Search results

1

Crime fiction in the period of PRL (PRL crime fiction)

100%

Skotarczak D.

Our Europe. Ethnography – Ethnology – Anthropology of Culture

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2014

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issue Vol. 3

77-84

XX

A novel with a socialist police motif is a subgenre of PRL crime fiction which appeared in the Communist Blok countries. Its characteristic features are as follows: the over-persuasive function, glorification of the socialist police (MO), inspirations which were taken from the poetics of social realism novels, and low literary standards. In fact, the PRL crime fiction constitutes a far more complex phenomenon. Along with ideologically biased novels of poor quality, appear those written at a high, professional level. The latter concerns the authors like Leopold Tyrmand, Andrzej Piwowarczyk and Tadeusz Kostecki. The most popular authors are Zygmunt Zeydler-Zborowski, Jerzy Edigey, Anna Kłodzińska and Helena Sekuła. The writing women, mainly represented by Barbara Gordon, set the female trend in PRL crime fiction, which is worth attention.

2

Caryce kryminału. Kryminał kobiecy w Rosji

89%

Stadnik M.

Kultury Wschodniosłowiańskie - Oblicza i Dialog

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2014

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issue 4

181-188

EN

The article is an attempt to illustrate the female writers influence on the evolution of the crime fiction genre in Russia. It outlines a brief history of the genre, its complexity and the evolution of the main character. The article focuses on the works of the most famous Russian female writers in terms of their contributions to the crime fiction genre. The author also brings attention to the intercultural dialogue which as a result of Chmilewska's direct influence can be found in the novels by the tsarinas of crime fiction.

3

A Metafictional Reflection on Historiography: the Inclusiveness of Truth in Graeme Macrae Burnet’s His Bloody Project

88%

Kucała B.

Acta Neophilologica

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2022

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vol. 2

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issue XXIV

151-164

EN

This article analyses Graeme Macrae Burnet’s novel His Bloody Project (2015) as a metafictional exemplification of the problem of truth in historical accounts. Spuriouslyclaiming that his novel contains authentic material related to a nineteenth-century crime, Burnet recounts the case in the form of a collection of miscellaneous texts. The novel may be read in the light of the stance upheld in postmodern historiography that there is no ultimate truth to be reached at the end of a historical enquiry. This analysis of His Bloody Project aims to demonstrate that the obscure, multifaceted truth about the murder case is constituted by all the diverse − even if incongruous and contradictory − perspectives presented in the book.

4

Religiosität des Krimis. Theoretische Betrachtungen zu einer (gottlosen?) Gattung

88%

Brylla W.

Acta Universitatis Lodziensis. Folia Germanica

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2016

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issue 12

153-171

EN

The aim of the following paper was to analyse the history of crime literature genre – which is perceived in the terms of kitsch and structural conventionality – from the perspective of religious morality, ethics and aesthetics, in order to show that between theology and bloody crime fiction there are many similarities. Criminal poetry is not only close to the Bible and Christian philosophy in respect of the subject matter or used motives, but also in regard to the conceptual narrative means that were used. One can even venture the statement that crime novel – this term stands for its various variants – on the one hand derives from the biblical theology, on the other hand creates a kind of “new Bible” on his own and a specific religion: the so-called religion in-between, religion between impious crime and pious crime solving.

DE

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5

De mica en mica s’omple la pica de Jaume Fuster: un intent de consolidar la novel·la negra i policíaca a Catalunya

88%

Wegner M.

Studia Romanica Posnaniensia

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2021

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vol. 48

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issue 3

73-88

EN

Discussing the Catalan crime fiction may appear as a challenging scientific task due to its lacking autochthonous tradition. The scholars exploring this issue have come to conclusion that, even though there were authors such as Rafael Tasis o Manuel de Pedrolo, whose contribution to this literary genre’s solid foundations seems indubitable, Jaume Fuster is the writer responsible for its consolidation in the Catalan literary system in the 1970s. The aim of the present paper is to analyze Jaume Fuster’s De mica en micas’omple la pica in a specific historical context in order to present some of his foreign influences and inspirations. Specifically, it investigates whether the author remained indifferent to external literary products or whether he chose deliberately some of the archi-genre’s elements in order to implement and consolidate crime fiction in Catalonia. For this purpose, we have applied some of the principles of Even-Zohar’s Polysystem Theory. The results showed that De mica en mica s’omple la pica not only has played a major role in the consolidation of crime fiction but it also placed its author in one of the central positions in the Catalan literary polysystem. Moreover, Fuster tended to interact with different foreign traditions by using in his works modified crime fiction components based on the unique repertory conditioned by the geopolitical situation of Catalonia.

6

Refutación de nostalgia. Memoria y cuerpo en „El Tercer Reich y La parte de los crímenes de Roberto Bolaño”

88%

Trojanowski A.

Estudios Hispánicos

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2017

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vol. 25

121-131

EN

The aim of the article is to show that Roberto Bolaño reestablishes the continuity of the historical process in his prose, which contradicts the dominant postmodern tendency based on the aesthetics of nostalgia. The article analyzes the corporal construction of the protagonist of the novel El Tercer Reich. The analysis is based on the methodology of close reading and then comparative analysis, when it comes to put the results in the context of the representation of body in La parte de los crímenes. The construction of the body emphasizes its deformation and mutilation in order to make it a bearer of memory of the violence of the past. Bolaño’s reflection on history undermines the aesthetics of nostalgia due to ethical concerns related to the process of representation of the past. In his own narrative strategy he follows Walter Benjamin’s principle to preserve the memory of the oppressed. Bolaño understands it as the ethical task of literature.

7

Teoś Olkiewicz i inni. Obraz funkcjonariuszy MO w cyklu powieści neomilicyjnych Ryszarda Ćwirleja

75%

Mazurkiewicz A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2023

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vol. 66

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issue 1

345-379

EN

One of the most recognizable cultural phenomena for the culture of the People’s Republic of Poland is undoubtedly the militia novel, which dominated the native crime novel of 1955–1989. After the political transformation, the militia story was forgotten for many years. Currently, this work is experiencing a “second youth” as a literary and sociological phenomenon, devoid of an ideological dimension. An artistic manifestation of the return of interest to the crime novel are novels by Ryszard Ćwirlej. Reconstructing the old realities, this writer creates an image of the epoch in the “culture of nostalgia”. The “neo-militia” novel is one of the manifestations of this longing for the People’s Republic of Poland, in which the sentimental dimension of the novel is expressed in the tendency to regain for the contemporary reader the ethos of efficient power. However, its representatives, who are MO officers, use methods that are far from lawful. The emerging image of law enforcement officers in Ćwirlej’s works is quite often marked by the stigma of corruption. The revealing potential of this formula results from showing the deeds and motivations of the characters as a derivative of their – not always exemplary – mentality, far from the idealized image of MO officers, which can be found in a militia novel. At the same time, however, it is precisely this interpretation by the protagonists of works from the circle of “neo-militia” stories on the border of the law, the blunting of ethical sensitivity, the choice of the “lesser evil” in the name of the fight against the “greater evil” that completes the image of the militiaman with aspects of artistic creation, which are most often missing in the ideologized works of 1955–1989.

PL

Celem artykułu jest namysł nad sposobami reinterpretacji w powieściach Ryszarda Ćwirleja znamiennej dla kultury PRL formuły powieści milicyjnej która zdominowała rodzimą literaturę kryminalną lat 1955–1989, a która obecnie przeżywa „drugą młodość” jako zjawisko literackie i socjologiczne, pozbawione wymiaru ideologicznego. Rekonstruując dawne realia, pisarz ten tworzy obraz epoki zanurzony w „kulturze nostalgii”. Powieść neomilicyjna jest jednym z przejawów tęsknoty za PRL, w której sentymentalny wymiar powieści wyraża się w dążeniu do odzyskania dla współczesnego czytelnika etosu sprawczej władzy. Jednak jego przedstawiciele, którzy są oficerami MO, stosują dalekie od legalności sposoby postępowania. Wyłaniający się – dzięki wykorzystaniu metody filologicznej i badań kulturowych, umożliwiających lekturę kontekstową – z twórczości Ćwirleja wizerunek stróżów prawa dość często naznaczony jest piętnem korupcji. Można zatem traktować go jako „uzupełnienie” zideologizowanego wzorca, do którego pisarz się odwołuje.

8

Śmierć w imię sztuki, czyli w jaki sposób literatura popularna uczyniła Kubę Rozpruwacza artystą malarzem. Rozważania na marginesie powieści Michaela White’a Sztuka morderstwa

75%

Olkusz K.

Acta Philologica

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2015

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issue 47

73-84

PL

Powiązania pomiędzy sztuką a aberracjami o charakterze psychologicznym od dawna fascynują zarówno psychologów, jak i teoretyków sztuki, a obecnie stały się nośnym tematem literackim. Przykładem tego zjawiska jest powieść Michaela White’a Sztuka morderstwa, w której pojawiają się motywy związane z uwikłaniem sztuki w zbrodnię. Stereotypowe przeświadczenie o korelacji między aktem twórczym a cierpieniem powiązane zostaje z reinterpretacją postaci seryjnego mordercy, w tym wypadku słynnego Kuby Rozpruwacza. Powieść White’a stanowi egzemplifikację próby wyjaśnienia bodźców twórczych jako tajemniczych i destrukcyjnych, wpisując się w modę, która nastała po ukazaniu się powieści Dana Browna Kod Leonarda da Vinci.

EN

Connections between art and various forms of sychopathy have long fascinated psychologists as well as art critics and have recently become a potent literary theme, as exemplified in Michael White’s novel The Art of Murder, featuring the motif of an artist involved in murder. The article demonstrates how the stereotypical conviction about the correlation between artistic creation and suffering is reinterpreted in the novel via the figure of serial killer, in this case Jack the Ripper. It is argued that White’s novel exemplifies a trend of describing a creative act as mysterious and destructive alike, which developed in the wake of the publication of Dan Brown’s The Da Vinci Code.

9

Tartan Polonaise: Scottish Crime Fiction in Poland

75%

Crickmar M.

Glottodidactica

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2014

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vol. 41

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issue 1

89-101

EN

This paper examines the position of contemporary Scottish crime fiction in the Polish polysystem. It investigates the definition of tartan noir and the challenges the genre poses in translation.Such concerns seem especially valid in the case of Denise Mina in whose Paddy Meehan series, next to the female protagonist, one of the most important characters is the city of Glasgow with its menacing architecture and the coarse language of its inhabitants. Thus the second part of this paper analyses the Polish translations of Mina’s trilogy in order to show how the dialect and other culture-specific items have been dealt with by two Polish translators.

10

Funkcja frazeologizmów w wybranych poznańskich powieściach kryminalnych

75%

Nowak M.

Adeptus

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2019

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issue 13

EN

The function of phraseology in selected crime novels set in the city of PoznańThis article presents several patterns concerning the function of phraseology in contemporary crime novels set in the city of Poznań. Standard Polish phraseologisms make the characters’ speech more colloquial, natural and expressive and are used to convey their emotions. The use of phraseological units typical of the region of Greater Poland adds local colour and makes the novels more realistic by closely relating them to the space where they are set. The use of phraseology also serves to characterise the protagonists. The study analyses four novels: Arcymistrz (Grandmaster) by Piotr Bojarski, Polichromia (Polychromy) by Joanna Jodełka, Upiory spacerują nad Wartą (Ghosts Walking on the Warta) by Ryszard Ćwirlej and Elektryczne perły (Bone Pearls) by Konrad T. Lewandowski. Funkcja frazeologizmów w wybranych poznańskich powieściach kryminalnychArtykuł prezentuje kilka prawidłowości widocznych w funkcjonowaniu frazeologizmów w wybranych współczesnych powieściach kryminalnych, których akcja rozgrywa się w Poznaniu. Frazeologizmyogólnopolskie przede wszystkim sprawiają, że wypowiedzi bohaterów przypominają mowę potoczną, są bardziej naturalne i ekspresywne. Bohaterowie w ten sposób przekazują swoje emocje. Frazeologizmy typowe dla Wielkopolski dodatkowo oddają koloryt lokalny i sprawiają, że powieści są oryginalniejsze, ściśle związane z przestrzenią, w której rozgrywa się akcja. Poza tym użycie frazeologizmów pozwala scharakteryzować bohaterów. Analizie poddano cztery powieści różnych autorów: Arcymistrza Piotra Bojarskiego, Polichromię Joanny Jodełki, Upiory spacerują nad Wartą Ryszarda Ćwirleja oraz Elektryczne perły Konrada T. Lewandowskiego.

11

Extraordinary protagonists, average issues. Social problems in modern Finnish thrillers by Ilkka Remes and Taavi Soininvaara

75%

Kokotkiewicz M.

Folia Scandinavica Posnaniensia

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2018

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vol. 25

101-111

EN

Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara

12

Identity, Otherness, Crime: Detective Fiction and Interethnic Hazards

75%

Dobrescu C.

Acta Universitatis Sapientiae, Philologica

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2013

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vol. 5

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issue 1

43-58

EN

The topic of Otherness has been investigated from the point of view of popular culture and popular fiction studies, especially on the basis of the multiracial social environments of the United States. The challenges of addressing real or potential conflicts in areas characterised by an ethnic puzzle are to some extent similar, but at the same time differ substantively from the political, legal, and fictional world of “race.” This paper investigates these differences in the ways of overcoming ethnic stereotyping on the basis of examples taken from post-World War II crime fiction of Southern Europe, and Middle East. In communist and post-communist Eastern Central Europe there are not many instances of mediational crime fiction. This paper will point to the few, although notable exceptions, while hypothesizing on the factors that could favor in the foreseeable future the emergence and expansion of such artistic experiments in the multiethnic and multicultural province of Transylvania.

13

Kriminalroman (?) des Schweigens. Zu Friedrich Anis neuestem Werk "Süden" (2011)

71%

Bialik W.

Convivium. Germanistisches Jahrbuch Polen

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2012

149-166

PL

Prezentowany tu tekst jest analizą wielce nietypowej powieści kryminalnej Friedricha Aniego. Tytułowy Süden to nazwisko równie nietypowego w ramach gatunku protagonisty/ detektywa. O ile w typowej powieści kryminalnej chodzi zwykle o rozwiązanie zagadki przestępstwa, najczęściej morderstwa, o zatem o zdemaskowanie sprawcy, o tyle w przypadku tej powieści zainteresowanie dotyczy poszukiwania osoby zaginionej oraz przyczyn i skutków takiego zaginięcia. Najczęściej chodzi tu o figury, które dopiero jako zaginione stają się obiektem zainteresowania środowiska. Także metoda pracy jest nader osobliwa. W przeciwieństwie do definowanych w typach idealnych detektywów klasycznej powieści kryminalnej, których praca polega między innymi na ,przepytywaniu‘ kontrpartnerów, Süden prowokuje ich do mówienia poprzez swoje uporczywe milczenie. Powieść Aniego jest częścią cyklu powieściowego z Südenem, poszukiwaczem zagionionych, w roli głównej.

EN

The present article contains the analysis of a rather non-typical detective novel by Friedrich Ani. Its title Süden is the name of a protagonist/detective who, in the framework of the genre, can be considered equally non-typical. While in a typical detective story the mystery of a crime, most often murder, forms the centre and thus the question „Who?“ is at the fore, the main concern of Ani’s narrator rests on the search for a missing person whose very existence becomes visible through his/her disappearance only. Just as unconventional is here the working of the investigator who, in contrast to his ideal type ‚colleagues‘, does not interrogate his counterparts, but provokes them to talk by his own silence, that is: waiting. Ani’s novel is a part of his cycle of novels centered around the ‚missing-searcher‘ Süden.

DE

Der vorliegende Text stellt eine Analyse eines recht untypischen Kriminalromans von Friedrich Ani dar. Der Titel Süden ist der Name eines im Rahmen der Gattung ebenso untypischen Protagonisten/Detektivs. Wenn im Zentrum einer typischen Kriminalgeschichte das Rätsel eines Verbrechens, meistens eines Mordes, steht und somit im Vordergrund die Frage nach dem „Wer?“, so liegt hier das Hauptanliegen des Erzählers auf der Suche nach einem Verschwundenen, dessen Existenz erst durch sein Verschwinden sichtbar wird. Genauso unkonventionell ist die Arbeitsmethode des Ermittlers, der im Gegensatz zu seinen idealtypischen ‚Kollegen‘ nicht abfragt, sondern durch eigenes Schweigen, lies: Abwarten, seine Gegenspieler zum Sprechen bringt. Der Roman von Ani ist ein Bestandteil des Romanzyklus mit dem Verschwundenen- Sucher Süden in der Hauptrolle.

14

Karin Slaughter’s Crime Novel "Blindsighted" as a Southern Forensic Thriller

63%

Martynuska M.

Tematy i Konteksty

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2023

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vol. 18

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issue 13

412-426

PL

Thriller medyczny stanowi podgatunek kryminału przedstawiający pracę lekarzy sądowych, koronerów, patologów i antropologów, analizujących dowody naukowe. Śledczy sądowi nie włączają się bezpośrednio w ściganie przestępców, a jedynie badają dowody zebrane z ciał ofiar i miejsc zbrodni. Popularność powieści, filmów i seriali z gatunku thrillera medycznego wpłynęła na przekonanie o stosowaniu kryminalistyki w rutynowych procedurach policyjnych. Niniejszy artykuł analizuje powieść Zaślepienie (2002), autorstwa Karin Slaughter, jako przykład regionalnego thrillera medycznego. Pisarka amerykańska Karin Slaughter jest autorką kryminałów i thrillerów, których miejscem akcji jest amerykańskie Południe. Seria Hrabstwo Grant składa się z sześciu powieści: Zaślepienie, Płytkie nacięcie, Zimny strach, Fatum, Niewierny, Przywilej skóry. Artykuł przedstawia charakterystykę thrillera medycznego i podkreśla przynależność gatunkową powieści Zaślepienie. Następnie analizuje powieść w kontekście specyfiki literatury regionalnej amerykańskiego Południa.

EN

The forensic thriller has emerged as a significant subgenre of crime fiction that depicts the work of medical examiners, coroners, forensic pathologists, and anthropologists who analyze scientific evidence. Forensic investigators do not engage directly in pursuing the criminal; instead, they interpret the physical evidence collected from the victim's body and the crime scene. The popularity of forensic fiction, film, and TV series has created the general assumption that criminalistics has become a routine police procedure. This article presents Karin Slaughter's novel Blindsighted as an example of the Southern forensic thriller. The American writer Karin Slaughter is the author of crime stories and thrillers set in the American South. Her Grant County series consists of six crime novels, beginning with Blindsighted and followed by Kisscut, A Faint Cold Fear, Indelible, Faithless, and Beyond Reach. The essay introduces the main qualities of a forensic thriller and highlights the novel's generic characteristics. Then, Blindsighted is analyzed within the paradigm of Southern regional literature, with its distinctive qualities and religious imagery.

15

Czy istnieje polski kryminał gejowski? Rekonesans

63%

Tuszyńska J.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2023

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vol. 66

|

issue 1

71-94

EN

This paper is an attempt at finding answers to the following questions: How can the term gay crime novel be understood? Has such a sub-genre been established in Poland? Is it a sub-genre of crime fiction or rather gay novel? The author examines works by such writers as Edward Pasewicz (Śmierć w darkroomie [The Death in the Darkroom]), Michał Witkowski (Drwal [The Woodcutter], Zbrodniarz i dziewczyna [The Criminal and the Girl]), and Andrzej Selerowicz (Kryptonim „Hiacynt” [Codename Hyacinth], Zbrodnia, której nie było [The Crime that Never Was]). The analysis of the works is focused on the use of the crime scheme and selected writ-ing techniques in the context of the most popular strategies typical of crime fiction convention (e.g. a shift towards a socially engaged novel, urban space exploration, psychologisation of protagonists) as well as the most important characteristics of naturalistic novel (different ideas of presenting social groups).

PL

Artykuł stanowi próbę odpowiedzi na pytania: Jak możemy rozumieć pojęcie „kryminał gejowski”? Czy w Polsce wyodrębniła się taka odmiana gatunkowa? Czy jest to odmiana kryminału, czy raczej powieści gejowskiej? Przedmiot zainteresowania stanowią między innymi utwory Edwarda Pasewicza (Śmierć w darkroomie), Michała Witkowskiego (Drwal, Zbrodniarz i dziewczyna) i Andrzeja Selerowicza (Kryptonim „Hiacynt”, Zbrodnia, której nie było). Analiza tych utworów skupia się na sposobie wykorzystania schematu kryminalnego oraz wybranych taktyk pisarskich w kontekście najpopularniejszych strategii charakterystycznych dla konwencji kryminalnej (np. zwrot w stronę powieści społecznie zaangażowanej, eksplorowanie przestrzeni miejskiej, psychologizacja bohaterów), a także najważniejszych cech powieści środowiskowej (różne koncepcje przedstawiania grup społecznych). W konsekwencji definicja kryminału gejowskiego odnosi się zarówno do cech powieści środowiskowej, jak i kryminalnej, sytuując analizowany fenomen literacki w domenie odmian gatunkowych literatury popularnej, wraz z właściwymi jej historycznymi przekształceniami poetyki oraz semantyki tekstów.

16

Walery Przyborowski’s crime novels: Rewriting the genre

63%

Ruszczyńska M., Ruszczyńska M.

Ruch Literacki

|

2018

|

issue 4

17

Literackie kreacje przeszłości w nurcie kryminału retro na przełomie XX i XXI wieku

63%

Mazurkiewicz A.

Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego

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2019

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vol. 5

59-71

EN

In the case of vintage crime fiction, the blurred affiliation to different cultural circulations derives from the problematisation of the image of the past employed in the construction of the narration. It cannot be considered within one of the two domineering artistic strategies typical for the description of the “past events”: apologetic or revisionist, both sharing the conviction that the cultural memory of a reader must be somehow altered. Thus, it is not without importance what readers of vintage crime fiction – as the consumers of cultural goods – really remember, how they do it, and most importantly – what is the purpose of the remembering. The above mentioned issues belong to three types of memory that are employed at the moment of reading: the prop room of the narration world; relation between the literary image and its correspondence, or lack of correspondence, with reader’s knowledge; and the functionalisation/instrumentalisation of memory. These three have been isolated in order to define, in a more transparent manner, various aspects of the core subject – that is, the presence of the past in texts of popular culture on the basis of vintage crime fiction.

PL

Rozmyta przynależność do różnych obiegów kulturowych wynika w przypadku kryminału retro z problematyzacji wizji przeszłości, wykorzystywanej do konstrukcji świata przedstawionego. Nie można przy tym sprowadzić jej do jednego z dwu dominujących strategii artystycznych, charakterystycznych dla opisu „dziejów minionych”: apologetycznego i rewizjonistycznego, dla których wspólne pozostaje przeświadczenie o konieczności przepracowania kulturowej pamięci odbiorców. Nieobojętne pozostaje bowiem, co – jako konsumenci dóbr kultury – czytelnicy kryminału retro pamiętają, ale też i jak – a przede wszystkim – w jakim celu to czynią. Wyszczególnione tu kwestie należą do trzech porządków pamięci, współobecnych w akcie lektury dzieła literackiego: rekwizytorni świata przedstawionego; relacji między literackim obrazem a jego zgodnością/niezgodnością z wiedzą odbiorcy oraz funkcjonalizacją/instrumentalizacją pamięci. Wyodrębniono je w celu jaśniejszego dookreślenia różnych aspektów nadrzędnego zagadnienia: uobecnienia przeszłości w tekstach kultury popularnej na przykładzie kryminału retro.

18

Andrea Camilleri in Polonia: un contributo alla ricerca

63%

Sowińska A., Wrana M.

Italica Wratislaviensia

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2022

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issue 13.1

195-214

IT

Andrea Camilleri (1925–2019) è uno dei più importanti esponenti della letteratura italiana contemporanea che ha raggiunto una fama internazionale ed un successo letterario mondiale grazie ai suoi racconti e romanzi gialli. È considerato dalla critica letteraria italiana il maestro indiscusso del romanzo poliziesco italiano contemporaneo. Lo scopo del presente articolo è quello di raccogliere informazioni sulla ricezione dell’opera di Camilleri in Polonia fino all’anno 2021. Nella prima parte viene presentata la figura dell’autore e la sua produzione letteraria, mentre in seguito si procede all’analisi dello stato attuale delle ricerche sull’opera dello scrittore siciliano e al confronto statistico relativo al mercato editoriale polacco in merito alla diffusione dei suoi libri in Polonia. Il fenomeno letterario ed editoriale di Camilleri costituisce un interessante campo di ricerca che da oltre vent’anni gode di un certo interesse da parte del mondo accademico polacco, soprattutto dagli studiosi polacchi di letteratura. La narrativa dello scrittore italiano, giunta al pubblico polacco relativamente tardi, ha ottenuto un’accoglienza favorevole sia da parte dei lettori che dei critici letterari e della stampa.

EN

Andrea Camilleri (1925–2019), one of the most prominent contemporary Italian writers, made a name for himself and won extraordinary popularity with readers as an author of crime fiction, including novels and short stories. Italian literary critics regard him as an undisputed master of Italian mystery writing. The paper seeks to synthetise the available data on the reception of Camilleri’s work in Poland by the end of 2021. The argument begins with an outline of Camilleri’s life and work, which is followed by a survey of the studies of his writings. These findings are complemented with statistics concerning his books on the Polish publishing market. Camilleri’s writing and publishing career represents an interesting research field that has been explored by Polish scholars for more than twenty years now. His fiction, which found its way into Poland with a considerable delay, has since garnered the appreciation of both readers and literary critics, as well as inviting interest from the media. Camilleri’s art as a novelist has also drawn the attention of Polish scholars, primarily literature researchers.

19

La patria perduta nei romanzi degli autori maghrebini: Amara Lakhous e Amor Dekhis

63%

Figarska-Bączyk I.

Italica Wratislaviensia

|

2015

|

issue 6

49-60

EN

Currently, in Italy, the migration of individuals from the Maghreb has increased so dramatically that it is impossible to ignore. Accordingly, there has been an increase in the number of migrant writers originating from these countries. Researchers distinguish three stages of migrant literature, which are described in this article. This study offers a look at the writings of two Italian-speaking writers of Algerian origin: Amara Lakhous and Amor Dekhis. Both of these writers represent the third stage of Italian migrant literature, that is, the main feature of their writings is that they are fictional, rather than covering topics intensely connected to autobiography, which is typical of the first phrase of migrant literature. The decision to study these two authors in particular is due not only to their choice to write in the same genre (crime fiction) or to their ethnic origin, but, rather, it is due to the recurring theme in their works of the loss of their homeland. This article attempts to find similarities in the writings of Lakhous and Dekhis, such as their having chosen a new language in which to write; the modification of names; the personalisation of the women’s names and the meaning of this personalisation (Algyida, Ilaria, Bagià). Finally, this study explores the topic of homesickness, which is found in the books of both writers. Using Lakhous and Dekhis as examples, this article emphasises the fact that Italian migrant literature is not detached from contemporary Italian literature; indeed, it is an inseparable part of it.

IT

Oggigiorno il fenomeno della migrazione in Italia di persone provenienti dai Paesi del Maghreb ha raggiunto dimensioni tali da non poter essere ignorate. Conseguentemente è aumentato anche il numero di scrittori originari di tali Paesi. La critica ha individuato tre fasi in cui si articola la letteratura della migrazione, fasi che sono descritte in questo contributo. L’articolo si concentra su due autori in lingua italiana di origine algerina (Amara Lakhous, Amor Dekhis). entrambi rappresentanti della terza fase della letteratura della migrazione in lingua italiana: la caratteristica saliente delle loro opere è quella di essere opere di narrativa piuttosto che autobiografiche, caratteristica - quella autobiografica - propria della prima fase di tale letteratura. La scelta è caduta su questi due autori non solo per il genere in cui si cimentano (il romanzo giallo) o per la loro provenienza geografica, ma anche e soprattutto per il tema ricorrente della “perdita della Patria”. Questo articolo tenta d’individuare affinità tra la scrittura di Lakhous e Dekhis, quali ad esempio la scelta di una nuova lingua, il cambio - da parte degli autori - del proprio stesso nome, la “personalizzazione” dei nomi femminili e il significato di tale operazione (Algyida, Ilaria, Bagià). Infine l’articolo si concentra sulla nostalgia per la madrepatria, ciò che possiamo riscontrare in entrambi gli scrittori. Impiegando Lakhous e Dekhis come esempio questo articolo si sforza anche di sottolineare che la letteratura della migrazione in lingua italiana non è qualcosa di separato dalla lettaratura italiana contemporanea ma anzi, ne è una parte inseparabile.

20

Kryminał w literaturze polskiej XIX wieku. Kilka uwag

63%

Ruszczyńska M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2018

|

vol. 50

|

issue 4

13-28

EN

This article is an attempt at describing the conditions which governed the Polish crime novel in the 19th century. The author of this article takes into consideration the context of the West-European crime novel and its literary and cultural models. She also puts emphasis on sociopolitical transformations of the first half of the 19th century in Europe. However, while comparing that situation with conditions which formed Polish criminalfiction, the author shows clear differences concerning the cultural sphere, and the historical-political conditions related to enslavement. The situation of living under annexed territories created numerous restrictions visible, for instance, in literary creation of detective and fictional terms connected with the novel itself – the triumph of justice is much more limited than in the classical crime novel. Polish criminal fiction of this time is associated with the contemporary culture. The creation of this literary genre in Polish literature is not work of one author, but the result of actions of many. Above all, the author of this article sheds light of the connections between Polish crime fiction, politics and history.

PL

Tematem artykułu jest próba opisu warunków, które ukształtowały polski kryminał w XIX stuleciu. Autorka bierze pod uwagę kontekst kryminału zachodnioeuropejskiego i jego wzorce literackie oraz kulturowe. Kładzie również nacisk na przemiany społeczno-polityczne pierwszej połowy XIX wieku w Europie. Jednak zestawiając ową sytuację z warunkami, które ukształtowały polską fikcję kryminalną dostrzega wyraźne różnice. Dotyczą one sfery kulturowej, a przede wszystkim warunków historyczno-politycznych związanych z czasem zniewolenia. Sytuacja życia pod zaborami stworzyła szereg ograniczeń widocznych choćby w kreacji postaci detektywa jak i rozwiązań fabularnych samej powieści, w której triumf sprawiedliwości w klasycznej postaci bywa znacznie ograniczony. Polska fikcja kryminalna tego czasu jest dość ściśle związana z ówczesną kulturą. Powstanie tego gatunku w literaturze polskiej nie jest dziełem jednego autora, ale wypadkową wielu działań. Jednak przede wszystkim autorka postrzega jego związki z polityką i historią.

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