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„Czarny kozioł” lub Leśmianowska reinterpretacja „Złotego osła” Apulejusza

100%
Vandenborre K.
Prace Filologiczne. Literaturoznawstwo
|
2013
|
issue 3(6) cz.2
209-219
EN
The present article aims to study The Black Goat by Bolesław Leśmian in view of its intertextual dialogue with the antique model of metamorphic literature: Metamorphoses, or The Golden Ass by Apuleius. Although the fairy tale was published in a volume entitled Polish Fairy Tales, it is partially based on foreign sources that the author cleverly hid behind other Polish stories. The comparison of The Black Goat with The Golden Ass shows that the Polish poet drew inspiration mainly from Apuleius’s novel, in which a man is also transformed into a stubborn animal. The symbolism of colours and light, which Leśmian modernized and adapted for the modern Polish reader, confirms this hypothesis. Comparative work on both texts helps to understand Leśmian’s reinterpretation of the concept of metamorphosis and his contribution to the reflection on this topic.
2

“Barbaric Yawp” in Dutch

100%
Vandenborre K.
Rocznik Komparatystyczny
|
2013
|
vol. 4
p. 281-286
EN
The article presents two most important translations of Whitman’s line in Dutch. The first one comes from Natuurleven (“Natural life”), the selection of poems that Maurits Wagenvoort translated into Dutch in 1898; the second one was taken from the first complete edition of Leaves of Grass in Dutch which came out in 2005 under the title Grasbladen (“Leaves of Grass”). Both of them present very different interpretations of Whitman’s poetry: while the too literal and too vague translation in the collective project of Grasbladen presents a “postmodern attitude” to Whitman’s work, Wagenvoort’s translation is a subtle attempt of expressing the natural character of homosexualityand Whitman’s vision of love. The essay ends up with the new translation that Jakib Veenbaas published in 2007.
3

,,Baśń miejska", czyli o tym, jak przestrzeń miasta zmieniła baśń

100%
Vandenborre K.
Rocznik Komparatystyczny
|
2012
|
vol. 3
p. 97-114
EN
The paper is devoted to the urban fairy tale, which is supposed to be a new type of fairy tale, mainly characterized by an urban scenery: the usual countryside is therefore replaced by a city. As the urban fairy tale is based on a geographical change in the fairytale landscape, we seek to examine the representation of the city and its evolution in the fairy tale in order to question the relevance of this genre. Indeed, although most folk tales take place in the countryside or in a natural place, some of them are partly connected with a city. Moreover, the presence of a city does not contradict the indefiniteness of space and time, which is typical for the fairy tale. Beside it, we have to pay attention to the evolution of the fairy tale itself, namely as a literary work, because writers are willing to transgress the spatial indetermination to describe realistic cities in fairy tales. It seems that the fairy tale has changed in such a way since the end of the 19th century that the city – even its evil version – has turned into a normal component of literary fairy tale, which has become more and more urban. Thus, although we can find urban marks in fairy tales ever since, the city has grown also according to the evolution of the fairy tale on the one hand, and the transformation of society on the other. Therefore, as the urban dimension of the fairy tale is due to its natural change, it is not necessary to create a separate category called “urban fairy tale”.
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Le conte dans la poésie catastrophiste : Krzysztof Kamil Baczyński et Tadeusz Gajcy

100%
Vandenborre K.
Prace Polonistyczne
|
2014
|
vol. 69
163-175
EN
In the present article an attempt is made to describe the use of fairy tale in catastrophist poetry, focusing more specifically on Krzysztof Kamil Baczyński and Tadeusz Gajcy’s works. Both poets allude to the despair of the Second World War by contrasting the idyllic Arcadia of fairytale world with the hopeless universe of the apocalyptic reality. Unconnected with the reality, fairy tale may seem unattainable, like an unseizable dream. But it can also be the victim of the omnipresent evil of the war and decomposes from the inside, unable to avoid its baleful power. A careful analysis of Baczyński and Gajcy’s works shows that this subtle relationship between fairy tale and evil or death recurs in their poetry, and is even widespread in their period. The popularity of this strategy raises therefore the question of the existence of a separate category that could be called ‘catastrophist fairy tale’. The paper is divided into three parts: the first part is devoted to Baczyński, the second one — to Gajcy and the third one offers a synthetic reflection on the notion of ‘catastrophist fairy tale’.
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