Artykuł stanowi próbę rozpoznania nadrzędnej problematyki prozy Zyty Oryszyn, odnajdywanej w jej powieściach (napisanych przed rokiem 1989 Czarnej iluminacji i Madam Frankensztajn) a szczególnie w opowiadaniach zebranych w tomie zatytułowanym Ocalenie Atlantydy, wydanym w 2012 roku. Najważniejszym tematem wszystkich jej utworów okazuje się obcość, silne odczucie nie-przynależenia do miejsc, czasów, wspólnot czy związków międzyludzkich. Przez cały okres swojej artystycznej ewolucji Oryszyn przepisywała ten temat w najrozmaitszych wariantach, przepisując tym samym „siebie”, to znaczy własną biografię, doświadczenia, emocje, wspomnienia. Autorka przekonuje, iż poznawanie tajników własnej tożsamości jest możliwe dzięki uruchomianiu empatii (w wymiarze ludzkim i artystycznym) i podejmowaniu wciąż od nowa prób zrozumienia trudnych relacji z Innymi.
EN
The article is an attempt at sketching the main problem of Zyta Oryszyn’s prose, her novels (written before 1989 Black ilumination and Madam Frankensztajn) and especially stories collected in volume tittled Salvation of Atlantis, edited in 2012. The most important theme of all her works is strangeness, strong feelings of not belonging to any places, moments of history, communities or relationships. During whole artistic evolution Oryszyn rewrited this theme in many different ways, so she also rewrited herself that is to say her own biography, experiences, emotions and recollections. The author convinces that the opportunity to recognition oneselves identity is to activate human and artistic sensibility and to try to understand every difficult relations with Others.
Concentration camp literature has had its unique position within the 20th century literature. After 1945, first works by surviving prisoners or eye-witnesses of the Nazi crimes are being published. The term “eye-witness,” however, is considered by some of the former prisoners to be misleading and inappropriate. When describing their memories they had to deal with many obstacles to be able to pass on comprehensible information about their stay to the readers. The comprehensibility of their message was hindered above all by the powerful and painful character of their experience and by limits of the common language expressive means. In concentration camps a specific language was formed, the lagersprache, which penetrates into these works also. In their descriptions the writers were often limited by social and personal conventions as well. The efforts to “express the inexpressible” impinged on disbelief and misunderstanding of both publishers and readers. Despite that, today’s reception of these works bears evidence to the contrary, and it can be stated that the former prisoners managed to pass on to the readers at least “part” of their experience.
The poetry of Mandelstam is full of controversy and unspoken mysterious mood. A somewhat distant view, deliberate withdrawal of a personal approach, and unwillingness to express the innermost feelings — those are the features of Mandelstam’s poetry which create a unique world. Feelings and emotions are hidden deeply in his work, and there is almost no love motif in his lyrics. However, sensuality as a cultural code permeates his poetry. Mandelstam’s poetry affects both the conscious and the subconscious levels of the reader, evoking unique associations. That is why there are so many different interpretations of his works. The tragedy of human existence and, at the same time, the sense of uniqueness of life, the pursuit of harmony of thought and feeling, the rational and the emotional — all this creates the unparalleled, grandiose scale of Mandelstam’s poetry.
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