Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 9

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Julia Kristeva
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Rosjanie o intertekstualności

100%
Żyłko B.
Pamiętnik Literacki
|
2023
|
vol. 114
|
issue 3
169-188
PL
Pojęcie intertekstualności (intertekstowości) wprowadziła do współczesnej humanistyki Julia Kristeva pod koniec lat sześćdziesiątych XX wieku, wywodząc je z koncepcji „cudzego słowa” Michaiła Bachtina. Autor artykułu wskazuje, że właściwym źródłem są jednak propozycje formalistów rosyjskich. W pracach Wiktora Szkłowskiego, Jurija Tynianowa i przede wszystkim Wiktora Winogradowa można odnaleźć niemal tekstualne zbieżności z formułami Kristevej. Prześledziwszy dalsze losy tego konceptu głównie w tradycji tartusko-moskiewskiej szkoły semiotycznej (aż po ostatnie dekady), badacz wskazuje na jego żywotność, wyrażającą się w wielu publikacjach na temat intertekstualności, które rzucają światło na nowe aspekty owej kategorii i zawierający się w niej potencjał poznawczy.
EN
The term “intertextuality” (“intertextual references”) was introduced into the modern humanities towards the end of 1960s by Julia Kristeva, who derived it from Mikhail Bakhtin’s concept of a “foreign word”. The author of the article nevertheless indicates that the proper source of the notion are proposals formulated by Russian formalists. Papers by Viktor Shklovsky, Yury Tynyanov, and first and foremost by Viktor Vinogradov, contain observations that prove textually convergent to those by Kristeva. Tracing the further life of the concept, mainly in the Tartu-Moscow Semiotic School (until the last decades), the researcher points at its longevity evidenced in many publications on intertextuality which sheds light on the new aspects of this category and the cognitive potential that the notion holds.
2
Publication available in full text mode
Content available

„Nic tylko wstręt” – Ladislava Klímy koneksje z gotycyzmem

98%
Goszczyńska J.
Poznańskie Studia Slawistyczne
|
2020
|
issue 18
237-250
EN
Few interpretations of the work of Ladislav Klíma, by both Polish and Czech researchers, most often emphasize the philosophical aspect of his writing. They point to the connections of his work with the philosophy of Schopenhauer, Nietzsche, Berkeley. The article suggests taking a different lead related to connections with the Gothic Convention and the aesthetics of shock and disgust inscribed in it. The author used this convention, among others, to formulate his philosophy of Will. The article focuses on the mini-novel The Suffering of Prince Sternenhoch. The process of interpretation was facilitated by the use of findings of Jindřich Chalupecký, whereas the theories of Julia Kristeva proved useful in the methodological aspect.
3
Publication available in full text mode
Content available

Resisting the Oppressive Paternal Metaphor of God in Michèle Roberts’s "Impossible Saints"

85%
Dobrogoszcz T.
|
2020
|
vol. 6
|
issue 2
43-51
EN
The protagonist of Michèle Roberts’s Impossible Saints, Josephine, establishes a nonconformist convent for women who seek communion with God by following an unorthodox path of sensual spirituality. Impossible Saints intersperses Josephine’s story with a number of miniature narratives depicting fictional lives of saints, rewritten in a feminist manner, portraying both the female predicament in the patriarchally structured society and women’s struggle for empowerment in which they rebel against masculinist conventions. The article employs feminist thought, derived mainly from Julia Kristeva, to examine the way in which Roberts problematizes the relation of the Catholic Church to the position of women as well its concern with the human body. The bodily dimension of the divine, as proposed by Luce Irigaray, manifesting in the emancipatory communal experience of women in Josephine’s convent, greatly contrasts with the Catholic regulatory character of religiosity. The analysis also situates the patriarchal institution of the Church in the context of the Lacanian order of the symbolic and his notion of the Name-of-the-Father. It culminates in exploring the issue of the metaphor of God as seen through the traditional patriarchal frame which pictures God as masculine.
4
Publication available in full text mode
Content available

Lektura anagramatyczna a przekład (zmagania translatorskie z wierszem Krešimira Bagicia la folie de saussure

80%
Majdzik K.
Przekłady Literatur Słowiańskich
|
2015
|
vol. 6
|
issue 1
90-104
HR
Polazište za razradbu problema prijevoda predstavljenu u članku koncepcija je anagrama Ferdinanda de Saussurea. Anagrami su pojedini glasovi ili skupine glasova što se ponavljaju u književnom djelu, a od kojih se sastoji riječ ili riječi (ideje; teme) prisutne, no razmještene po tkivu teksta. Na taj se način konstruira implicitan, skriveni smisao književnog djela. Čitanje i interpretacija anagrama iz perspektive psihoanalize pruža mogućnost njihova razumijevanja kao izraza autorova nesvjesnog (Julija Kristeva). U članku se analiziraju prijevodi pjesama (npr. la folie de saussure K. Bagića) s obzirom na mogućnosti i ograničenja prijenosa skrivenog i dodanog smisla, što su rezultati prisutnosti anagrama u tekstu te zvučne organizacije književnog djela (npr. u slučaju pjesništva ruskih futurista i ideje zauma).
EN
The starting point for the presented elaboration on translation is the concept of Ferdinand de Saussure’s anagrams. Anagrams consist of certain phoneme or group of phonemes repeated in the literary work. They form a certain word or words (idea, theme) which are scattered (disseminated) in the text. By reconstructing these words we are able to discover or (re)construct the implicit, hidden sense of the text. Reading and interpreting anagrams from the perspective of psychoanalysis enables one to consider them as an expression of the author’s unconsciousness (Julia Kristeva). In this paper the translation of the poems (la folie de saussure by K. Bagić) is analyzed taking into consideration the possibilities and limitations of the transfer of hidden and added senses that appears as a result of the anagram’s presence or the tonal organization of the literary text (e.g. in the case of the poetry of the Russian Futurists and the idea of zaum).
5

Abiekt i trauma historyczna w Wichrowych wzgórzach Andrei Arnold

80%
Korczarowska N.
Kwartalnik Filmowy
|
2021
|
issue 114 Zanieczyszczenie, brud, skaza
6-30
PL
Według Thomasa Elsaessera teoretyczna koncepcja abiektu Julii Kristevej przekroczyła granice psychoanalizy, zyskując krytyczne wsparcie w naukach społecznych i kulturowych jako tryb oporu wykraczający poza problem bycia ofiarą. Aby przetestować aplikowalność koncepcji Kristevej do celów analizy filmu, autorka wybrała adaptację Wichrowych wzgórz (2011) Andrei Arnold. Tekst filmowy autorka pozycjonuje w szerszym kontekście tradycji kina dziedzictwa (dark heritage), w paradygmacie kina abiektalnego Elsaessera (nawiedzenie przez traumatyczną historię) oraz w teorii intertekstualności Kristevej (zakłócenie porządku politycznego/społecznego/kulturowego). Zrealizowana przez Arnold wersja klasycznej powieści gotyckiej akcentuje abiektalny charakter „monstrualnego Innego” za pośrednictwem ciała, rasy i etniczności. Autorka bada, do jakiego stopnia film może skonfrontować nas z trzema zasadniczymi trybami abiekcji: abiektalną przemocą, abiektalnym językiem i abiektalnym ja.
EN
According to Thomas Elsaesser, Julia Kristeva’s theoretical concept of abjection has extended beyond the psychoanalytical realm, receiving critical support in social and cultural studies, as a mode of defiance beyond victimhood. The author of the article chose Andrea Arnold’s adaptation of Wuthering Heights (2011) to probe the applicability of Kristeva’s concept for the purpose of film analysis. The film text is positioned in the wider context of the heritage film tradition (dark heritage), in the paradigm of Elsaesser’s cinema of abjection (haunted by traumatic history) and in Kristeva’s theory of intertextuality (disturbance of the political/social/cultural order). Arnold’s version of the classical Gothic novel accentuates the abjection of the “monstrous Other” through the issues of body, race and ethnicity. The article examines to what extent film can confront us with three fundamental modes of abjection: abject terror, abject language and the abject self.
6

’n Nuwe lewe: Olga Kirsch se studentegedig “Resurrexit” / A New Life: Olga Kirsch’s Student Poem “Resurrexit”

57%
Minnaar T., Roth E.
Werkwinkel
|
2014
|
vol. 9
|
issue 2
59-72
EN
The poem “Resurrexit” published by Olga Kirsch in 1945 in the student paper WU´s VIEWS has been all but forgotten. It is, however, a beautiful and an important poem with a pantheistic character. It commemorates the death of the young Jewish flight navigator lieutenant Alec Medalie, whose fighter plane was shot down by German antiaircraft fire near the Yugoslavian coast in 1944. Psychoanalysis opens the poem up to a reading which turns the typical male symbolic order’s death and men’s chaos caused by war into the young man’s rebirth as a new form of being. This happens through the maternal earth’s uterine sea. The fallen is absorbed by the sea and after a period taken up into the clouds to return to the mother and the earth, albeit in a new form. The concept of the chora plays a part in this resurrection which offers consolation to all who are subject to the inevitable uncertainty of the human condition and those who stay behind after a sudden death.
7

Jan Greshoff se ‘aanval’ op Olga Kirsch as een van die hoofredes vir haar emigrasie: ’n Psigoanalitiese beskouing / Jan Greshoff’s ‘Attack’ on Olga Kirsch as One of the Main Causes of Her Emigration: A Psychoanalytical Point of View

57%
Minnaar T.
Werkwinkel
|
2014
|
vol. 9
|
issue 2
99-118
EN
The poet Olga Kirsch left South Africa permanently for Israel in 1948. It is evident from her poetry that her Zionism, opposition to the racism of the National Party and a failed love played a role in her decision. This article focuses on another reason - a public attack by the Dutch critic Jan Greshoff in an Afrikaans literary magazine in 1946. Using concepts from psychoanalytical theories around borderline and narcissistic personalities, as well as the effect of emigration, Kirsch’s actions are examined as a reaction to narcissistic wounding. Investigating Greshoff’s criticism gives insights into the poet’s actions and explains the hiatus before she started publishing again in Afrikaans from 1971. It is stated that the poet is not considered to be a narcissist as her oeuvre is a testimony to her empathy with others, but the healthy narcissism needed in building one’s self-esteem underwent a severe blow when Kirsch lost the man she loved and was humiliated so devastatingly by the great Dutch critic.
8
Content available remote

The Gender Metamorphosis of Narcissus. Salvador Dalí: Metamorphosis of Narcissus

50%
Kalnická Z.
Estetyka i Krytyka
|
2016
|
issue 2(41)
51-76
EN
This contribution is devoted to an interpretation of the artwork, from a gender point of view, Metamorphosis of Narcissus by Salvador Dalí. Dalí’s painting is compared with the Narcissus stories to be found in antiquity, particularly in Ovid’s Metamorphoses, with his stress on the beauty of a young boy, and the commensurate concepts of seeing and mirroring. The gender associations of narcissism and their changes are well-documented in the history of art (Caravaggio, Edward Burne-Jones) and in different concepts of narcissism (Sigmund Freud, Gaston Bachelard, Lou Andreas-Salomé, Julia Kristeva). The author focuses on the gender aspects of surrealism, keying in especially to the concept of Anima and Animus (Carl Gustav Jung). Dalí’s work is analyzed in terms of associating Narcissus not merely with seeing and mirroring but also with touching and metamorphosis, emphasizing his remarkable skill at transgressing gender divisions in his visionary leap towards androgyny.
9
Publication available in full text mode
Content available

Zygmunt Haupt: An ambivalent presence

43%
Zając M., Zając M.
Ruch Literacki
|
2019
|
issue 1
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.