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1

Moralitet „Komedyja Justyna i Konstancyjej” Marcina Bielskiego a karnawał

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Wojtowicz W.

Pamiętnik Literacki

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2018

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vol. 109

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issue 4

39-63

PL

"Komedyję Justyna i Konstancyjej" (1557) Marcina Bielskiego można wiązać z karnawałem dzięki wyraźnemu kategoryzowaniu w niej postaw zarówno nagannych, jak i godnych aprobaty, co właściwe jest poetyce moralitetu. Uwarunkowania teologiczne karnawału spotykają się w debacie Krotofili, Justinusa i Czasu z kontekstem medycznym. Zwraca uwagę rola ars iocandi w przezwyciężaniu melancholii, ogólnie – w utrzymaniu dobrostanu człowieka. Ulubionym tematem przedstawień karnawału – w tym także tekstów literackich – było pożycie małżeńskie i sam akt zawarcia małżeństwa, jak również wszystkie zwyczaje, które ten akt poprzedzały (co wpisuje się także w problematykę skupioną wokół przejawów grzechu nieczystości). Ponadto w sztuce Bielskiego podjęty został problem przemocy, skorelowany tu z decorum na płaszczyźnie językowej. Odbija się tu refleks kultury dworskiej. Bielski wykazuje znajomość kodu dworskiego i tekstów należących bezspornie do tego kręgu społecznego. Interpretacja "Komedyi" wymaga zatem uwzględnienia kontekstów socjokulturowych, komponentów związanych z medycyną, ale także z karnawałem.

EN

Marcin Bielski’s “Komedyja Justyna i Konstancyjej” (“A Comedy of Justyn and Konstancja,” 1557) may be linked to the carnival due to that it clearly categorises both the negative attitudes and the ones which gain approval, which is typical of the morality play poetics. Theological circumstances of the carnival meet in the debate of Krotofila (Burlesque), Justinus and Czas (Time) with a medical context. The role of ars iocandi in overcoming melancholy deserves attention, generally in preserving a man’s well-being. Favourite topics of carnival performances, and also of literary texts, were married life and the act of getting married itself, as well as all the customs preceding this act (which also includes the problems focused on the manifestations of the sin of impurity). Additionally, Bielski’s play raises the problem of violence which correlates here with the principle of decorum on the language plane. The court culture is also reflected here. Bielski shows his knowledge of the court code and the texts which indisputably belong to this social circle. Interpretation of the piece in question thus calls for resort to sociocultural contexts, medicine-related components, and also the carnival.

2

Reprezentacje karnawału w fantazjach na fortepian z orkiestrą Dariusa Milhauda i Heitora Villi-Lobosa

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Rusin A.

Kwartalnik Młodych Muzykologów UJ

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2022

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issue 3(54)

43-70

EN

In the 1920s, Frenchman Darius Milhaud (1892–1974) and Brazilian Heitor Villa-Lobos (1887–1959), inspired by the carnival, created works that resemble each other in genre and scoring. These are the fantasias for piano and orchestra: Mômoprecóce by Villa-Lobos and Le Carnaval d'Aix, Op. 83b by Milhaud. The article presents an attempt to analyse the pieces in the context of carnivalesque aesthetics as well as musical representation (as described by Peter Kivy and Lawrence Kramer) and seeks to deeply comprehend the phenomenon’s resonance in the composers’ music.

3

Pornografia quasi-amatorska – krótki epizod nieustającego karnawału

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Sekunda A.

Prace Etnograficzne

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2014

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vol. 42

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issue 4

363–370

EN

This essay explores meaning complexity of pornographic materials conceived as quasi-private though its true “professional” provenience. The main subjects of analysis are easily accessible ads of various paid X-rated websites. Author treats advertising texts as a source of knowledge about narrative strategies and stereotypes. An interpretative tool chosen for the task is Mikhail Bakhtin’s Theory of Carnival – in particular: concept of “grotesque realism” and four fundamental categories of “carnivalesque” (familiar interaction between people, eccentric behavior, misalliances, sacrilegious). The article is based on the results of research conducted in the years 2002–2004.

4

Nice Carnival: an anthropology of institutions, tourism, and know-how

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Chabert A.

Our Europe. Ethnography – Ethnology – Anthropology of Culture

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2015

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issue Vol. 4

35-46

EN

: As a festival recreated in its modern form in 1873, the Nice Carnival has contributed to shaping the image of the city and of the French Riviera. While many carnivals and fairs in southeastern France have gradually lost success by becoming second-rate spring festivities, the carnival has remained a highlight in Nice: it is the event for which the town invests the most. In the city, the carnival takes place for a fortnight during the school holidays, and it has kept its role as a winter celebration. To explain these characteristics the author seeks to demonstrate the importance of the public and tourist policies that shape the way this carnival is put together, both as a festive ritual and a show. This emblematic carnival is promoted as a tradition and is seen as an economic stimulation process which is put forward through a marketing approach based on a context in which European cities are defined around central significant events. Designed as a leisure and family entertainment event, the Nice Carnival is also promoted as an international show, giving the city the image of a global carnival city at the same level as Venice and Rio. In Nice, the carnival is a lively show with paid admission, complete with grandstands and full of characters with caricatured features. Satire and irony are well organized – the floats and figurines in the procession are chosen by the city council after an invitation to tender. Every year, the city also selects a theme for the carnival. This institutionalization can also be witnessed in how the floats and the various parade figurines are built by experts, gathered together in family businesses. As a matter of fact, in Nice, the carnival is a matter of both professions and know-how. This article tends to show an original approach to the carnival compared with what is found in the traditional anthropological literature -in Nice, the carnival is not a transgressive ritual, a moment for excess, symbolizing inversion and disorder, but rather an official, institutional festival organized by the local powers.

5

Reymont na Balu Prasy

100%

Bourkane M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2022

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issue 43

133-138

EN

The article discusses an unpublished short manuscript by Władysław Stanisław Reymont. A note placed by the author of The Peasants on a ball ticket from 1922 constitutes a starting point for the reconstruction of a minor, although particularly interesting, episode from the late period in the artist’s life.

6

Oddělit a spojit: architektura sociálních nerovností

88%

Růžička M., Stanová M.

Sociologický časopis. Czech Sociological Review

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2013

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vol. 49

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issue 5

703-728

EN

The urban space in the Republic of Venice (circa 800–1797) seems to have had a more malleable and variable quality than other towns situated on dry land: its physical space was not merely an ‘infrastructure’, the precondition for the existence of social space, but rather something that was actively produced and reconstructed by society itself. This is one reason why the authors decided to use the Republic of Venice to study the relationship between the social and physical space and chart the ways in which social inequalities at the dawn of the modern era were reflected in the organisation of the urban space. They present Venice as ‘two cities in one’: Venice the city built and portrayed from the perspective of the privileged classes, i.e. the viewpoint of those who had themselves transported through the city on gondolas; and Venice the city of the pedestrian traffic of the lower classes, excluded from political life. The authors set out to attain a better understanding of the deep social and political inequalities that existed in Venice on the one hand and of how it endured a thousand years of internal political stability without experiencing a single attempt at revolt, revolution or social uprising on the other. They therefore focus not just on forms of stratification, segregation and exclusion, but also on how Venetian society integrated its marginalised members and how it accorded them social and cultural relevance and recognition.

7

The Meme as an Example of Carnivalized Internet Communication

88%

Górka M.

Kwartalnik Naukowy OAP UW "e-Politikon"

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2014

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issue 9

215-242

EN

A “meme" is a picture with a short caption which is a caricature illustration of current political, sports, and cultural events. “Memes" usually depict common, current situations which are retold in the carnival fashion, giving them a new context. “Memes" have become a tool for presenting all kinds of normal as well as unfortunate political events. They have become mocking comments which not only provoke but also induce laughter. Communication carnivalization relies mainly on creating parodies of events sanctioned by the Lukashenko regime. Cyberspace carnival shows how the Internet shapes the way the society perceives the political reality. It also initiates art that mocks and destabilises the regime.

PL

„Mem” to nic innego jak zdjęcie ze słownym komentarzem będącym karykaturalną ilustracją bieżących wydarzeń politycznych, sportowych, kulturalnych. Tematem ironicznych żartów są zazwyczaj znane, powszechnie obecne historie opowiedziane ponownie w konwencji karnawału, w ten sposób zyskujące nowy kontekst. Karnawalizacja komunikacji polega przede wszystkim na parodiowaniu oficjalnych i sankcjonowanych przez reżim wydarzeń. Cybernetyczne wcielenie karnawału pokazuje jak Internet może kształtować sposób myślenia społeczeństwa na temat rzeczywistości politycznej, a tym samym inicjować prześmiewczą i destabilizującą system twórczość.

8

Carnivalesque Gardens in Tennyson’s The Princess

88%

Pypeć M.

Acta Philologica

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2015

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issue 47

51-60

EN

The article explores the symbolic implications of two literary gardens in Tennyson’s The Princess (1847) through the prism of Mikhail Bakhtin’s notion of the carnival as introduced in Rabelais and His World (1965) and Problems of Dostoyevsky’s Poetics (1963). Sir Walter Vivian’s garden seems to stand for the benevolence, aristocratic heritage, and wealth of its master, or could even embody Victorian England itself as a progressive country of law and order. Conversely, Princess Ida’s university garden symbolises women’s discontents about the inadequacy of female education and voices increasing demands for female emancipation in the 1840s. It is a transgressive garden where not only the assigned gender roles but also the apparent stability of England’s social conditions as pictured in Sir Walter’s garden are questioned. Both the carnivalesque gardens in the poem create a fruitful space for new possibilities and social changes to be introduced to the mainstream of public attention.

PL

Artykuł poświęcony jest przedstawieniu motywu ogrodu w poemacie Alfreda Tennysona The Princess z 1847 roku, analizowanego przez pryzmat bachtinowskiego pojęcia karnawału. Już od starożytności motyw ogrodu często pojawia się w literaturze i sztuce jako miejsce obarczone wielością znaczeń i symboli. Ogród Sir Waltera opisany w prologu i konkluzji utworu symbolizuje nie tylko mądrość, bogactwo i nowoczesność właściciela, ale również może być uosobieniem wiktoriańskiej Anglii jak też metaforą samego utworu The Princess w całej jego złożoności. Uniwersytecki ogród księżniczki Idy nagłaśnia niezadowolenie i krytykę pod adresem nieadekwatnej edukacji kobiet w połowie dziewiętnastego wieku, jak również kwestionuje kulturowe procesy postrzegania norm męskości i kobiecości. Karnawałowa nieoficjalność w obu ogrodach, rozbijająca ustalone normy i hierarchie społeczne, zdaje się wskazywać na potrzebę reform i zmian.

9

Elementy tricksteriady w dawnych polskich i rosyjskich zwyczajach kolędniczych

88%

Zalewska A.

Acta Polono-Ruthenica

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2020

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vol. Tom 2 Nr XXV

121-136

PL

Celem niniejszego artykułu jest analiza porównawcza działalności polskich i rosyjskich kolędników, którą rozpatrywać można w kategoriach symbolicznej tricksteriady. Jako materiał źródłowy wykorzystano opisy zwyczajów kolędniczych kultywowanych w XIX i na początku XX wieku, zawarte głównie w opracowaniach etnograficznych. Wspomniany wyżej problem nie doczekał się do chwili obecnej opracowań wykraczających poza dość zdawkowe uwagi dotyczące tricksterskiej natury przebierańców oraz ich zabaw. Kultura ludowa, tj. twór synkretyczny, ukształtowana została z elementów pogańskich i chrześcijańskich. W kontekście podjętej w niniejszym artykule tematyki dowodzą tego obrzędy słowiańskie, takie jak bożonarodzeniowe i noworoczne kolędowanie. „Przybysze z innego świata”, przebrani za zwierzęta oraz postacie antropomorficzne, naruszają kultu-rowe tabu. Czas karnawału sprawia, że dochodzi do odwrócenia porządków: akceptowane jest wówczas nawet obsceniczne zachowanie. Kolędnicy występujący w roli wędrownych aktorów wydają się zatem wcieleniem błazna na scenie.

EN

This paper provides a comparative analysis of Polish and Russian carolling activity, which may be considered as a symbolic celebration of “tricksteriada”. Descriptions of carolling customs cultivated in the 19th- and at the beginning of the 20th century, primarily in ethnographic studies, were used as the source material. The issue mentioned above, to date, has not been studied, except quite limited comments concerning the “trickster” nature of masqueraders and their plays. Folk culture, i.e. a syncretic creation, was formed by pagan and Christian elements. In the context of the subject of this paper, rituals such as Christmas and New Year’s carolling prove its Slavic origin. The “supernatural visitors”, dressed as animals and anthropomorphic characters, violate cultural taboos. During carnival the order is reversed and provocative behaviour is acceptable. The carollers, in their role as traveling actors, seem to impersonate jesters in plays.

10

Odwrócony „świat na opak”. O Masce Śmierci Szkarłatnej Edgara Allana Poe w kontekście teorii karnawału

88%

Górka E., Wandowicz M.

Przestrzenie Teorii

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2021

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issue 35

235-246

EN

This paper considers The Masque of the Red Death, a short story by E.A. Poe. Understanding the carnival as mundus inversus (temporary inversion of order) and using the theories proposed by M. Bakhtin or V. Turner, the authors present an interpretation according to which Poe’s ball is indeed an inversion of a ball – an anti-carnival. Furthermore, they do not agree with the allegorical understanding of Poe’s works. Indicating a suggestion made by Poe himself, they choose an interpretation related to Eliade’s concept of symbolism. They also disagree with the theory in which The Masque of the Red Death is the story about the non-existence of God. Referring to other religious interpretations and the problems of time, they present their own biblical conclusion.

11

Szkoła totalna i karnawał żakowski. O "Syzyfowych pracach" jeszcze inaczej

75%

Chyła K.

Facta Ficta. Journal of Theory, Narrative & Media

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2021

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vol. 8

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issue 2

151-167

EN

This paper is an attempt at an untraditional reading of one of Stefan Żeromski’s widely known novels, Syzyfowe prace. In most cases this work is interpreted as a representation of cruel trials which boys and young men in 19th century Poland had to experience inside a tsarist highschool, where they were not permitted to use their mother tongue and fell prey to severe persecution due to their nationality. However, in this article a Russian highschool in a provincial Polish town, so eloquently and vividly portrayed by Żeromski, is recognized as a form of a total institution, one of those described by Erving Goffman. Permanent supervision and systemic violence is simply inherent to that place, any national issues notwithstanding. Despite being so objectified and oppressed, students find some strategies of rebellion that enables them to live through this degrading experience. To analyze these forms of subversive protest, I use Mikhail Bakhtin’s concept of carnival and the culture of laughter.

12

„Kukerzy” – przykład obrzędowości karnawałowej w Bułgarii

75%

Zytka M.

Slavica Lodziensia

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2018

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vol. 2

109-118

EN

The author analyses Bulgarian ritual called kukeri as an example of carnival rituals in Bulgaria. Special consideration is taken into history and description of the carnival processions and the meaning of the Pernik Festival to local community. In the first part the main goal is to present a special time of the year in that culture as well as the kukeri procession. In the second part, author presents similar ritual, called kurentovanje, that takes place in Slovenia and deals with finding the meaning of Festival to inhabitants of Pernik and the role of UNESCO list to spread the magic of fertility, success and wealthy of a human being to tourists around the world.

PL

-

13

The Rules of How Reality Works Through the Prism of Post-Postmodern Prose

75%

Zymomria M.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2020

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issue 9

347-354

EN

The reviewer analyses the monograph Problematic-Thematic Units and Philosophical-Esthetical Parameters of the British Post-Postmodern Novel (Kyiv, 2020) written by Dmytro Drozdovskyi, a Ukrainian scholar from Taras Shevchenko Institute of Literature of the National Academy of Sciences of Ukraine, member of The European Society for the Study of English (Bulgarian branch). In the monograph, the author has outlined the theory of the post-postmodern novel based on the analysis of the key novels of contemporary British fiction (David Mitchell, Ian McEwan, Sarah waters, Mark Haddon, etc.). The review states that the Ukrainian scholar has developed the theory proposed by Fredric Jameson regarding the post-postmodern features of Cloud Atlas and also discusses the concept of meta-modernity as one of the sections in the post-postmodern literary paradigm in the UK. Drozdovskyi argues that meta-modernism cannot be the only term that explains all the peculiarities of contemporary British fiction, which also cannot be outlined as meta-modern but as post-postmodern. The scholar provides a new theory of the novel based on the exploitation of real and unreal historical facts and imagined alternative histories and multifaceted realities. Furthermore, the reviewer pays attention to the contribution this monograph has for world literary studies spotlighting the theory of literary meta-genre patterns, as Drozdovskyi provides a theory according to which literary periods can be divided into those in which the carnival is the dominant meta-genre pattern (like postmodernism) and those that exploit the mystery as the meta-genre pattern (post-postmodernism). The reviewer analyses the key thematic units explained by Drozdovskyi as the key ones that determine the semiosphere of the contemporary British novel (post-metaphysical and post-positivist thinking of the characters, medicalisation of the humanitarian discourse, and the representation of the temporal unity of different realities). The scholar also states that the post-postmodern British novel exploits the findings of German Romanticism and Kant’s philosophy.

14

Comedy and humour: an ethical perspective

63%

Bidgoli M.

The European Journal of Humour Research

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2020

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vol. 8

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issue 1

EN

In this essay, I aim to study comedy and humour from an ethical perspective. My main proposal is that comedy and humour can be understood alternatively in the light of ethics, and in one sense, they actually begin, more effectively, with an ethical sensibility. Effective comedy and humour initiate through an ethical sensibility called “hospitality”; ideally, they are preceded by this ethical openness. I will argue that it is this pre-original ethical hospitality and openness that can give rise to more effective moments of comedy, humour, carnival, festivity and also laughter, opening the Self to the Other in order to be able to enter into a disinterested humorous (dialogic) experience. Hospitality is of prime importance here because it turns out to be part and parcel of comedy as it also underlies the ethics of alterity. I therefore suggest that the thoughts of both Emmanuel Levinas and Mikhail Bakhtin can give rise to a fruitful study of ethics, comedy and humour. I will “reduce” socio-political complexities of our daily life-world to comic moments through Bakhtin, and then expose the reader to a Levinasian simplicity and ethical openness that actually takes place before effective comedy and humour can begin. In this essay, I mainly have literary/critical aims, and to fulfil that aim, I will briefly discuss two Shakespearean works and contextualize my thesis. The matter of studying comedy, humour and ethics in a broader cultural, social and/or philosophical context is open for other thinkers.

15

Płynna nowoczesność: czas zabawy i karnawału

63%

Fudala R.

Ogrody Nauk i Sztuk

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2014

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issue 4

121-127

PL

Rzeczywistość w której żyjemy, określana jest przez Zygmunta Baumana płynną nowoczesnością. Jednym z wielu jej symptomów jest niestałość wszelkich struktur kulturowych, powstałych w dobie modernizmu jako fundamenty społeczeństwa. Ludzie żyjący w płynnej nowoczesności nieskorzy są do podejmowania wysiłku – poszukują rozwiązań wymagających minimalnej inwestycji własnych sił. Jeszcze lepiej, gdyby każde zadanie mogło być zabawą, aktywnością niezwykle ważną dla dziecka, ale niekoniecznie najistotniejszą dla osoby dorosłej. Celem artykułu jest ukazanie, że żyjemy w czasie permanentnego karnawału, okresu zabawy i swawoli, w którym zawieszone zostały niektóre społeczne normy i zasady. Okres ten miał trwać jedynie chwilę, być ucieczką, odpoczynkiem od codziennego trudu. Przedłużył się jednak znacząco, i nikt nie chce już wracać do wcześniejszej, w porównaniu z nim ascetycznej rzeczywistości.

EN

The reality in which we live is determined by Zygmunt Bauman as liquid modernity. One of many liquid modernity symptoms is instability of all cultural structures, which were the foundation of modern societies. People living in liquid modernity are trying to avoid any effort. They look for easy, undemanding solutions. Even better, if any task could be fun – a very important activity for the child, but not necessarily the most important for an adult. The main purpose of the paper is to reveal that we live in times of perpetual carnival, the period of fun and frolic, in which some social norms and rules are suspended. This period was to last only a moment, to be a refuge, rest from daily toil. However, significantly extended, and no one wants to go back to an earlier, compared with the ascetic reality.

16

Між карнавалом і смертю. Львівський досвід 1939–1941 років

63%

Poliszczuk J.

Slavica Wratislaviensia

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2019

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vol. 168

137-149

EN

Concerning carnival and death: Lviv between 1939 and 1941 The author of this article focuses on the distinctive cultural situation in Lviv between 1939 and 1941. In October 1939, the process of merging of writers from three ethnic groups (Polish, Ukrainians and Jewish) into a single organization called The Union of Soviet Writers began. Such a situation can be interpreted with the help of Bakhtin’s theory of carnival, especially while talking about the ambivalent behaviour of anti-communist writers. From another point of view, the main characteristics of the situation were fear, horror, and death threat, which each author experienced in his own way. The author of this article analyzes the memoirs of Ukrainian and Polish writers to portray this unexampled period and the repression of creative individuality by totalitarian authorities.

RU

Между карнавалом и смертью. Львовский опыт 1939–1941 годов В статье освещается исключительная культурная ситуация, сложившаяся во Львове в период 1939–1941 годов. В октябре 1939 года начинается процесс объединения писателей трёх группировок (польских, украинских и еврейских) в единую организацию — Союз советских писателей. Ситуацию того времени имеет смысл интерпретировать в свете категории бахтинского карнавала. С одной стороны, это касается амбивалентной позиции писателей-антикоммунистов. С другой стороны, ее характеризует состояния боязни, ужаса и угрозы гибели, которые каждый по-своему переживали участники литературной жизни. На основании воспоминаний польских и украинских писателей можем оценить беспрецедентность момента, а также прессинг тоталитарной системы на творческую индивидуальность писателя.

17

Przemiana w dniu św. Marcina. Wacław Potocki o kobietach i wilczycach

63%

Kroczak J.

Prace Filologiczne. Literaturoznawstwo

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2013

|

issue 3(6) cz.2

297-307

EN

The paper touches upon the transformation described in Nowy cud w podgórskich krajach (A new wonder in the piedmont regions), a poem by Wacław Potocki, a 17th century poet: a roe deer turns into a wolf during the hunt on St. Martin’s Day (November 11). In traditional agrarian culture, it was the time of abundance, gluttony and fun − the autumn carnival, when such a transformation can be explained by the laws of the world upside down. In the poem, this has been juxtaposed with the metamorphosis of women into she-wolves. The Latin word lupa (‘a she-wolf’), meaning ‘a prostitute’, refers to the nature of women and their power to transform town houses into lupanars; this metamorphosis is so curious, as it happens permanently, outside the period of carnival licentiousness. It is related to the concept, embraced by Potocki, of the degeneration of the world, in which women’s extraordinary sexual appetites lead to a humiliating metamorphosis of men into deer.

18

“Venezia è molto grande e bella” – due soggiorni della regina Maria Casimira d’Arquien Sobieska a Venezia e in Veneto negli anni 1699 e 1705

63%

Pietrzak J.

Italica Wratislaviensia

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2021

|

issue 12.1

67-85

EN

Queen Maria Casimira d’Arquien Sobieska had much contact with Venice. During Jan Sobieski III’s lifetime, the queen kept in touch with Venetian diplomats (such as Angelo Morosini and Girolamo Alberti), imported luxury goods, imported luxury goods from Venice, and was interested in the local culture. The queen’s departure from the countryside for the Eternal City in October 1698 determined that, at the very beginning—after crossing the Empire’s border with Italy—she would meet the main cities of Veneto, Verona, Padua, and Venice. She returned to the Venetian Republic in 1705, when the queen, with papal permission, went to meet her daughter Teresa Kunegunda, Electress of Bavaria. In this article, several aspects of the queen’s journeys are included, apart from the political matters already indicated. Firstly, the article details the ceremony of reception of the queen-widow by the authorities of the Serenissima, representatives of the Venetian elite, and envoys of foreign countries residing in Venice. Next, the article draws attention to the places that the queen visited and the piety she manifested, and it presents observations related to city life formulated directly by Queen Maria Casimira Sobieska and her courtiers, also in relation to the cities of Verona and Padua. Finally, the author of the article points out the queen’s interest in the dramatic and musical repertoire presented on Venetian stages and in the whole of cultural life, including the carnival. To conclude, the author draws attention to the differences in the treatment of the royal status of the queen, depending on the political changes taking place in Europe and the reception of cultural and religious threads in the queen’s life.

IT

La regina Maria Casimira d’Arquien Sobieska ebbe molte relazioni con Venezia. Durante la vita di Giovanni III Sobieski mantenne contatti con i diplomatici Angelo Morosini e Girolamo Alberti. Partita dalla campagna nell’ottobre 1698 per la Città Eterna, dopo aver varcato il confine dell’Impero con l’Italia, la regina incontrò le principali città del Veneto, successivamente Verona, Padova e Venezia. Il suo secondo soggiorno nella Repubblica di Venezia ebbe luogo nel 1705, quando l’ex-sovrana, con il permesso papale, andò a incontrare la figlia Teresa Kunegunda, elettrice di Baviera. Nell’articolo si trattano diversi aspetti dei viaggi della regina, oltre a questioni politiche. In primo luogo, si presta attenzione alla cerimonia di ricevimento della regina-vedova da parte delle autorità della Serenissima, rappresentanti dell’élite veneziana e inviati di paesi stranieri residenti a Venezia. Successivamente, si richiama l’attenzione sui luoghi visitati dalla regina, sulla pietà da lei manifestata, e si presentano le osservazioni relative alla vita cittadina formulate direttamente da Maria Casimira e dai suoi cortigiani, anche in relazione a Verona e Padova. Alla fine si sottolinea l’interesse della regina per il repertorio drammatico e musicale presentato sui palcoscenici veneziani e per tutta la vita culturale, compreso il carnevale.

19

Na początku był karnawał. O Karnawale, czyli pierwszej żonie Adama Sławomira Mrożka

63%

Walczak D.

Roczniki Humanistyczne

|

2014

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vol. 62

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issue 1: Literatura Polska

085-095

PL

Artykuł jest próbą interpretacji ostatniej sztuki Sławomira Mrożka, zatytułowanej Karnawał, czyli pierwsza żona Adama. Autorka podkreśla, że utwór powstał na emigracji, w Nicei, choć pomysł na jego napisanie zrodził się dużo wcześniej – jeszcze w latach 90., podczas pobytu pisarza w Meksyku. Karnawał jest dla niej kolejnym, może nawet najwyraźniejszym, dowodem na wyzwolenie się Mrożka z rodzimych obsesji i przekierowanie uwagi na sprawy bardziej uniwersalne. Swoją interpretację koncentruje wokół teorii karnawału i karnawalizacji świata Michaiła Bachtina. Wykazuje, że obraz świata przedstawionego w dramacie Mrożka świadczy o wypaczeniu pierwotnej natury karnawału i stawia pytanie o celowość takiego zabiegu.

EN

The article is an attempt at an interpretation of Sławomir Mrożek’s last play entitled Karnawał, czyli pierwsza żona Adama. The author emphasizes that the play was written in exile, in Nice, although the idea of writing it was conceived much earlier – in the 1990’s, when the writer stayed in Mexico. Karnawał for her is another, perhaps the most obvious proof that Mrożek was liberated from his Polish obsessions and directed his attention to more universal issues. She focuses her interpretation on Mikhail Bakhtin’s theory of the carnival and carnivalization of the world. She shows that the picture of the world presented in Mrożek’s drama proves that the original nature of the carnival is distorted and she asks the question about the advisability of using such a device.

20

Magična moćmaski kao paradigma iluzije stvarnosti u drami Ive Vojnovića „Maškarate ispod kuplja”

63%

Pivac A.

Poznańskie Studia Slawistyczne

|

2013

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issue 4

EN

The present paper analyses Ivo Vojnović’s drama Maškarate ispod kuplja by intending to emphasize the importance of carnival masks considered as instruments of liberation of individuals from social conformism. The protagonists of Vojnović’s Maškarate show their non-conformist faces and experience freedom only incarnival season. The carnival is described as the allegory of surreal and phantasmagoric world displaying pseudo-realistic situations that represent the deformed face or, rather, the alter of the masked reality. Masks are, therefore, perceived as shields from the frustrating reality and external influences, whereas life under masks is understood as the perfect model of concealing internal weaknesses and insecurities. The enchanting carnival atmosphere enables the protagonists to openly show the suppressed personality and personal choices. The clear model of searching for the illusion of the truth and the truth of the illusion is also shown, notwithstanding the complicating conditions of the emotional world of the protagonist-symbol who creates false identity provoked and conditioned by external factors. The influence of the Italian grotesque theatre has been reported as well, whereas the similarities have been perceived in particular in the behavioral pattern of the protagonists and perception of time and place as metaphysical categories. The determination of the level of interdependence between the Croatian author and the Italian role models has also been possible. The comparison with the Italian literary contemporaries has been performed by examining the intertextual correspondences in particular related to the selection of the „carnivalesque” motives.

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Na początku był karnawał. O Karnawale, czyli pierwszej żonie Adama Sławomira Mrożka

Magična moćmaski kao paradigma iluzije stvarnosti u drami Ive Vojnovića „Maškarate ispod kuplja”