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MIĘDZY POSTMODERNIZMEM A KLASYCYZMEM, CZYLI O FUZJI MŁODOŚCI I STAROŚCI W TEORII KULTURY. REWIZJA KANONU W SZTUCE "HӦLDERLIN" ALFONSA VALLEJO W ŚWIETLE TEORII LĘKU PRZED WPŁYWEM

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Szejko N.
Conversatoria Litteraria
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2017
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vol. 11
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issue XI
321-332
PL
In one of his plays entitled Hölderlin Alfonso Vallejo establishes direct and indirectconnections with life and poetry of romantic poet Friedrich Hölderlin. We analyse traces one author in writings of another using the theory of anxiety of influence by Harold Bloom. The process of self-understanding and comprehension of the art leads, according to Bloom, through a number of stages: clinamen, tessera, kenosis, demonisation, askesis and apophrades. We try to detect techniques used by Vallejo in his artistic pattern and determine what are aesthetic and formal consequences of his endeavor.
2

El uso de las formas del teatro en el teatro en Los cuernos de don Friolera de Valle-Inclán

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Szejko N.
Estudios Hispánicos
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2012
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vol. 20
39 - 45
EN
The purpose of this work is to present different aspects of metatheatrical theory and compare it with its presentation in Los cuernos de don Friolera by Valle-Inclán. This involves not only the explicit illustration of the theatre in the theatre notion, but also the intertextual relationships established between the work of Valle-Inclán and the traditional Spanish drama. The parodic and critical view of the Galician writer on the aspects of honour and its representation in the literature is the cardinal point in the deconstruction of the mythic word of the past where its value could not be underestimated. As a result, Los cuernos de don Friolera are the perfect example of the metatheatre because of the introduction of structural parts which involve the representation itself and the group of explicit and implicit allusions to the literary and cultural aspects of the past generations.
3
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WYMIAR FRAKTALNY PRAWDY I KŁAMSTWA W SZTUCE FLY-BY ALFONSA VALLEJO. OD DERRIDY I LEVINASA DO TEORII SAMOPODOBIEŃSTWA JAKO METAFORY EGZYSTENCJI

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Szejko N.
Conversatoria Litteraria
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2016
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vol. 10
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issue -
213-221
PL
Theatre of Alfonso Vallejo presents complex psychic processes and therefore is barely realistic, on the contrary, it is based upon surrealistic visions adequate to diversity of human being. Although it seems chaotic, this chaos re-sembles network of infinite connections that produce, as a consequence, infinite number of questions and possible answers. To interpret the complexity of Val-lejo's dramas we use theory of fractals and self-similarity in play Fly-by.
4
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Stalker z filmu A. Tarkowskiego jako „jurodiwy” i jako figura twórcy

63%
Lizurej K., Szejko N.
Conversatoria Litteraria
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2018
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issue 12
209-221
PL
The film Stalker by Andrei Tarkovsky is based on the novel Roadside Picnic byStrugatsky Brothers and it presents real and metaphoric travel of the mainprotagonist, Stalker, through the enigmatic Zone in search of ontological true.Stalker’s naivety and complete devotion to his mission resemblesfeeblemindness, that is why he could be described as ¨yurodivy¨, fool for Christaccording to Eastern Orthodox ascetism. In our paper we also analyze Stalker asperformer and artist that dedicates absolutely to his ideals.
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“…andábame a amolar o «pensamento»…” — a voz dos excluídos en A Esmorga de Eduardo Blanco Amor na véspera do nacemento do pensamento sociolingüístico galego

63%
Szejko N., Dondelewski B.
Estudios Hispánicos
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2018
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vol. 26
97 - 107
EN
Goals: In this paper we analyse the sociolinguistic situation of the Galician-speaking representatives of the bottommost social class just after the Spanish Civil War (the 50’s). This context is depicted in the novel A Esmorga of E. Blanco Amor. We introduce the notion of point of view (Bakhtin, Bartmiński) in order to analyse the world portrayed in the novel through the perception of the proper “esmorgantes”. Methodology: Analysis of the distribution of voices in A Esmorga and its sociolinguistic repercussions according to the theory of polyglossia of Mikhail Bakhtin and Das sprachliche Weltbild of E. Sapir and B. Whorf. Comparison of the vision of the world presented by Blanco Amor with the sociolinguistic insights of R. and X. Montero. Results: The voices in the novel are divided into the voice of power of the judge and the oppressed voice of the accused as a conscious election in which the word is given to the excluded. Conclusions: A Esmorga is a novel in which the reader finds a heterotopic vision of the world, divided between two voices and viewpoints. The esmorgantes reach the limits of human behaviour, although through this bordering experience they encounter a new language, the language of the truth.
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