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1

Die Metamorphosen und Anspielungen auf die Werke der deutschen Literatur (Friedrich Nietzsche und Günter Grass) im Roman von Stefan Chwin „Dolina Radości” [Freudental]

100%

Bednarska-Kociołek J., Universität Łódź P. F.

Acta Universitatis Lodziensis. Folia Germanica

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2014

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vol. 10

EN

In his novel “Dolina Radości” [“Valley of Joy”] Stefan Chwin tackles the subject of metamorphoses. In this article I will talk about the issue of transformations in “Dolina radości”. The hero of the novel is a makeup-artist and that is why metamorphoses are at the center of the action. Noteworthy are also transformations connected with the most important political events and the most important places in Europe in the 20th century for example in the Polish city of Gdańsk which Chwin writes about. The events of December 1970 are described in an episode of the novel but are a very important element of the whole book. This article first presents references to German literary works (Friedrich Nietzsche, Günter Grass, Novalis) which are the part of the literature of German-Polish dialogue.

2

Obraz Michaela Kreisingera z Eckersfeldu a jeho proměny

100%

Kadlec T.

Umění (Art)

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2018

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vol. 66

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issue 5

368-387

EN

The portrait of the young Michael Kreisinger of Eckersfeld, determined and dated as the work of painter Jan Kupecký, originated in 1700 in Rome. The image of the young man with wide-open eyes and slightly open mouth, telling us a great deal about Kupecký’s ‘Italian’ visual experience, was altered by radical overpainting at some point during the 18th century. To Kreisinger’s face a hitherto unidentified artist added a new body and new clothing. It was only just before the middle of the 20th century that an x-ray photograph revealed, beneath the additional painting of antique-style armour with a spectacular helmet, a differently posed figure in civilian dress, soon afterwards uncovered definitively through a radical restoration intervention. With the removal of the overpainting the picture was restored to its present form, but the removal of the paint layer nevertheless meant it was deprived of the layer of authentic meaning subsequently lent to the portrait. If art-historical literature so far has paid any attention at all to the question of what this additive meaning might be, it has usually been satisfied with the explanation that the portrait of the ‘effeminately beautiful’ young man was, on the orders of its new owner, transformed into an allegorical depiction of Minerva. None of the elements of the armour corresponds, however, to the iconographic scheme usually attributed to Minerva, and it is not even feminine in type. If we concede that the figure depicted by the overpainting is masculine in gender, then we open, in keeping with the criticism of the prevailing narrative, fixed generally on the problematic term ‘effeminacy’, new possibilities for the interpretation of the overpainting. Findings about the life and personal relations of Michael Kreisinger indicate that the radical transformation of the painting may have taken place on his own instruction. Such a conclusion not only enables a fresh interpretation of the overpainting; it also permits us to reach a satisfactory hypothesis about its possible author, who may have been another important artist of the first half of the 18th century - Václav Vavřinec Reiner.

CS

Portrét mladého Michaela Kreisingera z Eckersfeldu, určená a datovaná práce malíře Jana Kupeckého, vznikl roku 1700 v Římě. Podobizna mladíka se široce rozevřenýma očima a pootevřenými ústy, prozrazující mnohé o Kupeckého „italské“ vizuální zkušenosti, byla někdy v průběhu 18. století proměněna radikální přemalbou. Kreisingerova tvář byla dosud neurčeným malířem doplněna o nové tělo a nový šat. Až před polovinou 20. století odhalil rentgenový snímek pod přimalovanou antikizující zbrojí s výpravnou helmou odlišně stojící, civilně oděnou postavu, brzy poté definitivně odhalenou radikálním restaurátorským zásahem. Sejmutím přemalby byl obraz uveden do dnešní podoby, odstraněním barevné vrstvy nicméně ochuzen o vrstvu autentického významu podobizně dodatečně propůjčeného. Pokud se dosavadní uměleckohistorická literatura vůbec zabývala otázkou, jaký tento aditivní význam mohl být, spokojila se nejčastěji s vysvětlením, že byl portrét „zženštile krásného“ mladého muže zadáním nového majitele proměněn v alegorické znázornění Minervy. Žádný z prvků zbroje ovšem neodpovídá ikonografickému schématu, který se Minervě zpravidla přisuzuje, dokonce ani její typ není ženský. Připustíme-li mužský rod bytosti znázorněné přemalbou, otevíráme zároveň s kritikou převládajícího narativu, fixovaného obecně k problematickému termínu „zženštilosti“, nové možnosti interpretace přemalby. Poznatky o životě a osobních vazbách Michaela Kreisingera totiž nasvědčují tomu, že k radikální proměně obrazu mohlo dojít právě na jeho vlastní pokyn. Takový závěr dovoluje přemalbu nejen nově interpretovat. Umožňuje také přistoupit k uspokojivé hypotéze o možném jejím autorovi, kterým mohl být další významný malíř první poloviny 18. století — Václav Vavřinec Reiner.

3

Fotel Kraszewskiego

63%

Rudkowska M.

Prace Filologiczne. Literaturoznawstwo

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2015

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issue 5(8)

253-269

EN

The title “Kraszewski’s Armchair” refers to the name of the rock located in the ravine of the river Teteriv commemorating the writer’s stay in Zhytomyr, where Józef Ignacy Kraszewski would spend long hours seeking inspiration for literary and artistic work as well as rest. This thread serves as a starting point to reflect on the meanings offered by the theme of the river in abundant works of the writer: from the first poetic (Dumanie nad Horyniem, Szatan i kobieta) and prosaic attempts (Życie sieroty and other), through novels from the periods of Vilnius and Zhytomyr and theoretical works (on the landscape), and travel writings, to the notes created at the end of life. The core of reviewing some of the problems related to the forms of the writer’s literary imagination as well as world perception and feeling is the theme of metamorphoses and passing directly combined with the element of the river.

4

Consonant Alliteration in Ovid’s "Metamorphoses", Books IX–XV

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Śnieżewski S.

Classica Cracoviensia

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2017

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issue 20

165-189

EN

In Book IX T, D alliteration amounts to 21,8%, M, N – 16,8%, in Book X the most frequent alliteration is T, D – 21,2%, then M, N – 12,9%. In Book XI the first place belongs to alliteration T, D – 14,08%, M, N – 13,7%. In Book XII it is M, N alliteration that prevails – 16,4%, next we have T, D – 12,7%. In Book XIII the first place goes back to T, D alliteration – 17,8%, then we have M, N – 14,8%. In Book XIV, the same as in Book XII, the predominant alliteration is M, N – 22,2%, followed by T, D – 19,5%. The same tendency is also apparent in Book XV, with the most numerous alliteration being M, N – 22,5%, followed by T, D – 22,4%. The most important alliterations play a variety of roles in Books IX–XV. They describe the metamorphoses, e. g. Iphis changing into a man, Hippomenes and Atalanta into a lion, Acmon into a bird etc. They express great passions and the death of the protagonists. The alliteration clusters are found in the apotheosis of Romulus and Augustus, as well as the immortality of Heracles. Ovid uses them to describe the elements, such as the flood or sea storm, and powerful animals.

5

Métamorphoses du poète dans « Le Poète assassiné » d’Apollinaire : Apollon et Orphée, oursin et laurier

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Rousseau G.

Cahiers ERTA

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2023

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issue 34

73-94

EN

This article focuses on the figure of the poet in Apollinaire’s « Le Poète assassiné ». We try to show the connections that are established between loss and poetic glory. In the tale, the hero, Croniamantal, becomes successively Apollo and Orpheus. As in Ovid’s Metamorphoses, he is going to lost his beloved (story of Apollo and Daphne) before being slaughtered (the death of Orpheus). To reach glory, the poet has to sacrifice everything including himself.

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Enkele facetten van het dubbelkunstenaarschap van L.P. Boon aan de hand van de metamorfoses van de belangrijkste personages van De Kapellekensbaan

45%

Gielen A.

Roczniki Humanistyczne

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2016

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vol. 64

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issue 6: Językoznawstwo

205-220

NL

Louis Paul Boon maakt deel uit van de literaire canon, daarom wordt hij alleen beschouwd als een schrijver. Zijn beeldende kunst wordt grotendeels genegeerd. Aangezien Boon in beide disciplines actief is, bekijk ik in deze bijdrage de relatie tussen beide disciplines vanuit een literair perspectief. Boons roman De Kapellekensbaan of de 1ste illegale roman van Boontje behandelt de vraag hoe een hedendaagse roman moet worden geschreven. Op basis van een analyse van de protagonisten bepaal ik de relatie tussen literatuur en beeldende kunst in deze roman. Ik concentreer me daarbij uitsluitend op karakters die literatuur of beeldende kunst vertegenwoordigen en helpen de ‘gij-verteller’ de roman te creëren. Ik geef speciale aandacht aan karakters die tijdelijk van discipline veranderen. De discussie gaat over tekortkomingen van de taal die door de beeldende kunsten kunnen worden aangepakt. Ondanks het feit dat de disciplines verschillende manieren van expressie vertegenwoordigen, kunnen ze elkaar aanvullen.

PL

Twórczość Louisa Paula Boona zaliczana jest do kanonu literackiego, dlatego też postrzega się go jako pisarza i bada wyłącznie tę jego twórczość. Natomiast jego sztuka wizualna jest w dużej mierze ignorowana. Z uwagi na to, że Boon działa w obu dyscyplinach, niniejszy artykuł bada relacje między literaturą a sztuką z literackiego punktu widzenia. Powieść Boona De Kapellekensbaan of de 1ste illegale roman van Boontje (przetłumaczona na język angielski jako Chapel Road) porusza kwestię, w jaki sposób powinna być napisana współczesna powieść. Autor niniejszego artykułu stara się ustalić na podstawie analizy głównych bohaterów, jaki jest związek między literaturą a sztukami wizualnymi w prezentowanej powieści. Autor koncentruje się wyłącznie na postaciach, które reprezentują świat literacki lub sztuki wizualne i pomagają drugoosobowej narracji tworzyć powieść. Szczególną uwagę poświęca tym bohaterom powieści, którzy tymczasowo zmieniają dziedziny. Okazuje się, że to, czego w dyskursie nie można wyrazić za pomocą języka, można uczynić za pomocą sztuk wizualnych. Mimo że dziedziny te reprezentują różne sposoby ekspresji, mogą się wzajemnie uzupełniać.

EN

Louis Paul Boon forms part of the literary canon, which is why he is only perceived and researched as a writer. His visual art is largely ignored. As Boon is active in both disciplines, in this paper I consider the relationship between the two disciplines, from a literary perspective. Boon’s novel De Kapellekensbaan of de 1ste illegale roman van Boontje (translated into English as Chapel Road) deals with the question how a contemporary novel should be written. Based on an analysis of its main characters, I determine what the relationship is between literature and the visual arts in this novel. I focus exclusively on the characters that represent literature or the visual arts, and help the “you” narrator create the novel. I pay special attention to those characters that temporarily change disciplines. The discourse is about the shortcomings of language that can be addressed through the visual arts. Despite the fact that the disciplines represent different modes of expression, they can complement each other.

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1 Acta Universitatis Lodziensis. Folia Germanica

1 Cahiers ERTA

1 Classica Cracoviensia

1 Prace Filologiczne. Literaturoznawstwo

1 Roczniki Humanistyczne

1 Umění (Art)

1 Bednarska-Kociołek J.

1 Gielen A.

1 Kadlec T.

1 Rousseau G.

1 Rudkowska M.

1 Universität Łódź P. F.

1 Śnieżewski S.

1 2023

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