Przestrzenie Teorii, 2012, nr 18
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Item Odcienie ciemności(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Krajewska, AnnaItem Hans Werner Henze, Ingeborg Bachmann: „Der Prinz von Homburg”. Operowa adaptacja dzieła Kleista(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Kornatowska, BeataThe article aims at showing how complex can be the relationship between literary prototype and operatic work. It analyses the adaptation of Heinrich von Kleist’s drama by two outstanding postwar artists: the Austrian author Ingeborg Bachmann (1926–1973) and the German composer Hans Werner Henze (1926–2012). They not only adjust the dramatic text to the needs of the operatic medium. They also, very much in the spirit of their times (1958), try to rethink, to “save” as they put it, a work of art misused by the ideology of Wilhelminism and the Third Reich. In their interpretation they turn their back on military and political content of the drama, focus their attention on the person of the Prince, glorifying him as a dreamer and outsider.Item Od Isera do Turnera i dalej. Na styku teorii recepcji i krytyki kognitywnej(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Hamilton, Craig; Schneider, RalfIn this essay, we review the work of Wolfgang Iser, the major proponent of reception theory, and Mark Turner, the major proponent of cognitive criticism. The two theoretical lines advocated by Iser and Turner focus on the cognitive processes involved with reading literary texts. Unfortunately, bibliographic blind spots in both lines lead to the assumption that there is little overlap between reception theory and cognitive criticism. We put this assumption to rest by comparing and contrasting works by Iser and Turner in detail, starting with Iser’s work in the mid-1970s and ending with Turner’s work in the late 1990s.Item Wezwałem cię po numerze. 172364, 119198, 132434 i inni(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Roszak, JoannaThe title “I have called you by your number” is paraphrased from the book of Isaiah. In Torah the change of name of the main character suggests the turning point of his/her fate. In the article I concentrate on the gesture of assuming pseudonym-anagrams by a few poets – it is viable to read it as an attempt at self-determination, and as a painful dividing line, and as a form of a mask, and an analogue of a perturbed fate. My reflection concentrates on texts by Sachs, Domin, Celan, Amichai, Améry with a motif of numbers (the turned over analogues of the names) – I find a context in the poem by Wisława Szymborska Still; and in the performance by Raimund Hoghe, staged only once, just in Poland, entitled site specific; the project 80064 by Artur Żmijewski or works by Roman Opałka. The promise written in the Book of Isaiah of liberating Israel, which was supposed to be a work of God’s omnipotence, God talking to Jacob – who is an allegory of Israel: “Don’t be afraid, for I have redeemed you; I have called you by your name, you are mine. When you pass through the waters, I will be with you; and through the rivers, they shall not overflow you: when you walk through the fire, you shall not be burned, neither shall the flame kindle on you. For I am Yahweh your God”, in Auschwitz turned into the antithesis, and hence a threat that has a completely different sender than a good father: Be afraid, or else nobody will redeem you. I am calling you by the number, you are no one’s. You will go to the fire and a flame will consume you. You are alone.Item Portret oprawcy – rzecz do napisania – the thing to write(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Buryła, SławomirThis article synthesises the topic of the views of Nazi war criminals in the Polish post-war prose (1944–1989). The author enumerates the most important pieces of Polish prose treating the motif of German war criminals. This outline is an invitation to describe a portrait of the executioners and it signals several important problems related to the subject, including the question of the genesis of evil and the most important presentations of Nazis in Polish literature. Another significant issue is that of the transformation of the image of Nazis over time during the Communist era in Poland and the related stereotypes of Germans in Polish culture through history. The article also briefly discusses the topic of the executioners in the work of Jonathan Littell and Bogdan RuthaItem „Prochem jesteś...”(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Błaszczak, MonikaDust, powder, ash – the categories of description of everything associated with passing and evanescence, forgetfulness, finitude, of elimination of time, new, contemporary, but also a reference to a rebirth, purification, reminders. Although dust is the most important, powder dominates. Rebirth is usually only an attempt, ending in failure. Playwrights, poets, writers are trying to put into words the eternal correctness and inalienable truth that says, from dust you are and to dust you shall return. Destruction, decay and old age, destruction and plunge into nothingness is best described as a man as a “miserable dust.” The heroes try to fight the burning of which begins at birth, but the course of this river cannot be reversedItem Dwa paradygmaty samobójstwa czy dwa akty wolnej śmierci? Heinrich von Kleist i Jean Améry(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Kuczyńska-Koschany, KatarzynaI compare the suicide deaths of Heinrich von Kleist and Jean Améry (Hans Mayer). I discuss the issue of suicide, considering it as a category of the German language and distinguish the difference between the terms ‘Selbstmord’ [self-annihilation] and ‘Freitod’ [self-inflicted death, voluntary death]. By comparing the two suicides committed on the two verges of modernity (the beginning of 19th century in Berlin and 20th century after Auschwitz), I try to describe them as an experience of the imagination (in the words of Stefan Chwin) and as a specific act of creation: a choice of a voluntary death. Suicide, comprehended as a confirmation of our existential freedom, was a deviation from what was considered the norm in Prussia in 1811 and did not seem possible as anything else than an act of despair, when committed by a death camp survivor. However, Heinrich von Kleist and Jean Améry have set a precedent in the existing cultural and historical paradigms of suicide.Item Auschwitz i nowoczesność(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Krupa, BartłomiejThe text examines the relationship between the two categories – Auschwitz and modernity, in recognition of Jean Améry and Zygmunt Bauman, taking also into account the voice of the latter polemicists. In the first place is reconstructed Améry’s positive view on modernity with respect for the truth of the victims of Auschwitz. Then Bauman's critical position is discussed, indicating the modern provenance of the Holocaust and risk of recurrence of the Holocaust. Next the voices of Bauman’s opponents are presented. Yehuda Bauer, Henryk Grynberg, Andrzej Szahaj and Stefan Morawski pointed to the key role of ideology and irrational aspects of Nazism. At the end the common ground of Améry and Bauman is indicated – both turn to take the perspective of the victims.Item „Amadeusz”. Miloš Forman i Peter Shaffer(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Choczaj, MałgorzataThe study is devoted to Miloš Forman’s film, a story about Mozart’s life, taken from Peter Shaffer’s drama. The author proposes a detailed analysis of Forman’s film as an autonomous work in the production of which the film was a medium. The film was an effect of collaboration between the author of the play and the director. The effect of the work is a film which is an example of a close connection of the form and the content – harmony between picture and music, which becomes almost one of the main characters. Individual compositions of Mozart form a network of motives closely connected with the visual aspect and make its sense deeper according to several rules of showing music as a part of the film medium, such as musical motives, explaining the music by the composer or music which uses media. Connecting the music and the aesthetics of the film make Amadeus a harmonious audio-visual performance.Item Spis treści(Wydawnictwo Naukowe UAM w Poznaniu, 2012)Item Wymiana spojrzeń. „Zaręczyny w San Domingo” Heinricha von Kleista na tle niemieckich badań postkolonialnych(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Kledzik, EmiliaThe article reports on the state of research in the German postcolonial studies, comparing it with a discussion on the implementation of a similar project in the Polish literary discourse, and on the basis of the bibliography argues that German researchers boldly confront the traditional instruments of interpretation with those of postcolonial studies. The proof of this state is also presented on the basis of considerations of German researcher, Monica Ehlers, who gives the interpretation of the story of Heinrich von Kleist Betrothal in Santo Domingo. According to her view, the text anticipates the critical point of modernity, demonstrating crisis of the primacy of sight, which constitutes a discursive figure of European domination.Item Relewancja a interpretacja tekstów literackich(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Wilson, DeirdreThere has been some discussion about how far relevance theory can help in analysing the interpretation of literary works. Starting from the assumption that literary works are not entirely sui generis but exploit at least some of the abilities used in other varieties of verbal communication, I show how the same theoretical machinery used in analysing the interpretation of ordinary utterances can shed light on the interpretation of literary texts, and touch briefly on two more general issues: how can fictional works be relevant, and how can illocutionary and perlocutionary effects be disentangled in the case of literary works? [translated by Deirdre Wilson].Item „Tworki” Marka Bieńczyka jako powieść gatunkowa(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Marecki, PiotrThe article’s author analyses Marek Bieńczyk’s novel Tworki (1999), using tools from genre theory and challenging the prevailing view of Bieńczyk as a postmodernist, the pantextualism of his literature, and his adherence to “non-epic prose.” Bieńczyk’s novel is contextualized as a drawnout story (gawęda), mystery story, bildundsroman. It is shown how Bieńczyk uses established genres to assemble the elements of a narrative universe (the narrator, protagonist, intrigue), and the way he handles the epic aspects of his literature. Particular emphasis is placed on an analysis of the vaudeville-cabaret layers of the novel, everything borrowed from popular culture and used to re-narrate the trauma of the Holocaust. In this respect, Bieńczyk’s novel is considered to be one of the bravest works in Polish post-1989 literature.Item Visconti w Wenecji(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Hendrykowski, MarekLuchino Visconti’s masterpiece “Death in Venice” (“La morte in Venezia”) has the reputation of being a quintessential work of European art film, the epitome of 1970s auteur cinema, one of the most impressive film poems ever made. Based on famous novel written by Thomas Mann in 1911 (after Gustav Mahler’s death), it is a profound and intriguing artwork concerned at its depth to communicate the most important human meanings like the essence of death or powerfully symbolic depiction of 19th Europe ideas and values in a fascinating filmic imagery. The 1971 film adaptation is not only a lament for a lost nobility and a swan song for human sublime forms of life created by the noble class, but also an epic panorama of the old Europe that evokes the cultural upheaval brought on by the collapse of ‘la belle époque’. In his comparative study Marek Hendrykowski explores central motifs of the literary and film versions of “Death in Venice” and expands on this contention, pinpointing the various sources of the film’s uniquely impressive effect. Hendrykowski’s contextual analysis and interpretation, written in a lively and accessible style, traces the complex motifs that run through “Death in Venice” and discovers step by step the elements (Mahler’s music, the use of authentic locations, high culture vs mass culture conflict, biographical background, etc.) evoked and appealed in Visconti’s film.Item Maria Krysztofiak. Translatologiczna teoria i pragmatyka przekładu artystycznego - RECENZJA(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Lukas, Katarzyna