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Budząc wampira. Z Jakubem Kornhauserem o Gherasimie Luce, rumuńskim surrealizmie i niespełnieniu rozmawiają Marta Baron-Milian i Piotr Bogalecki

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Kornhauser J., Baron-Milian M., Bogalecki P.
Śląskie Studia Polonistyczne
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2021
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vol. 17
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issue 1
1-15
EN
The interview by Marta Baron-Milian and Piotr Bogalecki with Jakub Kornhauser, who has been translating Gherasim Luca’s prose works from Romanian and French and popularizing them, aims at locating the bilingual oeuvre of the author of The Passive Vampire within the field of Romanian and French literature and on the map of avant-garde practices, particularly considering the history of surrealism. The problems raised in the interview focus on the workings of history in Luca’s texts, on their political character, and the undertaken interpretations are directed at attempts to capture the oeuvre of this author inter alia through the prism of the marrano figure, economic metaphors and stammer, which is a peculiarity of Luca’s language both in poetry and in prose.
PL
Jeden z głównych tematów rozmowy Marty Baron-Milian i Piotra Bogaleckiego z Jakubem Kornhauserem, tłumaczem prozy Gherasima Luki z języka rumuńskiego i francuskiego, badaczem i popularyzatorem jego twórczości, stanowi próba usytuowania dwujęzycznej twórczości autora Biernego wampira w obszarze literatury rumuńskiej i francuskiej oraz na mapie praktyk awangardowych, ze szczególnym uwzględnieniem historii surrealizmu. Poruszona w rozmowie problematyka ogniskuje się wokół zagadnień związanych z działaniem historii w tekstach Luki, ich politycznym charakterem, a podjęte tu interpretacje zmierzają do prób uchwycenia twórczości tego artysty między innymi przez pryzmat figury marana, ekonomicznych metafor czy jąkania, stanowiącego osobliwą właściwość języka zarówno prozy, jak i poezji Gherasima Luki.
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Motyw grobu w pieśniach (lais) Marii z Francji

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Gęsicka A.
Prace Filologiczne. Literaturoznawstwo
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2012
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issue 2(5)
221-236
EN
A motif of tomb appears in lais of Marie de France, a writer-poet of the 12th century, in two categories: as a description of tomb really existing or under construction and as the idea of a planned tomb. It seems that for the author the connotation of tomb is of fundamental importance. As this motif occurs in the context of an inseparable triad of love, death and memory, the tomb becomes not only a place-mark of the union of lovers, but also a place-mark of a commemoration of the terrestrial position of the deceased refl ected in constant prayers. The attitude the author takes toward the motif seems to necessitate an active approach of the reader, inviting the reader to look for an adequate interpretation.
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Królewskie palmy, drzewa świętojańskie, migdałowce w dolinie konsulów… Kilka refleksji na temat roślinności w twórczości Alberta Camusa

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Roś J.
Amor Fati
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2015
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issue 1
51-68
EN
In this article the author argues that in the works of Camus people are particularly associated with vegetation. Joanna Roś analyzes the selected passages from the three literary works by Albert Camus, successively proving that: in The first man the fun with a palm tree is a symbol of passion for life, which is inextricably linked with nature as a model of survival; in Happy death vegetation teaches the hero that what would dishonor him as a man is the desire of death, denial of life; and Camus, presenting in The Minotaur or The Stop in Oran this city as a place where vegetation is masked, shows how this space devoid of vegetation urges a man to seek a counterbal-ance in a wild nature.
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Wizerunki niezamężnych służących w wybranych dziełach literatury francuskiej XIX wieku

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Kulak E. K.
Res Gestae. Czasopismo Historyczne
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2023
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vol. 15
67-80
EN
The paper analyses the image of female domestic servants and their condition as unmarried women in three examples of nineteenth‑century French literature: A Simple Heart by Gustave Flaubert (1875), Germinie Lacerteux (1865) by Edmond and Jules de Goncourt and Diary of a Chamber-maid (1900) by Octave Mirbeau. The protagonists of these stories represent interesting versions of stereotypical images present in a great number of contemporary works: the life of a loyal and sacrificed servant (Flaubert), the sad history of a servant succumbing to sexual temptations (E. and J, de Goncourt) and the subversive portrait of a perverted chambermaid, exploited by and exploiting their masters at the same time (Mirbeau). The common trait of the three women is their solitude, as service means for them to remain unmarried, unable to realize the role considered socially as the only proper for a woman.
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14 Jeana Echenoza: war novel and pathos

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Faria D.
Lublin Studies in Modern Languages and Literature
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2015
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vol. 39
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issue 1
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache
EN
14 is a recently published novel by a French contemporary writer, Jean Echenoz. Having the First World War as its core subject, the text covers the main traditional themes of war novels. Its interest, however, does not lie in what it says about the war, but rather in how the war is told. In fact, 14 points out the main horrors of the war, without engaging in pathos. In order to do so, Echenoz resorts to two groups of techniques, whose main purpose is to lighten the dramatic effect of the war scenes depicted. Surprisingly, the result is a text which recounts the crude horrors of war.
FR
Le numéro contient uniquement les résumés en anglais.
PL
Tom zawiera abstrakty tylko w języku angielskim.
RU
Том не содержит аннотаций на английской языке.
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Outsider czy zwierzę? Rozważania nad „zwierzęcością” Meursaulta – bohatera Obcego Alberta Camusa

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Roś J.
Amor Fati
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2015
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issue 3
125-142
EN
The purpose of this paper is an attempt to answer the question: how the interpretation of the main hero of "The Stranger"’s Albert Camus as “an animal in human skin” can be applied to understanding the actions of the hero in the world and whether Camus de-scribes Meursault as an animal in fact, and not just symbolically. The author argues that such extreme treatment of “the animality” of a hero is useless in the broader con-text of this book and Meursault has human nature – the complexity of his psyche con-firms this.
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ALBO BOKSER, ALBO BANDYTA: ETYCZNY OBRAZ WALCZĄCEGO CIAŁA W LITERATURZE OBOZOWEJ

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Wolski P.
Porównania
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2017
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vol. 21
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issue 2
EN
The author compares two versions of the tale by Moshé Garbarz - a boxer-prisoner of various Nazi death and concentration camps. The first one is an autobiographical account, the other a novel. The context of the comparison is the ethical imaginary evoked by the sport of boxing as a cultural phenomenon posited between the natural and the cultural epistemological sphere.
PL
Autor porównuje dwie wersje opowieści o bokserze-więźniu obozów koncentracyjnych i obozów zagłady Moshé Garbarzu: intymistyczną (Un survivant) i powieściową (Le ring de la mort) w kontekście etycznych wartości, jakie w obu konotuje imaginarium boksu jako zjawiska zawieszonego pomiędzy porządkiem natury i kultury.
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À rebours et L’oblat de Joris-Karl Huysmans: entre décadence et spiritualité

80%
Staroń A.
Hereditas Monasteriorium
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2014
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vol. 4
107-123
EN
Like many other French writers at the turn of the 20th century Joris-Karl Huysmans was part of the wave of conversions to Catholicism that spread through France at the time. His case stands out, however, because it is documented in exceptional detail. The writer devoted a cycle of four novels to the topic: Là-bas (1891), En route (1895), La Cathédrale (1898) and L’oblat (1903). Their main protagonist, Durtal, gradually finds faith. Yet already in Huysmans’ previous and best known novel, À rebours (Against the Grain, 1884), we find the first manifestations of his interest in religion, particularly in monastic life. The first aim of the present article is to compare two stages – the initial and the final – of a process of rediscovery of one’s spirituality presented in À rebours and L’oblat (The Oblate). Another important issue is the vision of the Benedictine Order emerging from the latter. The author’s description of the order, the material and spiritual manifestations of its existence, is presented against the background of unrest associated with the introduction of laws concerning religious congregations in the early 20th century. The whole is filtered through the protagonist’s consciousness. Huysmans enumerates the tasks facing the Benedictines, largely relating to renovation of religious art and preservation of its existing works. At the same time he emphasises the special role that could be played in this process by oblates like Durtal, his alter ego. However, these aspirations are constantly confronted with reality, which appears increasingly dark and in the end prevents the protagonist from achieving his noble visions. This has a big influence on his pessimistic view of the world and spread of decadent elements to the spiritual sphere, which – one would think – should be free of them. On the other hand, it is clear that regardless of the external circumstances Durtal will always carry some part of des Esseintes’ personality: the decadent continues to live in the oblat.
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