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1

Komedia dell'arte: między lokalnością a globalnością

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Koman A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2017

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vol. 17

241-244

PL

Commedia dell’arte: between localism and globalism Abstract Subject to the present review is Lokalność i mobilność kulturowa teatru. Śladami Arlekinai Pulcinelli of Ewa Bal. The author analyzes Italian dialectical theatre from a doubleperspective: local and global mobility of culture. She observes how two principal masks ofcommedia dell’arte – Harlequin and Pulcinella – evolved over the years, by investigating theirrelation to political context that may result in domestication or foreignization. Keywords: Ewa Bal, commedia dell’arte, intercultural transfer, cultural mobility, localism andglobalism of the theatre, Harlequin, evolution of masks, dialectical theatre, drama in politicalcontext

2

Ofelia Pirandella: rozważania nad kobiecym szaleństwem

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Koman A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2017

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vol. 17

150-158

PL

Ophelia of Pirandello: reflections around female madness Abstract The article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the case of a woman receivesnew, interesting meanings. One of them is spotting the correspondence between Pirandelli’sStranger and Shakespeare’s Ophelia, as madness of both characters appears to have similarroots: female’s insanity seen through the prism of both dramas appears as defiance againstthe culture of patriarchy, but also stems from the conviction of one’s own emptiness andundefinedness. In this context, referring to studies on feminist criticism (E. Shawalter,K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even thoughthe structure of drama appears to lead to a finale in which the truth about the character isuncovered, Pirandello does not reveal her true identity. However, questions on female identityand female madness are worth reflecting upon, even if they remain unanswered. Keywords: Luigi Pirandello, As you desire me, impersonality, Ophelia, tarantism, Jean-MartinCharcot, Aleksandra Mianowska, female madness, female identity, Elaine Showalter, feministliterary criticism

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Milczenie dramatu czy dramat milczenia? Joanna Lisiewicz, Milczenie w teatrze Samuela Becketta i Tadeusza Różewicza, Wydawnictwo Uniwersytetu Gdańskiego, Gdańsk 2017

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Koman A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2018

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vol. 18

224-227

RU

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4

With rhymes about the human fate. Philosophy in the poetry of Giacomo Leopardi

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Koman A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2020

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vol. 59

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issue 4

101-114

PL

Giacomo Leopardi jest jednym z tych autorów, którzy w historii kultury zachodniej zapisali się jako twórcy z pogranicza literatury i filozofii. Co prawda Leopardi nie posługuje się tradycyjnymi formami wypowiedzi filozoficznej, jednak faktem jest, że większość rozważań włoskiego myśliciela wyraża się poprzez jednoczesne prowadzenie dwóch dyskursów: literackiego i filozoficznego. Leopardi próbował swych sił niemalże w każdej formie wypowiedzi literackiej, do historii przeszedł jednak głównie jako poeta, który znaczną część swych najwznioślejszych przekonań zawarł w mowie wiązanej. Praktyka filozofowania za pośrednictwem wiersza nie jest w poezji niczym nowym, a rozmaite związki literatury z filozofią stanowią zagadnienie niemalże starożytne, jednak toczące się do dziś w świecie włoskiej krytyki dyskusje na temat relacji Leopardiego z filozofią pozwalają sądzić, że liryka refleksyjna słynnego poety z Recanati stanowi przypadek nad wyraz zajmujący. Niniejszy artykuł stanowi refleksję nad użyciem środków poetyckich w procesie wykładania światopoglądu przez Leopardiego, ze szczególnym uwzględnieniem metafory, oraz nad ogólnym wpływem medium poetyckiego na prezentowanie i kształtowanie przyjętej ideologii.

EN

Giacomo Leopardi is one of those authors whose texts oscillate on the border between literature and philosophy. It is true that Leopardi does not use traditional forms of philosophical expression, but the fact is that most of the considerations of the Italian thinker are expressed by the simultaneous conduct of two discourses: literary and philosophical. Leopardi experimented almost every form of literary expression, but he went down in history mainly as a poet, who contained a significant part of his highest beliefs in poetry. The practice of philosophizing through poetry is nothing new in literature, and the various connections between literature and philosophy are almost ancient, but the ongoing discussions in the world of Italian critics about the relationship between Leopardi and philosophy suggest that the reflective lyrics of the famous poet from Recanati are an noteworthy case. This article is a reflection on the use of figures of speech in the process of explaining the worldview by Leopardi, with particular emphasis on metaphor, and on the overall impact of the poetic medium on the presentation and shaping of adopted ideology.

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„Chociaż to wariacja, nie jest jednakże bez metody”. Motyw udawanego szaleństwa w Hamlecie Williama Shakespeare’a i Henryku IV Luigiego Pirandella

100%

Koman A.

Świat i Słowo

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2020

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vol. 35

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issue 2

195-212

EN

Feigned madness is a motif that – with varying frequency – returns in literary texts. It is usually a carrier of important metaphors, such as: search for truth, escape from reality or conscious rejection of routine. Moreover, it seems to have an exceptional interpretative potential in dramas as it also symbolises a performative treatment of existence and an awareness of fiction which directs the poetics of the drama towards the meta-theatre. The author of this article considers these issues in relation to the titular characters of two dramatic masterpieces of world literature: Hamlet by William Shakespeare and Henry IV by Luigi Pirandello. Both characters, for various reasons, decide to hide their true psychological condition under the image of a madman, which, interestingly, confirms their sophistication and intellect. Putting on the mask of a madman guarantees the privilege of unpunished violation of conventions and established orders, hated by individuals such as Hamlet or Henry IV. This rebellion and emancipation lead to the final defeat of these characters, who, however, dominate over the others, since, unlike other actors who dispassionately play roles that have been imposed on them, they choose their roles, and – most importantly – they are aware that they are playing.

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3 Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

1 Świat i Słowo

5 Koman A.

2 2020

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Komedia dell'arte: między lokalnością a globalnością

Ofelia Pirandella: rozważania nad kobiecym szaleństwem

Milczenie dramatu czy dramat milczenia? Joanna Lisiewicz, Milczenie w teatrze Samuela Becketta i Tadeusza Różewicza, Wydawnictwo Uniwersytetu Gdańskiego, Gdańsk 2017

With rhymes about the human fate. Philosophy in the poetry of Giacomo Leopardi

„Chociaż to wariacja, nie jest jednakże bez metody”. Motyw udawanego szaleństwa w Hamlecie Williama Shakespeare’a i Henryku IV Luigiego Pirandella