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1

Motywy oniryczne w opowiadaniach Aleksandra Kuprina

100%
Bielniak N.
Slavica Wratislaviensia
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2012
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vol. 155
155-163
EN
Aleksandr Kuprin fits into oneiric tradition existing in Russian literature. Nightmares, dreams, hallucinations appear in his works and are combined with descriptions of the nightand moonlight. In Kuprin’s works dreams occur from apsycho-physiological epistemological and metaphysical perspective. Moreover, the dream plays different roles, for example constitutes the main plot of a work or is just a stylistic or evaluative part of it. Oneiric motifs allow the writer to deepen human psyche and analyze body and soul symptoms as well as show an analogy between the dream and creative process.
2

Różnorodność sensualnego doświadczania świata na przykładzie opowiadań Aleksandra Kuprina

100%
Bielniak N.
Slavica Wratislaviensia
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2014
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vol. 158
125 - 136
EN
Alexandr Kuprin was gifted with an unusual sense of sight and hearing; and what was stressed by his contemporary writers, an acute sense of smell. It comes as no surprise that the process of conceiving the world in asensory way is an integral part of his literary output. All senses tangled together in various configurations and playing different roles (i.e. smells and sounds evoke images from the past) were presented in his short stories. Still, the sense of smell is the most predominant. Kuprin touches the issue of the interdependence of sensory experiences and emotional states (joy, sadness, longing, fear, anger) and melds them with ponderings about evanescence, ontologic-al loneliness of the man, summing up life or searching for its meaning.
3
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„Nostalgia” i inne opowiadania Nadieżdy Teffi, czyli Rosjanie w Paryżu lat 20. XX wieku

100%
Bielniak N.
Studia Rossica Posnaniensia
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2019
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vol. 44
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issue 1
25-34
PL
In her humorous 1920s short stories Teffi shows the dramatic situation of Russian diaspora in Paris mainly through the prism of ordinary emigrants. The writer pays attention, among others, to such issues connected with the life of refugees as isolation, alienation, poverty, prurient nostalgia or national identity.
4
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Emocjonalne postrzeganie Berlina początku lat 1920. w listach Aleksieja Gwozdinskiego

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Bielniak N.
Przegląd Rusycystyczny
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2023
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issue 2 (182)
53-65
RU
В данной статье ставится задача рассмотреть феномен первой волны русской эмиграции сквозь призму так называемой личной истории. Антропологический поворот, произошедший во второй половине ХХ века в гуманитарных науках, способствовал росту понимания значимости личности и интереса к культуре повседневности. Важную роль в изучении этих явлений играют эго-документы, благодаря которым мы узнаем одновременно о специфике повседневной жизни русских эмигрантов и неповторимом внутреннем мире личности. Такую возможность дают письма Алексея Гвоздинского Елизавете Миллер, в которых автор запечатлел далеко не гармоничное пребывание в немецкой столице начала 1920-х годов. Русский эмигрант отобразил в своих письмах несколько недель жизни в Берлине, отмеченных главным образом одиночеством, нищетой и затерянностью в недружелюбном, мрачном мегаполисе, в котором - в отличие от Константинополя или Рима (прежних остановок в его эмигрантском пути) - он не сумел увидеть ничего положительного и красивого. На его восприятие города влияли как субъективные факторы, так и стереотипные представления.
PL
Niniejszy artykuł ma na celu spojrzenie na fenomen pierwszej fali emigracji rosyjskiej przez pryzmat tzw. historii osobistej. Zwrot antropologiczny w naukach humanistycznych, który nastąpił w drugiej połowie XX wieku, przyczynił się do wzrostu zrozumienia znaczenia osoby prywatnej oraz zainteresowania kulturą życia codziennego. Istotną rolę w zgłębianiu tych zjawisk odgrywają egodokumenty, dzięki którym jednocześnie poznajemy specyfikę życia codziennego rosyjskich emigrantów oraz unikalny świat wewnętrzny jednostki. Taką właśnie sposobność dają listy Aleksieja Gwozdinskiego do Jelizawiety Miller, który utrwalił w swojej korespondencji dalekie od harmonijnego trwanie w niemieckiej stolicy początku lat 1920. Rosyjski emigrant spetryfikował w swoich listach kilka tygodni życia w Berlinie, które naznaczone były głównie samotnością, biedą i zagubieniem w nieprzyjaznym, ponurym molochu, w którym - w przeciwieństwie do Konstantynopola czy Rzymu (wcześniejszych przystanków na emigracyjnej drodze) - nie potrafił dostrzec nic pozytywnego i pięknego. Na jego postrzeganie miasta wpływ miały zarówno czynniki subiektywne, jak i stereotypowe wyobrażenia.
EN
This article aims to look at the phenomenon of the first wave of Russian emigration through the prism of the so-called personal history. The anthropological turn in the humanities, which took place in the second half of the 20th century, contributed to an increase in the understanding of the importance of an individual and an interest in the culture of everyday life. Egodocuments play an important role in exploring these phenomena, thanks to which we learn about the specificity of everyday life of Russian emigrants and the unique inner world of an individual. Such an opportunity is offered by Alexei Gvozdinski's letters to Elizaveta Miller, who recorded in his correspondence a far from harmonious existence in the German capital of the early 1920s. The Russian émigré petrified in his letters several weeks of life in Berlin, which were mainly marked by loneliness, poverty and being lost in an unfriendly, gloomy juggernaut, in which - unlike Constantinople or Rome (earlier stops on the émigré road) - he could not see anything positive and beautiful. His perception of the city was influenced by both subjective factors and stereotypical perceptions.
5

Kobiece ciało przez pryzmat twórczości Aleksandra Kuprina

100%
Bielniak N.
Slavica Wratislaviensia
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2011
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vol. 153
279-288
EN
Aleksandr Kuprin’s prose has become a part of literary and cultural-philosophical discourse at the turn of the 19th/20th centuries. At that time showing sexual and corporeal nature, also the one of the woman, was the main manner to portray oneself and the times. The writer describes a wide range of representatives of the fair sex in his works. Woman’s body is seen in a multidimensional way by the writer. It enables him to answer important questions, among others on the meaning of life and death. Moreover, woman’s body, its beauty or ugliness is a point of departure for deliberations on family, woman’s place, roles and rights in society at that time, as well as for sexual and material emancipation of women, an ideal of feminine beauty along with relativity of beauty and ugliness. It also forms the basis for criticism of bourgeois culture with its double morality, which, while exposing the woman to the process of socialization, incapacitated her and made her a movable property of her father first and then her husband, furthermore depriving her of the right to express her own sexuality.
6

Oblicza starości w opowiadaniach Aleksandra Kuprina

100%
Bielniak N.
Slavica Wratislaviensia
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2016
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vol. 163
151-162
EN
Aleksandr Kuprin, writing at the turn of the twentieth century, joins the old age discourse of his time. Old age (or maturity) in Kuprin’s works has different faces (kind-hearted, wise, respected, embittered, rejected, lonely, etc.) and is presented in various contexts: cultural, social, economic. From old age inspirations the writer creates both pictures and naturalistic reflexions (descriptions of anatomical and physiological changes), and metaphysical (passing, asking about the meaning of life). Additionally, Kuprin depicts the antinomy: early days — old age, compares advanced age to childhood and analyzes the symptoms of not only somatic but also mental old age.
RU
Александр Куприн, творивший на рубеже XIX и XX веков, включается в тогдашний дискурс старости. Старость (или зрелость) принимает в его творчестве разные облики (добрая, умная, почтенная, озлобленная, отвергнутая, одинокая и т.д.) и изображается им в разных контекстах: культурном, общественном и экономическом. Она вдохновляет писателя как на создание натуралистических образов (изображение анатомических и физиологических изменений), так и наталкивает на метафизические размышления (ход времени, смысл жизни). Кроме того, прозаик рассматривает антиномию: молодость–старость, сопоставляет преклонный возраст с детством, подвергает анализу симптомы как физической, так и духовной старости.
7
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Rosyjscy emigranci w miniaturach satyrycznych Arkadija Awierczenki

100%
Bielniak N.
Studia Rossica Posnaniensia
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2020
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vol. 45
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issue 1
PL
The transformations in Russian satirical literature conditioned by the difficult emigration situation were reflected in the works of Arkady Averchenko, one of the most significant satirists of pre-revolutionary Russia. In his short stories created in exile, the writer showed the problems and dilemmas that his fellow-countrymen had to face abroad, mainly in Constantinople and Prague. The feeling of homelessness, loneliness and uprooting that accompanied the emigrants constantly intensified the need for self-identification in a foreign culture, which was demonstrated in manifesting their national distinctiveness, confronting new customs and idealizing the Russian past. By immortalizing the mood, spiritual life and living conditions as well as a specific metamorphosis of Russian emigrants, Averchenko did not forget about their vices. Therefore, the short stories of the emigration period, in which the writer willingly combined elements of comedy and tragedy, were saturated with self-irony, pain and bitter reflection, skillfully hidden under the mask of humour and satire.
8

Motyw śmierci w intymistyce Iwana Bunina

100%
Bielniak N.
Slavica Wratislaviensia
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2018
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vol. 167
363-374
EN
Death motifs in egodocuments by Ivan Bunin Death is one of the most crucial subjects not only in Bunin’s literary works but also in his egodocuments. The writer’s perspective on the world was mainly concentrated around death, illness, passing, loneliness and old age. Through such a prism he perceived himself, his loved ones and the surrounding world, what was reflected in the writer’s diaries and letters. In spite of Bunin’s fear of death, in his considerations on fate he put fatalistic and affirmative motifs together.
RU
Мотив смерти в эго-документах Ивана Бунина Смерть является одной из важнейших тем не только в творчестве Ивана Бунина, но также в его эго-документах. Мировоззрение писателя в большой степени было сосредоточено на проблемах смерти, болезни, бренности, одиночества и старости. Сквозь их призму он воспринимал как себя и своих близких, так и весь окружающий мир, что нашло свое проявление в дневниках и письмах. Несмотря на сопутствующий писателю всю жизнь страх смерти, в своих размышлениях о человеческой судьбе он соединял мотивы фатализма и жизнеутверждения.
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