Search results - CEJSH

1

Parodied Locations: A Play on Genre Conventions and Place in Flann O’Brien’s The Poor Mouth and Alasdair Gray’s Poor Things

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Szot B.

Zagadnienia Rodzajów Literackich

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2017

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vol. 60

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issue 2 (122)

99-112

EN

Flann O’Brien in The Poor Mouth and Alasdair Gray in Poor Things use parody (of Gaeltacht memoirs and Gothic fiction respectively) to join in a discussion on literary representations of their homelands (Ireland and Scotland). This paper discusses the subversive play on the reader’s expectations regarding literary representation of places driven by previous knowledge of the parodied genre’s conventions which the two authors use to pinpoint the inadequacy of the hitherto existing literary tradition.

2

The Problematic of Reading Generic Signals in Parodic Discourse

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Kirca M.

Zagadnienia Rodzajów Literackich

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2013

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vol. 56/111 z. 1

9-22

EN

The aim of this study is to analyze the double-function of generic signals in double-voiced discourse of parody which involves by its nature the parodied and the parodying voices simultaneously. The paper claims that generic signals, which are supposed to be working mostly at an unconscious level to create a generic context for the reader in interpreting a text, become double-voiced by the parodist’s manipulation and work at a conscious level. It is common that the parody writer barrows and appropriates generic signals of the genre he parodies to indicate the parodied genre and also his departure from this genre. Parodic intentions become palpable immediately with the „parodic stylization” — to use Bakhtin’s term — of the generic signals, which brings about the Bakhtinian refraction of the authorial voice in parody. Since the parody writer intentionally appropriates the speech of the prodied genre, authorial refractions become clearer in parodic discourse. Through studying such refractions with a particular emphasis on genre parodies and specific examples from Cervantes’ Don Quijote, the present study argues that generic signals in parodic discourse assume the double-function of signaling the parodied genre and the parodying voice simultaneously. In order to show how generic signals assume a highly communicative function in parody, this study focuses on texts where the author parodies not a single writer and a single work, but a whole genre with its conventions. As a genre parody which aims for the governing discourse behind the genre it imitates, Cervantes’ Don Quijote produce significant examples that the double-function of generic signals can be seen explicitly through the authorial refractions in the text.

3

Od „dna” ku „denku”. Postmodernistyczna aktualizacja dramatu M. Gorkiego

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Pieczyński M.

Kultury Wschodniosłowiańskie - Oblicza i Dialog

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2014

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issue 4

151-158

EN

Contemporary Russian drama is situated in a dialogue with literary and more precisely dramatic tradition. For example, this thesis clearly confirms a comedy by Igor Shpric On the bottom. The text at the level of its title refers to Maxim Gorky's play The Lower Depths. Shpric’s comedy parodies this work by presentingGorky's characters in the social and cultural context of contemporary reality. The main purpose of the paper is the intertextual analysis and interpretation of ironic Shpric’s comedy as the transcontextualization of language, poetics, themes, plot and characters ofGorky's text.

RU

Contemporary Russian drama is situated in a dialogue with literary and more precisely dramatic tradition. For example, this thesis clearly confirms a comedy by Igor Shpric On the bottom. The text at the level of its title refers to Maxim Gorky's play The Lower Depths. Shpric’s comedy parodies this work by presentingGorky's characters in the social and cultural context of contemporary reality. The main purpose of the paper is the intertextual analysis and interpretation of ironic Shpric’s comedy as the transcontextualization of language, poetics, themes, plot and characters ofGorky's text.

4

Фольклорные маргиналии в белорусских медиа: cоздание и преодоление социальных мифов

100%

Ratnikova I.

Acta Polono-Ruthenica

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2006

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vol. Tom 1 Nr XI

267-278

EN

Folk units as the special element of the modern cultural process are described in the article; the author takes into consideration the catch-words, anecdotes, parodies etc. Despite a lot of differences in the comparison with classical folklore, the „marginal” units become similar to it. In the most of cases it refers to: the mutual function in the process of socialization and in the cultural context, trade and political advertisement as the contemporary sphere of the folklore, expressed conviction about the possibility to order the world, to defense against the chaos. Furthermore, in the contemporary „folk communication” the scheme of universal deconstruction of social and cultural myths functions.It’s worth adding that in the function of universe, which organizes „classical” and contemporary verbal folk creativity, laugh, which creates much fairer, though an illusory „world of anticulture”, appears.

5

PAMFLET NA SZWEDZKĄ KRÓLEWNĘ JAKO ŹRÓDŁO WIEDZY O „SZPETNEJ CZAROWNICY”, CZYLI O ANNIE WAZÓWNIE

100%

Ojcewicz G.

Acta Neophilologica

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2013

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vol. XV/1

299-322

EN

The author analyzes a piece of 17th century chronicle of Charles IX of Sweden and its Polish translation done by Julian Ursyn Niemcewicz. This fragment presented in a satire form concerns critics of behavior and private life of Anna Vasa (1568–1625), a niece of the king of Sweden. Both Old Swedish and Old Polish texts are valuable sources of information about the Swedish princess as the information about her private life is very scarce. The analyzed satire presents real and dubious facts (where the credibility is concerned) of the princess’s biography.

6

Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM

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Sosnowska M.

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2018

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vol. 17

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issue 32

81-93

EN

Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?

7

Zachować wierność wobec własnej nieautentyczności

89%

Szkaradnik K.

Śląskie Studia Polonistyczne

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2019

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vol. 13

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issue 1

227-236

EN

This thorough review discusses in detail a book by Artur Hellich Gry z autobiografią: przemilczenia, intelektualizacje, parodie [Playing Games with Autobiography: Concealing, Intellectualizing, Mocking]. Together with Hellich, the author inspects the reasons for distrust of the eponymous genre during the People’s Republic of Poland’s period, and traces the transmutations thereof instigated by the writers. Strategies deployed in selected literary works by K. Brandys, S. Lem, R. Zimand, A. Sandauer, P. Roth, and P. Feyerabend, described as a crypto-autobiography, selfmythologizing, and autothematic picaresque novel. Jewish descent, in the case of majority of mentioned authors, was a factor prompting the titular games with the confessional genre. Aside from giving justice to Hellich’s novel discoveries and compelling interpretations, the review’s author also enters into dialogue with him concerning the understanding of broadly understood autobiographical writing.

8

Zachować wierność wobec własnej nieautentyczności

89%

Szkaradnik K.

Śląskie Studia Polonistyczne

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2019

|

vol. 13

|

issue 1

227-236

EN

This thorough review discusses in detail a book by Artur Hellich Gry z autobiografią: przemilczenia, intelektualizacje, parodie [Playing Games with Autobiography: Concealing, Intellectualizing, Mocking]. Together with Hellich, the author inspects the reasons for distrust of the eponymous genre during the People’s Republic of Poland’s period, and traces the transmutations thereof instigated by the writers. Strategies deployed in selected literary works by K. Brandys, S. Lem, R. Zimand, A. Sandauer, P. Roth, and P. Feyerabend, described as a crypto-autobiography, selfmythologizing, and autothematic picaresque novel. Jewish descent, in the case of majority of mentioned authors, was a factor prompting the titular games with the confessional genre. Aside from giving justice to Hellich’s novel discoveries and compelling interpretations, the review’s author also enters into dialogue with him concerning the understanding of broadly understood autobiographical writing.

9

Interpretacja politycznej agresji w dramacie Mariusa Ivaškevičiusa Mistrz (Mistras, 2010)

89%

Čiočytė D.

Tematy i Konteksty

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2019

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vol. 14

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issue 9

422-430

EN

Marius Ivaškevičius’ drama The Mistr (2010) is a tragi-comical grotesque pasted together from historical and cultural symbols and interpreting the person of Adomas Mickevičius (1798–1855) and his relationships with Andrzej Towiański (1799–1878), the prototype for the Mistr in the play. In religious and cultural history Andrzej Towiański, a self-proclaimed prophet, „a mistr called by God“, represents the archetypical figure of the false prophet. M. Ivaškevičius’ play constructs the demonic figure of the Mistr as the sign of the demonic nature of political oppression. The entanglement of political aggression and the demonic is typically found in Lithuanian literature. The work offers an original variation on the entanglement by reflecting the Soviet propaganda, its fantastic ability to penetrate into the deepest levels of a victim’s mentality.

10

Transformaties van de Argonautenmythe in de roman Een vreemde stam heeft mij geroofd van Willem Brakman

88%

Đokanović A.

Neerlandica Wratislaviensia

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2018

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vol. 28

149-163

EN

The following article deals with the transformation of the myth of Jason and the Argonauts in the novel Een vreemde stam heeft mij geroofd (1992) written by Willem Brakman. The legend of the Argonauts tells about a mythical journey in quest of the Golden Fleece. Working on his own version, Brakman relied on the epic poem The Argonautica written in the 3rd century BC by Apollonius of Rhodes. Brakman rewrote the myth of the Argonauts by placing the action in 20th-century Netherlands. The research aim is to discover in what way Brakman transforms the original story as set in The Argonautica and to compare these two versions. Brakman’s novel differs from the original in the changes to the plot or characters. Moreover, he combines the legend of the Argonauts with other mythical stories such as that of Oedipus, Odysseus, Theseus. Gérard Genette’s theory of intertextuality serves as the theoretical background of the article.

11

Dyskretna apologia starości w twórczości Milana Kundery

88%

Skibska A. M.

Slavica Wratislaviensia

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2016

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vol. 163

567-579

EN

In the essay, the titular problem of old age is related to the great literary canon, within which the history of novel is established and developed. The canon itself, in terms of H. Bloom, means a perpetual and creative source of struggle against the literary traditions’ influence, which is also to shape Kundera’s novels and essays. Thus the old age is conceived as abroad metaphor consisting of the great works of the great precursors, who invented us along with our modern world. Furthermore, Kundera allows his readers to associate the old age motif with awide range of often opposite properties alike slowness, carefulness, lightness, triviality, laughter, transparence, non-presence, or non-essence, etc. These properties are rendered by aseries of the writer’s favorite figures, to which belong: irony, ellipsis, and litotes that are to determine the central motif of vis comica inherited by Kundera from his masters, Cervantes, Rabelais, Diderot, and Sterne.

CS

V článku je problematika stáří konfrontována s evropským literárním kánonem, který obsahuje avytváří dějiny evropského románu. Tento kánon, v souladu s teorií Harolda Blooma, tvoří nekonečný tvůrčí zdroj boje s literární tradicí, boje, který se rovněž zrcadlí v románech Milana Kundery. V jeho díle je stáří zobrazeno jako široce chápaná metafora děl velkých spisovatelů, kteří jsou zodpovědni za obraz současného světa. Kundera pracuje s motivem stáří asrovnává ho s celou škálou témat, která ho zajímají, tzn. s retardací, opatrností, lehkostí, triviálností, humorem, průhledností, nepřítomostí, bezvýznamností apod. K zobrazení těchto témat využívá své oblíbené figury: ironii, elipsu alitotésu, které determinují problematiku vis comica, přejatou od oblíbených předchůdců. Jsou mezi nimi Cervantes, Rabelais, Diderot aSterne.

12

Intertekstualność, interdyskursywność, korespondencje — praktyki literackie

88%

Michalski M.

Aspekty Muzyki

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2017

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vol. 7

33-51

EN

The paper presents selected phenomena of intertextuality, interdiscoursiveness, and corres-pondence of arts in contemporary literature, especially Polish. In spite of intertextuality being a category well recognized in the contemporary theory of literature, it seems rarely developed nowadays, so there is no need to present well known and classic theoretical concepts. Both intertex-tual and interdiscoursive literary practices, the latter understood as creating dialogical or polemical relations among discourses, are widespread, especially in postmodernism and late modernism, and the phenomenon of the correspondence of arts can also be considered an aspect of intertex-tuality. This article focuses on the selected examples of intertextual references (mainly allusions and stylization) in sound realization of ideas (versification), composition and genre conventions, as well as relations between literature and philosophy, especially those of parodic character con-ceived — according to the classic concept of Linda Hutcheon — as a repetition with critical distance, which marks difference rather than similarity. Philosophical parody is characterized by ambiguity (repetition means acceptance, parodic exaggeration gives critical distance) towards philosophical schools and academic discourse of philosophy. Selected phenomena are presented on the examples from texts by Julian Tuwim, Cyprian Kamil Norwid, Marian Piechal, Tomasz Różycki, Witold Gombrowicz, Sławomir Mrożek, Robert Coover, Stanisław Lem, Wystan Hugh Auden, Hans Magnus Enzensberger, Stefan Themerson, and Leszek Kołakowski.

13

Between the Normative and the Performative: Sex, Parody, and Other (In)tractable Issues in Geoffrey Chaucer’s Miller’s Tale

88%

Popescu D. N.

Messages, Sages and Ages

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2016

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vol. 3

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issue 2

31-35

EN

The article explores how Geoffrey Chaucer’s Canterbury Tales discusses human sexuality as a major thematic concern in both its normative and its performative dimension, and sex, an (in)tractable issue throughout the Middle Ages, as a core motif that helps the author to explore the extant tension between the human and the ideal. On the other hand, parody and audience/reader response are important instruments in the medieval poet’s strategy of approaching delicate matters in his pilgrims’ tales, which become readily apparent in the ‘order of play’ in which the tales come. The Miller disrupts the story-telling order because this disruption serves Chaucer’s purpose of questioning the validity of the courtly love concept through a parody of courtly romance, much like the poet’s purported distancing from the heretical views upon human sexuality expressed by the Miller can be decoded as an attempt to restore the balance of power between doctrinal inflexibility and humans’ timeless desire for the natural.

14

Muriel Spark’s Employment of Burlesque: Parody of Detective Fiction in Not to Disturb

88%

Ertin S.

Lublin Studies in Modern Languages and Literature

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2017

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vol. 41

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issue 1

DE

Der Band enthält die Abstracts ausschließlich in englischer Sprache.

EN

Parody contributes to the improvement of literary genres since it is the key to various popular subgenres as in the case of the development of detective fiction. Muriel Spark’s Not to Disturb, among the contemporary examples of parody of detective stories, is about a group of sinister servants in a Swiss chateu awaiting impatiently the bloody deaths of their employers, dictating memoirs and even selling the fim rights beforehand. Analysed in terms of its plot structure, characterisation and setting, the novel proves to be a brilliant example of parody of detective stories.

FR

Le numéro contient uniquement les résumés en anglais.

RU

Том не содержит аннотаций на английском языке.

15

The Elements of Comedy and Parody in the Dionysiaca of Nonnus

88%

Lasek A. M.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2017

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vol. 27

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issue 3

EN

In this article the author presents the elements of comedy and parody in the Dionysiaca of Nonnus. The analysis of the passages excerpted from the Dionysiaka shows that the composition of Nonnus’ poem is based on the principle of generic variety.

16

Superbohater made in Poland – parodia w Hydrozagadce Andrzeja Kondratiuka

88%

Czaja J.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 14

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issue 23

57-64

EN

The article looks at Andrzej Kondratiuk’s film Hydrozagadka as a parody of stories about superheroes. An analysis of the construction of the film’s characters, plot, rhetoric, ideology and use of space reveals a parodic transformation of the original model. Also analysed is the comic effect achieved by placing an American pop culture icon in a foreign cultural context – Poland in the early 1970s. The parodic nature of Hydrozagadka is analyzed in the context of Polish propaganda art from the period of communism.

17

Ponavljanje, parodija ili raspadanje prazne ploče magijskih performativa u hrvatskome suvremenome pjesništvu

88%

Pinter K., Sorel S.

Poznańskie Studia Slawistyczne

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2013

|

issue 4

EN

In the article, from different linguistic and literary theoretical perspectives, parodic function of anaphora is analyzed on samples of Croatian contemporary poetry. The aim is to present how a poem, especially one that is not from the contemporary lyric collection, is not a realization of „mythic time”, but in its rhythms and structures, where repetition is condition sine qua non of lyricism, it keeps a trace, a memory of the imaginary, of the myth which in speech revives what is hidden and suppressed.

18

Nasza niebajka – parafrazy tekstów reklamowych w „Dniu świra” Marka Koterskiego

88%

Miławska M.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2014

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vol. 21

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issue 1

169-183

PL

In the movie Dzień świra – one of the most popular Polish comedies of the recent years – Marek Koterski presents his personal vision of the Polish language. The director, recognizing the advertising messages as an important phenomenon of the modern culture, makes a paraphrase of such texts – both in their verbal and visual layer. Conducting various linguistic experiments, he reveals manipulative mechanisms of advertising slogans. Parodies and caricatures are intended to demonstrate a fictional harmony of advertising texts – instead of the desired fabulous world, the spectator (and reader) is forced to receive brutal messages, going beyond the sphere of taboo.

19

Parodie, trawestacje, uwertury – znaczenie zabiegów stylizacyjnych w szkolnych etiudach Marka Piwowskiego

88%

Mąka-Malatytńska K.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

|

vol. 14

|

issue 23

129-141

EN

The subject of the article Parodies, travesties, overtures – meaning of styling treatments in Mark Piwowski’s school films are Marek Piwowski’s early, short films and the stylistic and parodic elements he used. As the starting point of the discussion, Katarzyna Maka-Malatynska adopts the findings of Jerzy Ziomek and Ryszard Nycz, and their definition of parody. Using categories of literary and film studies, the author examines four school films of the creator of The Cruise. Acknowledging parody as the first degree of mockumentary after Roscoe and Hight, she proposes that Piwowski’s first films be seen as mockumentary, which could result in a new interpretation of his later works.

PL

The subject of the article Parodies, travesties, overtures – meaning of styling treatments in Mark Piwowski’s school films are Marek Piwowski’s early, short films and the stylistic and parodic elements he used. As the starting point of the discussion, Katarzyna Maka-Malatynska adopts the findings of Jerzy Ziomek and Ryszard Nycz, and their definition of parody. Using categories of literary and film studies, the author examines four school films of the creator of The Cruise. Acknowledging parody as the first degree of mockumentary after Roscoe and Hight, she proposes that Piwowski’s first films be seen as mockumentary, which could result in a new interpretation of his later works.

20

Book review : Rowden, Claire (2020). Opera and Parody in Paris 1860-1900. Turnhout: Brepols.

88%

Clements P.

The European Journal of Humour Research

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2022

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vol. 10

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issue 2

155-158

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