Poznańskie Studia Slawistyczne, 2012, nr 2

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    Zapach i kolor słów, czyli o próbach intersemiotycznego przekładu i synestezji w utworach Damira Miloša "Smetlar" i "Bijeli klaun"
    (Wydawnictwo Naukowe UAM, 2012) Szperlik, Ewa
    The aim of the intersemiotic and conceptual prose of Damir Miloš is to overcome the limitations of language and literary description, especially when presenting reality through the prism of sensual experience, both visual and olfactory. In Miloš’s prose the interconnectedness of art forms, often perceived today as a symptom of a literary crisis or a trend towards intermediality, becomes a special and convenient pretext to use intersemiotic translation, visuality and synaesthesia as a means of presenting sensuality in literature. The Croatian author creates a world in which his protagonists, marked with certain incapacities or hypersensitivity of senses (an absolute sense of smell, colour-blindness or blindness), conjure up their own individual and subjective reality. Thus, Miloš stresses the postmodern aspect of the multiplicity of truths and perspectives.
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    Visual folklore: relation between oral and visual memory
    (Wydawnictwo Naukowe UAM, 2012) Stojanovik', Lidija
    The aim of this article is to present how oral biography and photo-interviews are intertwined. In this sense, it is very important to illustrate the various methods of photo fieldwork, and also to highlight theoretical concepts (such as those of Panofsky, Collier and Barthes) in order to discover photo-analysis, the relation between oral and visual memory, and the phenomenological play between stadium and punctum. These principles are very important and useful in contemporary folklore studies.
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    Proximity/distance at the meeting on “the other side”
    (Wydawnictwo Naukowe UAM, 2012) Petreska, Vesna
    Folk healers and their ability to heal can be connected with death or the being owned by death. This deeply archaic structure is evident in how knowledge is acquired, namely that it is passed on from mother to daughter or granddaughter/grandson in a place that suggests a connection to the other world (water, bridge). It is also evident in the fact that the women performing charms must be postmenopausal. Also important is the fact that when knowledge is acquired through dreams and visions, the soul of the initiate or the initiate him- or herself must be in touch with the other world and then return to life by passing over a thin line: a bridge as wide as a hair or a straw. This is a condition akin to death followed by eventual recuperation. Another important point is the difference in physical appearance to those treated, for example, old, white, a pale face, piercing eyes, small, slouching, etc. All these incorporate the idea that the communication with the “other world”, “the other side”, is always given to those people that somehow were in touch with the other world, which from that perspective are far from us, but originating from our environment and transferring the message that they are also close to us. The connection with the other side, with the other, distanced world was also seen in the time-space structure on the charms.
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    "Brzoza" – filmowy "Gesamtkunstwerk" Ante Babai
    (Wydawnictwo Naukowe UAM, 2012) Pająk, Patrycjusz
    The Birch Tree (1967), directed by Ante Babaja, is one of the most outstanding achievements of Croatian film modernism. It touches on the problem of rural life, which is unusual for film modernism. The work is inspired by Slavko Kolar’s rural prose, naive paintings by artists from Hlebine and north Croatian folk rites and songs. In this film, Babaja presents a naturalistic interpretation of rural existence, where the human spirit is stifled by dull material and inert nature. The Birch Tree is also an example of a film Gesamtkunstwerk that combines notonly the elements of various arts (painting, literature, music, theatre), but also two historical-cultural models of artistic creation: the modernist and the folk.
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    Intermediality in Macedonian theatre
    (Wydawnictwo Naukowe UAM, 2012) Petrovska-Kuzmanova, Katerina
    In the text Intermediality in Macedonian theatre, which uses the play Macedonian bloody wedding by Vojdan Chernodrinski, directed by Ljupco Gorgievski, as an example, an attempt is made at representing intermediality in theatrical performance. It is achieved through a ready-made technique in which a significant role is played by the music group Foltin and their performance. They use various props, which they turn into their instruments. This leads to their actualization through dedication to their essence. In this way, the old forms and elements of the traditional folk culture cross the bounds of time, reading the folklore signs in the style of the postmodern scene expressions.
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    Ilirizam i tumačenje snova: Gundulići Vlaha Bukovca
    (Wydawnictwo Naukowe UAM, 2012) Jukić, Tatjana
    Given the prominent position in the Croatian cultural imagination of Vlaho Bukovac’s 1895 painting of the Illyrian Movement, this article argues that the later accounts of early to mid- 19th-century Illyrian politics and literature remain contaminated, and structurally so, by Bukovac’s treatment of the visual. This visual contaminant then points to more general political and cultural practices in Austria-Hungary at the time, including psychoanalysis, not least where psychoanalysis addresses the scope of image and the phantasmatic. Analyzing three paintings where Bukovac takes up the subject of literature cum the phantasmatic alongside Freud’s 1908 study of „Der Dichter und das Phantasieren”, I propose that in both literature serves to indicate the political logic of metonymy or the metonymic logic of the political; furthermore, I show that Freud, unlike Bukovac, fails to sustain this logic precisely in places where he sets out to classify wishes.
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    Stripovni stil pjesničkoga subjekta u suvremenom hrvatskome pjesništvu iskustva intermedijalnosti i postintermedijalnosti
    (Wydawnictwo Naukowe UAM, 2012) Jukić, Sanja
    This paper deals with poetic subjects in the comic book format as presented in the media. The subject of media entity dominates the corpus of texts in intermedial and postintermedial poetry experience. These aspects of Croatian poetry from 1968 up to the present day, whose structures are primarily determined by contacts with different media culture texts, are defined by Goran Rem. This paper explores the ways in which the media intermediates comic book semiotics into the poetic code of that particular part of contemporary Croatian poetry and thus determines the paradigmatic forms of the subject of media/comic book.
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    Interdiscursive variations: the literature – theory relation
    (Wydawnictwo Naukowe UAM, 2012) Gjorgjieva Dimova, Marija
    The subject of this paper is the theoretical fiction genre as a manifestation of interdiscursive relations between fiction and theory/criticism. Firstly, this paper offers a brief overview of the constitutive features of the theoretical fiction genre; and secondly, these features are interpretatively confirmed through the novel Papokot na svetot (Navel of the World) by the Macedonian writer, Venko Andonovski.
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    Polish and Czech “literary reciprocity” in the second half of the 19th century: Eliza Orzeszkowa’s reception by the Czechs and Karolina Světlá’s reception by the Poles
    (Wydawnictwo Naukowe UAM, 2012) Fournier Kiss, Corinne
    The aim of the article is to describe the extraordinarily animated and extensive relationships between Polish and Czech literature in the second half of the 19th century. Literary correspondence is extremely clearly revealed with regard to the Czech writer Karolina Světla and her reception in Poland and the Polish writer Eliza Orzeszkowa together with her reception in Czech. The article attempts to indicate the reasons for their popularity in these neighbouring countries in the last decades of the 19th century. Thus the subsequent reflection explores a shared viewpoint of both writers concerning national questions, combined with the necessity of women’s liberation, including their accessibility to education. By exploring the critical possibilities of literature, Světla and Orzeszkowa were exposing the imperfections of their own nations regarding patriotism and emancipation. At the same time, it is worth stressing that both writers regarded their neighbouring nation as a model.
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    Crossing the narrow bridge – among the myth, the rite and the circus act
    (Wydawnictwo Naukowe UAM, 2012) Chausidis, Nikos
    All of the elements present within the contemporary phenomenon known as ‘circus’ can be found in the symbolic traditions of ancient and archaic cultures, most often manifested as mythical pictures, ritual and magical acts, mythical stories and cult objects. In several previous studies we have tried to find the visual, mythical and symbolic ancient models of some classical circus acts, such as the trapeze, juggling and fire-eating. This paper discusses the act of tightrope walking. The introductory part presents basic information regarding this circus act, along with the phrases, elements and skills it consists of. The text continues with a historical review of this circus skill, which reaches as far back as the great civilizations of the Old World. As a mythical paradigm of this act we took the mythical representations from all over the world regarding crossing the mythical bridge conceived in its cosmological dimension – as communication through the cosmic horizons (sky-earth-underworld). This paper reviews several variants of mythical representations of the narrow bridge between ‘this world’ and the ‘underworld’ registered in different parts of the planet and originating from different ages: the log i.e. a tree trunk bridge, a snake bridge, a phallic bridge, blade bridge, and the hair i.e. string bridge.
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    Poetika hibridnih multižanrovskih pesničkih tekstova Ljubomira Micića i Branka Ve Poljanskog
    (Wydawnictwo Naukowe UAM, 2012) Đurić, Dubravka
    In the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre texts as important items in the national poetry canon. I will contextualize the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde.
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    Obraz i tekst w służbie Absolutu. Manuskrypt średniowieczny a idea dzieła totalnego
    (Wydawnictwo Naukowe UAM, 2012) Prałat, Emilian
    The article takes up the problem of the medieval manuscript as an example of a total work of art. Miniature painting is an example of diffusional transmittance of the various semiotic orders, which define each other and lead to the creation of a reflection of divine beauty and harmony. The text also refers to the problem of iconoclasm. Historical material from the South Slavic area shows the art of cultural borderlands, where elements based on the principle of pars pro toto are reflected in miniature painting. The intersemiotic research tradition is presented synthetically.
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    Słowo – obraz paradygmatyczny – ikona. O intersemiotyczności w słowiańskiej kulturze prawosławnego średniowiecza
    (Wydawnictwo Naukowe UAM, 2012) Dziadul, Paweł
    This work deals with the problem of intersemiotics in Orthodox Slavonic culture in the Middle Ages. Attention here is focused on the source, essence and ontology of correspondence of the arts. Despite the fact that in the Middle Ages word and image (icons, frescos, miniatures of manuscripts) had completely different specificity of signs, they were connected with each other on a different level of perception. According to the Church Fathers (John of Damascus, Maximus the Confessor, Basil the Great) and East Christian mysticism (Pseudo- Dionysius the Areopagite), the art of the written word and visual art had the same aim and function, because they referred to eternal and spiritual reality and to the divine archetype. The ontology of the word and icon was linked to the specific version of Pseudo-Dionysius’ symbolism. Moreover, this symbolism is connected with the term – “paradigmatical image”, functioning beyond text and iconography, in the iconosphere of the Orthodox Middle Ages. Paradigmatical image becomes a specific link between a word and an icon. Of course, paradigmatical images were created on the basis of Biblical (and/or apocryphal) and Patristic- Byzantine texts, although they started to function regardless of their original context. This work presents the way paradigmatical images function in Orthodox iconography and literature (the Raising of Lazarus, the Last Judgement, the Trinity).
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    Foltin and Claude “levi-skroz” [Poetry readings of the music of “Foltin”]
    (Wydawnictwo Naukowe UAM, 2012) Delovski, Vlatko
    Foltin is a musical community, and I say community and not group, because the word group is associated with the crowd. This is my attempt to try to explain the process of reading the important characteristics of purposeful meaning in the poetry of Branko Nikolov (Foltin). This kind of reading is qualitatively different from ordinary reading. Namely, we will dare to read from an ethnographic point of view, which means investigating, i.e. analyzing with active participation. From the end of the 1990s until today, I have attended all significant “Foltin” events, which for me is something private, and therefore something that engages me is our common Vezilka, their poetry. Hence, reading is a job for our Vezilka – Lenka or as they prefer to say, the song 120, while simple reading is a matter of my ignorance. From the surface level of their explicit manifestation (Music and Poetry), everything leads to a tangled, implicit poetic level. That is the process that we technically name reading, and reading looks like the one term that can be clearly marked as decoding from surface to deep structures.
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    Spór o człowieka: Wissarion Bieliński i Mikołaj Gogol. O dwóch modelach literackiego kodowania rzeczywistości
    (Wydawnictwo Naukowe UAM, 2012) Abassy, Małgorzata
    The aim of this paper is to conduct a comparative analysis of two culture codes, semantic and asemantico-asyntactic, as tools for ordering reality and discovering the meaning of events. Belinsky and Gogol’s lives and their mutual relations are the subject of our research. The antinomy, and even irreconcilability of codes is observed in concepts of the human and the world. According to the semantic code which was used by Gogol, a person is a part and, at the same time, a reflection of God’s order, and the world is dichotomic (sacral – sinful, meaningful – meaningless, spiritual – material); it is an area for the fight between good and evil. Belinski, in turn, following the asemantico-asyntactic code, put the human at the centre of the rational world. At the beginning of the 40’s, when Belinsky could still interpret Gogol’s writings within the frameworks of asyntactico-asemantic culture code, he regarded himself as similar to Gogol. The split occurred after the book Chosen pieces of a correspondence with friends was published. The tragedy of not being understood, which both great Russian thinkers faced, was evidence for the existence of two separate sign and meaning systems within one culture. It must be added that the systems developed against the background of state order, which was coded by the syntactic culture code. Further research needs to be conducted in this field.
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    “Artist’s book” as intermedia discourse
    (Wydawnictwo Naukowe UAM, 2012) Bobilewicz, Grażyna
    The article is devoted to an analysis of various representations of the “Artist’s book” genre in modern Russian and world art. These representations function within the framework of the paradigm of art that refers to issues such as inter- and multimedia, the model of a broadly talented artist, the concept of a multi-material work of art and the interactive act of perception. The analysis of the issues connected with verbal and visual representations of the “Artist’s book” has been based on the superordinate ‘word and picture’ formula and the interpretative indicators determined by generic diversification and the dialogue with other kinds of art: the relationship with painting and sculpture, the book as an object, ready made, mail-art, an artistic project (audiovisual book, photo- and body-art book, book-performance), as well as by the act of reception. In intermedia discourse, the “Artist’s book” functions within the cultural, artistic and aesthetic perspective, between art and communication.
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    Usporedba "Slavonske šume" Josipa Kozarca i Adolfa Waldingera
    (Wydawnictwo Naukowe UAM, 2012) Bilić, Anica
    In this article we shall compare the literary work Slavonian forest by Josip Kozarac with Adolf Waldinger’s oil painting Slavonian forest, including his drawings and pictures of a Slavonian forest and forest details. Comparison is made primarily on the basis of their resemblance. Not only do both of these works have the same inspiration and structure, but in terms of content they also elaborate the motifs and themes of the forest landscape, leaning toward realistic formation, and both represent works of anthological value. In other words, Waldinger’s Slavonian forest is one of his best works and an excellent work in the field of Croatian forest painting, while Kozarac’s work finds itself at the anthological peak of Croatian descriptive literature.
Uniwersytet im. Adama Mickiewicza w Poznaniu
Biblioteka Uniwersytetu im. Adama Mickiewicza w Poznaniu
Ministerstwo Nauki i Szkolnictwa Wyższego