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

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

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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.

3

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.

4

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.

5

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.

6

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

100%

Sosnowska M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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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

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

11

The Meme as an Example of Carnivalized Internet Communication

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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.

12

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

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vol. 14

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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.

13

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.

14

A Repeated Allusion to Pindar and the Eleusinian Mysteries in Anaxilas’ Comic Fragments?

88%

Danielewicz J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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vol. 31

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issue 1

79-83

EN

Anaxilas in fragments 25 and 30 K.-A. deliberately alluded to Pindar’s fragment 137 S.-M. and the mystery references it contains, but at the same time completely redesigned the sense of the Pindaric phrase for a strong comic effect.

15

Female Cross-Dressing in Chinese Literature Classics and their English Versions

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Wing Bo Tso A.

International Studies. Interdisciplinary Political and Cultural Journal

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2014

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vol. 16

111-124

EN

Cross-dressing, as a cultural practice, suggests gender ambiguity and allows freedom of self expression. Yet, it may also serve to reaffirm ideological stereotypes and the binary distinctions between male and female, masculine and feminine, homosexual and heterosexual. To explore the nature and function of cross-dressing in Chinese and Western cultures, this paper analyzes the portrayals of cross-dressing heroines in two Chinese stories: [...] The Ballad of Mulan (500-600 A.D.), and [...] The Butterfly Lovers (850-880 A.D.). Distorted representations in the English translated texts are also explored..

16

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.

17

Paròdia sobre paròdia. C. A. Jordana reescrit per Mercè Rodoreda

88%

Mir C.

Studia Romanica Posnaniensia

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2021

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vol. 48

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issue 3

61-72

EN

This paper proposes a reinterpretation of plot parallelisms between El collar de la Núria (1927), by C. A. Jordana, and Crim (1936), by Mercè Rodoreda. The comparative analysis aims to show how Crim, in addition to working as a parody of the principles of the detective story, can be read as a parody of an earlier parody of the same genre – that is, the text by Jordana. This rewriting exercise strengthens the hypertextual link between these two novels and results in what we may call, following the terminology by Gérard Genette, a hyperparody.

18

Silentiaires fin-de-siècle : émergence et épuisement d’un motif poétique

88%

Piantoni A.

Quêtes littéraires

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2017

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issue 7

93-104

EN

The parallel urge of introspection and meditation which comes with the evocation of silence acts as landmark for a whole current of fin de siecle literature. The symbolist era gives the impression that its actors were obsessed with silence. Symbolist poetry took possession of silence as a way to encapsulate the ineffability of feelings and the various states of mind it explored, leaning towards an aesthetical mysticism. Yet that tendency soon turned into a form of cliché that opened a path towards parody, silence becoming a stigma of the ideological shortcomings of symbolism in the eye of its detractors. The attempt to seize the silence led to a harsh confrontation with void

19

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

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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.

20

The Rogue as an Artist in Patrick deWitt’s The Sisters Brothers

88%

Staels H.

Text Matters: A Journal of Literature, Theory and Culture

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2019

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issue 9

153-166

EN

This article explores Eli Sisters as a reinvigorated rogue who finds his artistic calling in Patrick deWitt’s The Sisters Brothers, published in 2011. With the help of insights from narratology and genre theory, the article provides a textual analysis of Eli’s discourse, perspective and behaviour. Eli casts a critical light on the senseless violence, unbridled greed, ecological devastation, and hyper-masculinity inherent to America’s Frontier myth. As a reinvigorated rogue, he raises questions about what it means to be human and reflects upon morality. With hindsight, the rogue as an artist creates a generically hybrid narrative that parodically imitates and transforms the genre conventions of the Western and the picaresque tale. The article also draws attention to the power that Eli assigns to women in a story about male heroic conquest. These include otherworldly female figures from classical mythology and the brothers’ mother.

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