

59%
Leingang O.
Libri & Liberi
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2013
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vol. Vol 2
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issue No. 1
65-82
DE
„Mich erschuf der Krieg“, notierte Anatolij Pristavkin in seinem autobiographischen Werk Der erste Tag – der letzte Tag der Schöpfung, worin der Krieg für ihn tatsächlich zu einer Sozialisierungsinstanz wurde. Pristavkins Mutter starb 1941 an Tuberkulose, als er zehn Jahre alt war; der Vater kämpfte an der Front. Im Jahre 1944 wurde er zusammen mit mehreren hundert Moskauer Waisen in den Nordkaukasus evakuiert, wo er als einer von wenigen einem Massaker entgehen konnte. Aus Trauer um die eigene Kriegskindheit schrieb Pristavkin ein literarisches Großprojekt nieder. In sechs autobiographisch gefärbten, detailreichen Kurzromanen sowie in unzähligen Kurzgeschichten näherte sich der Autor dem Trauma seiner Kriegskindheit an. Da er dabei keine Autobiographiesignale im Sinne des „autobiographischen Paktes“ setzte und die Möglichkeit des „moderaten Fiktionalisierungsschubs“ nutzte, überführte er das biographisch Unartikulierte durch nachträglich imaginierte Entlastungsmomente in „Wunschbiographien“. Im Folgenden wird untersucht, wie Anatolij Pristavkin die eigenen traumatischen Erinnerungen an den Zweiten Weltkrieg in seinen jugendliterarischen Werken inszenierte.
EN
“I was created by war”, writes Anatolij Pristavkin in his last autobiographical povest – a Russian term denoting a medium length prose narrative – characteristically entitled The First Day – the Last Day of Creation (Pervyj den’ – poslednij den’ tvorenija). As he lost his mother to tuberculosis at the age of ten, and knew his father to be fighting at the front, the war became the context of his socialisation: Pristavkin spent his childhood in various orphanages, and was in 1944 evacuated to North Caucasus, where he was one of the few of Muscovite orphans to escape massacre. Pristavkin’s large-scale literary project is focused on this traumatic biography. He approaches his childhood with increasing introspection in six short novels and countless short stories. The gaps in his inconsistent traumatic memories are bridged with repetitions which disguise the construction of an intrafictional reality and guarantee narrative coherence. But at the same time they obscure the constructed nature of such memories, which are conditioned by context and an individual perspective. Thus breaking the ‘autobiographical pact’, Pristavkin transforms what he does not want to express about his own life into imaginative moments of relief, into so-called “ideal autobiographies”. The paper demonstrates how Pristavkin depicts and elaborates his traumatic war memories in his young adult novels.
HR
„Stvorio me rat“, bilježi Anatolij Pristavkin u autobiografskom djelu Prvi dan – posljednji dan postanka (Pervyj den’ – poslednij den’ tvorenija) u kojemu je rat uistinu postao njegov socijalizacijski kontekst. Pristavkinova je majka umrla od tuberkuloze 1941., kada je autor imao deset godina, a otac se borio na fronti. Djetinjstvo i mladost proveo je u različitim dječjim domovima. Zajedno sa stotinama djece evakuiran je 1944. godine na Sjeverni Kavkaz gdje se s tek nekolicinom moskovske siročadi uspio spasiti od masakra. Žalostan zbog svojega djetinjstva, autor započinje veliki književni projekt. U šest autobiografskih, vrlo detaljnih kratkih romana, ali i u mnogobrojnim kratkim pričama, približava se traumi svojega ratnoga djetinjstva. Budući da u tekst ne ugrađuje autobiografske signale uvriježene za ‘autobiografski ugovor’ te se koristi mogućnošću „pomicanja u smjeru odmjerene fikcionalizacije“, Pristavkin dijelove svoje biografije, koje ne želi posredovati, preoblikuje u imaginativne trenutke olakšanja, u „željene biografije“. U radu se, na temelju Pristavkinovih autobiografskih djela Rjazanka i Prvi dan – posljednji dan postanka te s osnoncem na njegova osobna svjedočanstva, istražuje način na koji Anatolij Pristavkin u djelima za mladež uprizoruje svoja osobna traumatska prisjećanja na Drugi svjetski rat.
8
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„Ich bin eine große Baustelle“ – Zur Darstellung von Adoleszenz nach der Flucht in Julya Rabinowichs Roman „Dazwischen: Ich“

51%
Hernik-Młodzianowska M.
Colloquia Germanica Stetinensia
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2019
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issue 28
149-167
EN
The paper deals with the question of the literary representation of adolescence in connection with migration. The topic is largely unexplored, scientifically, journalistically and literarily. Both processes are extremely similar to each other and, combined with each other, can lead to great disturbances of the personality and enormous overburdening of the young person. The main character of the text, an adolescent girl, is experiencing changes on all levels of her existence when she arrives in Germany. The paper aims to show which aspects the reader’s attention is focused on and how they are presented in a narrative manner.
DE
Der Beitrag geht der Frage der literarischen Darstellung von Adoleszenz in Verbindung mit der Migration nach. Das Thema ist sowohl wissenschaftlich, publizistisch, als auch literarisch weitgehend unerforscht. Dabei sind beide Prozesse einander äußerst ähnlich und können in Verbindung miteinander zu großen Störungen der Persönlichkeit sowie enormer Überforderung des jungen Menschen führen. Die Hauptfigur des Textes, ein adoleszentes Mädchen, durchlebt nach ihrer Ankunft in Deutschland Veränderungen auf sämtlichen Ebenen ihres Daseins. Im Beitrag geht es darum, aufzuzeigen, auf welche Aspekte die Aufmerksamkeit der Leser gerichtet wird und wie diese erzähltechnisch dargestellt werden.
PL
Artykuł poświęcony jest przedstawieniu problemu adolescencji w połączeniu z migracją. Temat ten pozostaje niezbadany naukowo czy publicystycznie, nie był częstym tematem dzieł literackich. Oba te procesy są jednak niezwykle zbliżone i w połączeniu ze sobą mogą prowadzić do znaczących zaburzeń osobowości oraz przytłaczać młodego człowieka. Główna bohaterka powieści, dorastająca dziewczyna, przeżywa po przyjeździe do Niemiec zmiany dotyczące niemalże każdego aspektu jej egzystencji. Celem artykułu jest wykazanie, na jakie aspekty zwraca uwagę autorka, jak również przy pomocy jakich środków narracji.
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