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„Cierpiąca pałuba”, czyli rozważania Brunona Schulza i Heinricha Kleista o materii

100%
Nikitina E.
Postscriptum Polonistyczne
|
2015
|
issue 1(15)
209-219
EN
The article presents Bruno Schulz’s and Heinrich Kleist considerations on matter. A comparative approach enables a new interpretation of Traktat o manekinach by Schulz and of some selected works by Kleist. The author ponders about the role of elpis, around which the human world is created. The Greek word: elpis, contains a whole parable about a hope which has stood up to nonexistence, darkness, a lack of form. A human being turns out to be forced to create, knead matter, because his life depends on it. By shaping things he gives reality to his own world that may disappear at any time. Both reflected upon authors, Schulz and Kleist, choose two different paths to contact with matter and they inscribe it – together with a human being – into a philosophical thought that goes far beyond simple the “living” – “lifeless” opposition.
2

Kleists Revisor. „Der zerbrochne Krug” zwischen Friedrich II. und Adolph Menzel

86%
Rauseo C.
Germanica Wratislaviensia
|
2017
|
vol. 142
11-24
DE
Als Adolph Menzel 1876–1877 Kleists Zerbrochnen Krug illustrierte, beschwor er die niederlän­dische Genre-Malerei des 17. Jahrhunderts bis ins Detail und auch voller Pracht. Dies spezifisch Holländische erfährt aber wider Erwarten eine spezifisch preußische Färbung dadurch, dass der nachschaffende Künstler den Geist Friedrichs des Großen zu einem kurzen aber dramatischen Auf­tritt hervorruft, um die preußische Herkunft und auch Beschaffenheit des Kleistschen Lustspiels nicht aus dem Blick zu verlieren.
EN
Frederick the Great would seem to be an unlikely guest in Kleist’s comedy Der zerbrochne Krug. Why should Prussia’s most famous king appear in a play situated in a village in Holland in the 17th century, surrounded by peasants and a corrupt judge? Perhaps because Kleist was a Prussian, as was the congenial illustrator of his “Dutch” play, Adolph Menzel. And perhaps because Prussia never ceased to be present in the works of its artists, however far away they tried to be.
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