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1

Bemerkungen zum Gedicht „Traum“ von Hermann Stehr

100%
Biskup R.
Germanica Wratislaviensia
|
2011
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vol. 134
25-30
EN
The text describes the heretofore unpublished poem Traum written by Hermann Stehr. It has been found in the Library of the University of Wrocław. The author of the text attempted to present the history of the manuscript’s finding and the motif of dream in Stehr’s writings. His aim was not an unequivocal interpretation of the poem but rather placing it in the author’s literary output. The poem consolidates the author’s nickname „Soul Poet“.
2
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Hélène Cixous: Autobiography in Question

100%
M’besso A. M.
Lublin Studies in Modern Languages and Literature
|
2016
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vol. 40
|
issue 2
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
Hélène Cixous constantly challenges any generic categorization and any autobiographical reading of her works, despite strong autobiographical evidence identifying the writer to the narrator. This challenge, as curious as it is, nevertheless has a reason to be. The works of Helene Cixous put into a narration a hybrid “I”, both fictional and real, a “Me” on the edge of a dream, which cannot have any real reference, so much so that it is impossible to read them as an autobiography, strictly speaking. Whether Les Rêveries de la femme sauvage. Scènes primitives or Le Jour où je n’étais pas là or even Philippines Prédelles, the autobiographical works on which the present study is based all have in common a challenge to any autobiographical reading.
FR
Le numéro contient uniquement les résumés en anglais.
RU
Том не содержит аннотаций на английском языке.
3

Shenzen - Chinese dream city

100%
Kujawa I.
Anthropos?
|
2015
|
issue 24 Miasto i miejsce
135-144
EN
This paper aims at introducing Shenzhen, one of the most prominent contemporary Chinese cities. Established as a part of experiment, it serves as an example of successful modernization and progress for the whole country. Promoted as such, has attracted millions of people, that became part of both internal (wandering from rural to urban areas as a part of floating population) and international waves of migration, as people move there in hope for better life. Even though not everyone can become successful and not all the dreams happen to come true.
4
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Sur l’image qui manque à nos jours, Pascal Quignard et l’imaginaire de l’absence

89%
Concetta La Rocca M.
Quêtes littéraires
|
2015
|
issue 5
201-211
FR
This article aims to investigate the role of the image in Quignard’s writing. Image is always present in his works, either directly, with the use of images taken from ancient art, or indirectly, thanks to the images that arise from his use of certain metaphors and expressions. In particular, here we take into consideration his Sur l’image qui manque à nos jours, in order to show how his discourse on the image takes the shape of a philosophical speculation on the missing images in our life. Indeed, for Quignard, we always live with the presence of the missing images, that is all we cannot see but we can imagine, for instance that of our conception. Moreover, the author analyses in this work four ancient images and four ancient texts. In so doing he confirms – even if partially – the Horatian formula ut pictura poesis, i.e. the link between these two forms of art. For him, the writing has the purpose of explaining the sense and the discourse that images represent. His way to present this to the readers is original and it does not belong to any other literary or artistic tradition of the past.
5
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Sen i jego funkcje w wybranych utworach Hansa Christiana Andersena

89%
Kocha S.
Śląskie Studia Polonistyczne
|
2020
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vol. 15
|
issue 1
EN
The article aims at analysing the motif of dream and its function in fairy tales and stories by Hans Christian Andersen. The Dannish author wrote during the Romantic era when the unconscious was of great interest to the creators of all kind. It was widely acknowledged then that dreams are a gateway to a hidden reality, and therefore, they constituted a great creative material. In Andersen’s work, the oneiric narrative abounds, for instance in Little Ida’s Flowers and The Little Match Girl, and dreams perform multitudinoulsy functions, from familiarizing children with death, to unveiling fears. The examples of dreams presented in the article indicate to the fact that Andersen’s oeuvre was addressed not only to children, but also adults.
6
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The functionality of dream reality in an emigrant text

88%
Safronova L., Baizhigit B., Shmakova E.
Przegląd Wschodnioeuropejski
|
2023
|
vol. 1
275-282
XX
(E)migration as a kind of initiation stage in the fate of an emigrant, when one’s life seems to start from scratch, typologically defines an emigrant text as a structure of incorporation into the social layers of a new society. This process happens mostly unconsciously and is characterized by certain typological markers, such as reference to mythological and folkloric sources, pretexts from home and world culture, stylizations, carnival, parodies, etc. In this sense, a collection by Ilya Lipkovich, Stan Lipovetsky and Igor Mandel titled “Morpheus and Orpheus. Both Dreams and Spirits: Eyewitness Dreams and Poet’s Commentary” is a model of emigrant writing, broadcasting archetypal conventional imagery systems and allowing a reader to survive the traumatic situation of the still incomplete transition.
7
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Sny oświeconych o szczęśliwym społeczeństwie (z zawartości czasopism rosyjskich drugiej połowy XVIII – początku XIX wieku)

75%
Dąbrowska M.
Studia Interkulturowe Europy Środkowo-Wschodniej
|
2018
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vol. 11
140-153
PL
The article presents the literary descriptions of dreams, which were published in the Russian periodicals of the Enlightenment period: 1. The happy society: a dream by Alexander Sumarokov (“Trudolubivaya pchela”, 1759), 2. A dream by Sergey Domashnev (“Poleznoye uveselenye”, 1761), 3. A dream by Ivan Bakhtin, A dream by Timofey Voskresensky and A dream by Ivan Trunin (“Irtysh, prevrashchaiushchiisia v Ippokrenu”, 1789–1790). The works present an image of a good ruler, a happy society and an educational role of poetry.
8
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Film as a Dream of the Modern Man: Interpretation of Susanne Langer’s “Note on the Film”

75%
Hadravová T.
Eidos. A Journal for Philosophy of Culture
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2020
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vol. 4
|
issue 1
38-48
EN
The paper concerns a “Note on the Film,” a short appendix to Feeling and Form by Susanne Langer. The interpretation interweaves the Note into a larger context of Langer’s philosophical work – primarily in terms of her understanding of the dream as a lower symbolic form, to which the film is compared – as well as in terms of her account of literary arts among which, she suggests, cinema belongs. Langer’s references to Sergei Eisenstein are discussed and their respective concepts of cinema are compared. An implicit political dimension of Langer’s writing on film is emphasized by relating her critique of modern civilization, as sketched in the last chapter of Philosophy in a New Key, to her film aesthetics. At the end of the paper I compare my interpretation of the Note with the one that was offered by Trisha Curran.
9
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Metafora snu w cyklu wierszy Inny Lisnianskiej Sny starej Ewy

75%
Nikadem-Malinowska E.
Acta Polono-Ruthenica
|
2008
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vol. Tom 1 Nr XIII
307-318
EN
Inna Lisnianskaya’s writings, very private and intimate, often motivated with autobiographical reasons is saturated with universal truth about life. Lisnianskaya has created her poetic world on the basis of very strict and clear hierarchy of values. All of the problems of the mankind the poetess throw on her character who, with a great conscientiousness, carries her burden. The global responsibility she feels makes the linear world stop existing.In consisting of eighteen poems threnody series Inna Lisnianskaya experiences past and future in the presence by impersonating her character - ageing biblical Eve. The presence constitutes of her dreams. Dream is metaphorical by its nature. We do not treat pictures from our dreams literally. We analyze and interpret them no matter how real they are. A specific picture transferred from reality to a dream loses its connections with its context and become a polysemantic sign of another specific picture. In this way a dream manifests its metaphorical character.Metaphorical picture of a dream dreamt by lyrical I, created by Inna Lisnianskaya in the series of poems Сны старой Евы (Dreams of Old Eve), let the poetess for unique consolidation of emotions and reflections on life and death.
10
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Monolog ironicznego marzyciela. Don Fernando Pessoa i jego Livro do Desassossego

75%
Radziszewski S.
Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education
|
2014
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issue 2(6)
205-228
PL
Niniejsze opracowanie stanowi oryginalny artykuł poświęcony Księdze niepokoju, której autorem jest portugalski pisarz modernistyczny Fernando Pessoa. Celem artykułu jest studium twórczości „samotnika z Lizbony”, który swoje dzieła podpisuje pseudonimem. Badacze twierdzą, iż Pessoa posługiwał się 70 heteronimami, czyli swoistymi (literackimi) sobowtórami, które nie do końca dają się utożsamić z samym pisarzem. Księga niepokoju to właśnie takie dzieło – Pessoa ogłasza swoją powieść jako „autobiografię Bernarda Soaresa”. Artykuł ukazuje, że nie sposób rozdzielić prawdziwego „ja” twórcy od swoistej, ironicznej gry, którą prowadzi z czytelnikiem. Pisanie powieści wydaje się być dla Pessoi antidotum na samotność i ból egzystencjalny (jak u Kafki, Heideggera, Camusa, Becketta), choć praktykowanie jego prywatnej filozofii życia nie jest łatwym zadaniem. Powieść Pessoi jest bowiem planowo chaotyczna i niespójna – jak samo życie, o którym pisarz – w Księdze niepokoju jako Bernardo Soares – mówi gorzko: W nic nie wierzę, na nic nie mam nadziei, nic nie budzi mojej litości. Niniejsze opracowanie w centrum uwagi stawia problem samotności, marzeń i tęsknoty za sensem. Autor przy opracowaniu niniejszego artykułu wykorzystał metodologię semiotyczną i komparatystyczną, stosowaną przez badaczy Katolickiego Uniwersytetu Lubelskiego. Bohaterem Księgi niepokoju jest mieszkaniec Lizbony, który tworzy własny teatr marzeń. Jego życiowa filozofia pełna jest agnostycznych wątpliwości. „Życie nie jest konieczne – konieczne jest pisanie”. Liczy się tylko to, co zostanie zapisane. Ale również w literaturze nie można otrzymać łaski uspokojenia, również ona nie nasyci pragnienia poznania prawdy. I w niej wszystko dokonuje się na krawędzi niepewności, w stanie nieustannego zawieszenia, bez możliwości ostatecznej weryfikacji. Z jednej strony Pessoa jest geniuszem, porównywalnym wielkością (i skomplikowaniem) z najwybitniejszymi – w opinii Antonia Tabucchiego – twórcami (Nietzsche, Pound i Celine, Bataille i Kafka), z drugiej zaś to zwyczajny, zmęczony i znudzony przechodzień, który uwielbia spacery po ulicach Lizbony. Rozważania Pessoi prowadzą na krawędź absurdu – i to jest najlepsze miejsce, aby w zbroi masochistycznego Don Kichota rzucić rękawicę nicości. Jedynym ukojeniem bólu jest Lizbona, stąd Księga niepokoju staje się pochwałą miasta, literackim pomnikiem Lizbony. Wyniki badań nad Księgą niepokoju stanowią dobry punkt wyjścia do poszukiwań bardziej ogólnych, których celem byłoby zdiagnozowanie stanu duchowości człowieka ery postmodernistycznej. Pessoa modernista stanowi – ze swoją oryginalną teorią zagubienia, duchowej dezorientacji, chaosu wewnętrznego, niezdefiniowania – doskonały model, którego analiza może pomóc w diagnozowaniu współczesnych problemów duchowych. Dotychczasowe działania badaczy koncentrowały się głównie na rekonstruowaniu i wprowadzeniu w obieg czytelniczy pisarstwa Pessoi. Jej ekscentryczna oryginalność fascynuje, ale i utrudnia (wręcz uniemożliwia) wszelki opis naukowy. Wydaje się, iż całkowicie świadomie Pessoa zaciera ślady i gubi trop, aby udaremnić jakikolwiek spójny opis własnego dzieła. Tym bardziej przyciąga uwagę i kusi – jego nowatorskie filozoficzne i religijne, estetyczne i psychologiczne, rozważania zasługują na dalsze badania. Zrozumieć dzieło Pessoi – to zrozumieć postmodernistyczny chaos wokół nas i w nas samych.
EN
The present article is an original study devoted to The Book of Disquiet written by Fernando Pessoa – a Portuguese modernist author. The aim of the article is to present the work of this “recluse from Lisbon”, who signed his texts with pseudonyms. The scholars claim that Pessoa used 70 heteronyms, that is literary doubles that cannot entirely be identified with the author. Thus The Book of Disquiet is announced by Pessoa as the autobiography of Bernard Soares. The article shows that it is impossible to separate the true “I” of the writer from a specific ironic game he is playing with the reader. For Pessoa, novel-writing seems to be an antidote against loneliness and existential pain (like in the works of Kafka, Heidegger, Camus or Beckett), although putting his private philosophy of life into practice is not an easy task. Pessoa’s book is intentionally chaotic and incoherent – like real life about which the writer – as Bernard Soares – bitterly remarks : “I don’t believe in anything, I have no hope, nothing evokes my pity”. The present article focuses on the problem of loneliness, dreams and longing for a sense in life and makes use of semiotic and comparative methodologies, employed by the researchers from Lublin Catholic University. The main character of The Book of Disquiet is an inhabitant of Lisbon who creates his own theatre of dreams. His philosophy of life is full of agnostic doubts. “Life is not necessary – writing is necessary”. What matters is what has been written down. But even literature does not provide us with quietude, as it cannot quench our thirst for getting to know the truth. In literature everything borders with incertitude, everything is constantly being held in abeyance, without a possibility of being finally verified. On the one hand, Pessoa is a genius, comparable – in the opinion of Antonio Tabucchi – from the point of view of greatness and complexity with the most eminent authors (Nietsche, Pound and Celine, Bataille and Kafka), on the other hand, however, he is a common, tired and bored passer-by who likes walking in the streets of Lisbon. Pessoa’s reflections lead to the verge of absurdity: this is the best place for a man in the armour of a masochistic Don Quixote to throw down the gauntlet to nothingness. The only alleviation to the pain is Lisbon – hence The Book of Disquiet becomes a praise of the city, a literary monument to Lisbon. The results of the research on The Book of Disquiet provide a starting point for a more general search, the aim of which would be a diagnosis of the spiritual state of the post-modern man. With his original theory of loss, spiritual disorientation, inner chaos and indefinable condition, Pessoa the modernist provides a perfect model for analysis which might help in the diagnosis of contemporary spiritual problems. So far the researchers have focused mainly upon a reconstruction and preparation of Pessoa’s work for the circulation among the readers. His eccentric originality is fascinating, but it makes a scholarly description of his work difficult or practically impossible. It seems that Pessoa intentionally covers up his tracks and throws us off the trail in order to prevent the scholars from making any coherent description of his work. It is tempting and draws our attention even more: his original philosophical and religious, esthetic and psychological reflections deserve further research. To understand the work of Pessoa is to understand the postmodern chaos around us and in us.
11
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Oniryczne ekspresje w "Sonatach Mol" Marii Grossek-Koryckiej

75%
Poleszak N.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2015
|
issue 4/2015 O Młodej Polsce mniej znanej
103-120
EN
The article focuses on the literary aspect of dream in Maria Grossek-Korycka's Sonaty mol. The poetics of dream is realized within selected works in the series through the use of the word 'sen' ('dream') or by introducing a romantic encrustation aura. The term 'senne ekspresje' ('dreamy expressions'), appearing in the title of this article, indicates a specific way of shaping the imaginative projections. The characteristic properties of the oneiric visions: the aesthetics of contrast, anthropomorphism, handling a wide range of colours, synesthesia as the main means of expression, deformation in the cause-and-effect relationship lead to a dreamy expressionist technique in the context of the individual sonatas. 'The texts' of verbalised phantasma activate an array of symbolic references and analogies. The poet goes back to the tradition of Kabbalah - a dream often manifests itself to the dreaming entity and becomes its peculiar emanation or attribute. This interpretation makes an attempt to read the contents of literary visions and includes the description of the general rules governing the oneirology of The Young Poland poet.
12
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O reminiscencjach „świętego snu” Jana Jakuba Rousseau w Mnemosyne Friedricha Hölderlina w perspektywie uobecniania indyferencji

75%
Orlik P.
Estetyka i Krytyka
|
2016
|
issue 3(42)
103-126
EN
The article provides with the analysis of the works of Jean Jacques Rousseau and Friedrich Hölderlin in a specific, philosophical and aesthetic perspective in order to reveal relationships between them that would be hard to demonstrate in other interpretational approaches. The term “holy dream” was coined by a German poet and it denotes the experiences of a Swiss philosopher that took place by the Bienne lake in 1765; they were described in The Confessions and Reveries of a Solitary Walker. In the light of the anticipation of indifference one can see the importance of Rousseau’s “holy dream” for the works of Hölderlin even in the works that do not directly refer to the works of the Swiss thinker, what was shown on the example of the hymn Mnemosyne. The theoretical background of presented interpretations is the question of the challenges of indifference and the analysis of Theodor W. Adorno, Gaston Bachelard, and George Poulet.
13
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To play like Napoleon. Klíma’s Egosolism as a call to active participation in the world

75%
Holodňák R.
Filosofický časopis (Philosophical Journal)
|
2021
|
vol. 69
|
issue Special_Issue_1
141-154
EN
Ladislav Klíma is the enfant terrible of Czechoslovak philosophy. His philosophy of egosolism, first developed in the work The World as Consciousness and Nothing (Svět jako vědomí a nic), contrasts sharply with the predominantly rationalist and scientific orientation of the philosophy of his time. The romanticised image of Klíma as a tortured intellectual remains alive mainly thanks to the widespread popularity of his “grotesque romanetto” The Sufferings of Prince Sternenhoch (Utrpení knížete Sternenhocha), which still resonates in Czech society to this day. His philosophy of egosolism or ludibrionism, however, remains shrouded in a veil of mystery; Klíma himself complained before his death that he was mistakenly interpreted as a solipsist. This paper offers an interpretation of egosolism in The World as Consciousness and Nothing as a form of radical individualism, which, through a surprising “twist”, calls for active participation in the phenomenal through play (ludus, from which the word ludibrionism is derived as a complementary term to egosolism), and which is essentially a practical philosophy for ordinary, everyday life. The focus falls on the concepts of the primary and secondary world, will, play and reflection; the goal of the study is to provide an original interpretation of Klíma’s egosolism in The World without any reliance on previous interpretations. Klíma ascribes a special role to the method of subjective experiencing of his philosophy, which the he considers to be crucial to gaining the right impression and the correct grasp of it. The Klíma chose this method with the view of assuring the highest possible authenticity of the offered interpretation. The reasons for this choice are examined in more detail in the concluding part of this paper, which is dedicated to a methodical and stylistic commentary of Klíma’s work.
14
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Bridging East and West. In the Search for a New Approach to Consciousness. Remarks on the sidelines of the book by Evan Thompson Waking, Dreaming, Being. Self and Consciousness in Neuroscience, Meditation, and Philosophy, Columbia University Press, New York 2014, pp. 496

63%
Pacholik-Żuromska A.
Kultura i Edukacja
|
2016
|
issue 2(112)
234-241
EN
The aim of this paper is a short overview of the book of Evan Thompson Waking, Dreaming, Being. Self and Consciousness in Neuroscience, Meditation, and Philosophy, with some polemic remarks. Thompson presents an interesting approach to the problem of cognition, knowledge and selfknowledge the problems considered in philosophy, psychology, neurosciences, which if they interact create an interdisciplinary platform called “cognitive sciences”. However, Thompson proposes to bring on the debate within the field of a new discipline: contemplative neuroscience, for which he argues in the presented book. Using the methodology offered by this new kind of science he analyzes such phenomena as dream, perception, imagination, and even dying all of them in reference to the problem of what consciousness is.
15
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MIAŁEM SEN DZIWNY… ONIRYCZNA WYOBRAŹNIA ESCHATOLOGICZNO-APOKALIPTYCZNA W WYBRANYCH LIRYKACH KAZIMIERZA TETMAJERA

63%
Poleszak N.
Świat Tekstów. Rocznik Słupski
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2017
|
issue 15
109-122
EN
The article interprets eschatological and apocalyptic literary works recognized as most representative for the discussed subject. Especially important in the context of the included poets seems to be the transfer of the text “Apokalipsa” (“The Apocalypse”) into a realm of internal experience, which indicates not only an individual, but also a phantasmal essence of religious impression. Tetmajer often employs “reported dreams”, the poet does not utilize the specific oneiric technique, imitating the process of natural dreaming. The visions mainly express terrifying images of nihilistic nothingness and a loss of establishment in the macrocosm. Through dreams about the annihilation of the Earth Tetmajer presents existential is-sues connected to the act of creation and the human – God relation. The motifs of “a destructive-constructive genesis” evoke a rich context of the Kabbalah tradition. Based on the analysed poems we can deduct that Tetmajer’s writing is dominated by the inverted reading of the Apocalypse, although, paradoxically, the author of Melancholy leaves some hope leading to a perspective of salvation.
16

Socialist and feminist dream-narratives of solidarity at the end of 19th century (Morris and Corbett)

63%
Antal É.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
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2017
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issue 14/4
29-44
EN
The Victorian fin de siècle exhibits not only a double quality but also the ambivalence of modernity with the appearance of ‘new’ ideas in the ‘old’ age. The unique perspective is especially evident in the so-called ‘dream-narratives’ written in the last decades of the 19th century, for instance, in Edward Bellamy’s Looking Backward 2000-1887 (1888) and William Morris’s News from Nowhere (1890). In my paper, I will juxtapose the Morrisian British socialist utopia and Elizabeth Corbett’s feminist utopia, New Amazonia (1889), focusing on communal solidarity, emancipation and gender equality in the works. I will also highlight the importance of the ideal reader who is effectively addressed in both utopias.
PL
Wiktoriański fin de siècle wykazuje nie tylko podwójną przynależność, ale również ambiwalencję współczesności wraz z pojawianiem się ‘nowych’ idei w odchodzącym w przeszłość (‘starym’) wieku. Unikatowa perspektywa jest szczególnie wyraźna w tzw. onirycznych narracjach pisanych w ostatnich dekadach XIX wieku, na przykład, w powieści Edwarda Bellamy’ego Looking Backward 2000-1887 (1888) i w News from Nowhere (1890) Williama Morrisa. W artykule przeciwstawiam Morrisowską brytyjską utopię socjalistyczną feministycznej utopii Elizabeth Corbett pt. New Amazonia (1889), koncentrując się na problematyce społecznej solidarności, emancypacji oraz równości płci w obu utworach, podkreślając także istotną rolę idealnego czytelnika, do którego adresowane są obie utopie.
17
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Travelling in Time and Space: Alice’s Adventures in Wonderland by Lewis Carroll and In Wonderland by Sylwia Chutnik

63%
Włodarczyk A.
Filoteknos
|
2022
|
issue 12
83-100
EN
The paper offers a reading of Lewis Carroll’s Alice’s Adventures in Wonderland and Sylwia Chutnik’s collection of short stories W krainie czarów [In wonderland], addressing the protagonists’ journey into self. Chutnik’s stories are interpreted in terms of some key motifs drawn from a reading of Carroll’s novel, which constitute the touch points of the two authorial designs: dream, imagination, metamorphosis, change, language, auto-thematicity, the demiurgic role of the narrator, and an open ending. Juxtaposed, these concepts shed light on the problem of travelling in time and space understood as a return to the world of childhood imagination. The analysis of Chutnik’s eleven short stories reveals a literary creation of signifying space, in particular the images of Warsaw and Silesia as sites appropriated by history as well as by the protagonists. In every case (be it cities, people’s experiences or post-traumatic stories), an attempted interpretation of particular places and times is shown as a process of discovering the mythology of space – a return to a personal Wonderland. The reflections are brought together by referring to the problem of “bad memory”, a literary means of presenting the reader with alternative testimonies of postmemory.
18
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Motive des Ausbruchs und des Aufbruchs in den Hörspielen Ingeborg Bachmanns

63%
Kłańska M.
Studia Germanica Posnaniensia
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2016
|
issue 37
165-178
EN
Bachman wrote only three radio plays, all of them in the fifties of the XXth century. In spite of different settings, all of them have the same topic: escape from society (either into dream or to an island or to the isolation of a couple wishing to live only for love) and utopia. In the first and third play the male protagonists fail however, unable to give up their bourgeois lives. In the third play the female protago-nist is a victim of her ability to love without restrictions. This locates The Good God of Manhattan close to the feminist prose of Bachmanns later years. In the second radio play, The Cikadas, the existence on an island separated from society is judged in the negative. All attempts to win utopian happiness end with defeat; although they are valued differently, they show that in spite of all efforts mankind is not able to reach the ideal of truth and love.
DE
Bachman wrote only three radio plays, all of them in the fifties of the XXth century. In spite of different settings, all of them have the same topic: escape from society (either into dream or to an island or to the isolation of a couple wishing to live only for love) and utopia. In the first and third play the male protagonists fail however, unable to give up their bourgeois lives. In the third play the female protagonist is a victim of her ability to love without restrictions. This locates The Good God of Manhattan close to the feminist prose of Bachmanns later years. In the second radio play, The Cikadas, the existence on an island separated from society is judged in the negative. All attempts to win utopian happiness end with defeat; although they are valued differently, they show that in spite of all efforts mankind is not able to reach the ideal of truth and love.
19
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Fantazmaty dziecięce w prozie autobiograficznej José Mauro de Vasconcelosa

63%
Slany K.
Autobiografia. Literatura. Kultura. Media
|
2016
|
issue 2(7)
57–73
PL
W artykule omawiam trylogię autobiograficzną José Mauro de Vasconcelosa: Moje drzewko pomarańczowe, Rozpalmy słońce i Na rozstajach. Utwory te postrzegane mogą być jako powieści fantazmatyczne dla dzieci i młodzieży, gdzie wspomnienia z dzieciństwa zostały przez pisarza obudowane fantazmatami, które kreował jako dziecko. Istotny jest tu sposób prezentowania dzieciństwa z perspektywy dziecka jako podmiotu wyobrażającego, stającego się dzieciństwem bogatym w obrazy o proweniencji baśniowej. Odczytanie znaczenia tych wyobrażeń pozwala podkreślić ich katartyczny charakter. Dziecięce przeżywanie momentów granicznych osadzone jest tutaj celowo w sferze kompensacyjnych projekcji. W swej prozie autobiograficznej Vasconcelos odtwarza zatem nie tylko zdarzenia, które go ukształtowały, ale przede wszystkim sferę dziecięcych fantazmatów jako przykład magicznego myślenia dziecka o sobie i świecie, skłaniającego go do ważnych, czasami jednak tragicznych refleksji.
EN
The article discusses a trilogy of the author’s autobiographical works encompassing My sweet orange tree, Let’s light the sun up and At the crossroads. These works can be seen as phantasmal stories for children and youth, which are based on author’s memories from childhood, significantly embedded in phantasmata that he has created as a child. An important feature is presenting childhood from the perspective of a child who becomes the imagining subject. This image of a childhood thus becomes rich in depictions stemming from fairy tales. Deciphering meanings of these depictions allows to underscore their cathartic character. The child’s experiences of transitional moments is here purposefully embedded in the sphere of compensatory projections. It is in his autobiographical prose that Vasconcelos therefore not only recreates the events that has shaped them, but first and foremost explores the sphere of children’s phantasm as an example of child’s magical thinking about the world and the self. These thoughts direct a child towards significant, though often tragic reflections.
20

Visitors from the realm of death

63%
Pypłacz J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2012
|
vol. 22
|
issue 2
61-73
EN
Ghosts play a very important role in Seneca’s tragedies. They either appear on stage and deliver the prologue or influence events from backstage. Sometimes they suddenly come to haunt living relatives as phantoms or hallucinations. Their influence on the actions of the dramatis personae is considerable and, in most cases, negative or even destructive. Thanks to the fact that Seneca chose to unleash his imagination rather than cling to the technical requirements of the ancient theatre, he could permit himself the luxury of filling his plays with supernatural beings who contribute to the atmosphere of metaphysical awe that makes Seneca’s tragedies so unique and that has become their hallmark.
LA
Constat manes mortuorum in tragoediis antiquis saepe apparuisse. Poetis tragicis Graecis necessarii erant ut fabulam formarent spectatoresque exterrerent. Seneca manibus ad eadem aliaque peragenda utitur, nam quasi omnes eius tragoediae phantasmatibus abundant. Manes prologos dicentes, ut Thyestis umbra in Agamemnone Tantalique in Thyeste non solum historiam Tantalidarum in memoriam revocant, sed etiam, ante omnia, nequitiam suam ut pestilentiam in regia propagant. Non manes igitur, sed spectra infernalia apellandi sunt. Alii manes, ut Achillis umbra in Troadibus Laiique in Oedipo, ex Erebo ad terram adeunt, sed auditoribus invisibiles sunt. Crudeles, implacabiles poenaeque avidissimi, vitam dramatis personarum male influunt. Adventus eorum a nuntiis quasi epico modo narrantur. Nonnumquam dramatis personae in Senecae tragoediis visiones repentinas familiarium mortuorum habent, qui aliis personis invisibiles sunt, ut Laius, cuius spectrum horribile Oedipum in Phoenissis aggredit, Apsyrtusve, qui Medeae se ostendit. Haec malae conscientiae deliramenta sunt. Alii autem manes simpliciter familiares suos, quibus desunt, visitant, ut Deiphobi umbra quam Cassandra in Agamemnone vidit. Simili modo Hectoris umbra Andromachae uxori quasi somnium se ostendit in tragoedia quae Troades inscribitur. Ex his omnibus constat Senecam plus ingenium suum quam conditiones theatri antiqui secutum esse quam ob rem tragoedias suas spectris, phantasmatibus et prodigiis sine ullis obstaculis implevisse. Constat etiam manes mortuorum his in tragoediis magno munere fungi, nam eas unicas aliisque antiquis poematibus tam epicis quam dramaticis dissimiliores reddunt.
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