Search

Cet article propose une nouvelle édition des extraits du psautier de la LXX contenus dans le Codex Climaci Rescriptus, un palimpseste du Sinaï important, bien que quelque peu négligé. L'édition est basée sur les images multispectrales post-traitées, produites par la Early Manuscripts Electronic Library (EMEL) en coopération avec le Lazarus Project. La nouvelle technologie a permis de corriger diverses erreurs dans l' editio princeps et de découvrir des éléments textuels et paratextuels jusqu'alors invisibles. [ABSTRACT FROM AUTHOR]

This paper is an analysis of Hamlet gliwicki [eng. Gliwice Hamlet] (Messel 2008) by the Polish-German writer Peter Lachmann (b. 1935). The article presents the genesis of the drama inspired by the fate of a Wehrmacht soldier lost during the Battle of Stalingrad in January 1942. This is the writer’s father Ewald Lachmann. In addition to the parodic means used in the play, the intertextual links between Gliwice Hamlet and William Shakespeare’s Hamlet are discussed, as well as the topoi of Shakespearean tragedy interwoven with episodes from Lachmann’s biography and events from the history of Gliwice. The figure of Hamlet takes on the role of a mask and functions as a universal archetype behind which the play’s creator himself hides. The bilingualism of Peter – the play’s protagonist – and the overlapping of two identities, Polish and German, are examined in terms of a palimpsest. The analysis shows that Lachmann’s drama is characterised by the lack of a linear course of events and their anchoring in a fluid, liminal space-time. The protagonist’s identity transformations are accompanied by the transformation of his immediate environment, as the German city of Gleiwitz turns into the Polish city of Gliwice.

A photo and three letters: these are the objects this contribution explores. The letters, one of which was handwritten, were sent to Florentine lawyer Carlo Alberto Viterbo between 15 May and 25 June, 1940, by Menghistu Isaac from Dr Faitlovith’s school in Addis Ababa. The correspondence, which evokes a spatial connection between Addis Ababa and Florence at a time marked by frenetic Italian colonial history, can be read as a sort of synecdoche in the history of Jews of Ethiopia (Beta Israel). The last of the letters was sent to Viterbo when he was no longer in Florence—he had in fact been arrested a few days previously and interned as a Zionist Jew in the Urbisaglia camp in Italy, where he remained until July 1, 1941. Anti-Jewish legislation, colonialism, historical and cultural fractures, migration and individual and collective memories of the past constitute the threads with which the letters are woven.

The article offers a rereading of recently published fragments of an Orphic poem discovered in a palimpsest from the library of St Catherine's Monastery in Sinai (Sin. ar. NF 66). In particular, it establishes that fragments 1-2 narrate a scene from Aphrodite's catabasis to the underworld in search for Dionysus, as well as clarifying details of the account of the Titans' attempt to lure Dionysus out in fragments 3-4. [ABSTRACT FROM AUTHOR]

The present article examines the drama Birds of a Kind by the Lebanese-Canadian author Wajdi Mouawad. It analyses the allegorical character of Wazzan which is based on the historical figure Leo Africanus, a Moroccan diplomat and polymath of Granadan origin who in the early 16th century was kidnapped by Christian pirates and offered to Pope Leon X. Following his conversion from Islam to Catholicism he became the first author to present Africa to the Europeans through his works, published under the patronage of two popes from the Medici family. Leo Africanus was introduced to Mouawad by the American scholar Natalie Zemon Davis. In her study Trickster Travels (2006) she discusses the ambiguity and the evasiveness of this enigmatic historical figure whose character she highlights through the story of the amphibious bird. It is a parable placed as the author’s paratextual notice at the beginning of The Book of Cosmography and Geography of Africa (1526 [1550]), Leo Africanus’s most important scholarly work, and in spite of many possible sources, it is definitely his own invention. This article aims to demonstrate how Mouawad distanced his dramatic character from the original figure – the historiographic image of a trickster – by changing the point of the aforementioned parable. The story of the amphibious bird in Birds of a Kind, told by Wazzan to a Jew who right before his death is revealed to have an Arabic origin, is transformed form the parable of a trickster into a legend of someone who manages to overcome prejudice in order to find his identity. For Mouawad, Wazzan personifies the reconciliation between Judaism and Islam, transmitting at the same time an idea of the world dreamed of by the humanism of the Renaissance and Enlightenment.

The article aims to discuss the Chinese culture inspirations in Polish and Portuguese modernist poetry. In the context of Polish-Portuguese literary relationships, late Romantic, Symbolic, Parnassianism-related and Oriental tendencies are presented in the works of a Portuguese poet Antón Feijó (1859–1917), with references to a selected aspect of Leopold Staff’s works (1878–1957). A historical-literary analysis is accompanied by literary and cultural comparative studies. Within the comparative method of presenting the Parnassian palimpsests, as 'The Chinese Lyric Book' ('Cancioneiro Chinês', 1890) by António Feijó and 'Chinese Flute' ('Fletnia chińska', 1922) by Leopold Staff are categorised, the thesis about the independent status of the works in question was built. Modernist visions of the Orient, understood to date a paraphrase or an adaptation of Chinese poetry read in translations from French, gain the status of original works. In view of blurring the differences between the European adaptations – Portuguese poem and Polish poetic prose, based on Oriental motifs drawn from two different French sources (translations): Judith Gautier’s and Franz Touissant’s works – and the Chinese original, the methodological approach to the text as to a palimpsest is justified. Feijó’s “Chinese Poetry” and Oriental poetic landscapes in Staff’s prose are therefore independent literary works, analysed in parallel, as mirror reflections of the fascination with the Orient’s culture. The literary works in question fully deserve the title of cultural texts, the recipient of which will be a Polish reader, a lover of poetry inspired by French Parnassianism.

Dieser Beitrag zeigt anhand ausgewählter Textbeispiele von JOSEPH ROTH und MILOŠCRNJANSKI, dass die dargestellten (post-)imperialen Räume in Roths Reportagen über den Westbalkan und CRNJANSKIS lyrischem Roman Tagebuch über Čarnojević weder als Völkerkerker noch – wie es in der kulturwissenschaftlichen Imperien-Forschung der Fall ist – als übernationale Räume jenseits des Nationalen zu begreifen sind. Mit Hilfe von Kosellecks Zeitschichten-Modell und des kulturwissenschaftlichen Konzepts des Palimpsests wird vielmehr gezeigt, dass Nationales und Imperiales auf komplexe Weise aufeinander bezogen sind. Es ist diese Überlagerung sowie die Gleichzeitigkeit des Ungleichzeitigen von Nationalem und Imperialem, aber auch deren Kollision, die den Palimpsest-Charakter des südöstlichen und östlichen Europas in den hier thematisierten Texten ausmacht.

The poetics of the telled history in the work of A.S. Byett The Djinn in the Nightigale’s Eye The article is devoted to the new modification of contemporary prose – its fragmentation and integrity, insertion stories, stories within the story and to its palimpsest structure. The author examines insertion stories as elements of main structure of Byatt’s fairy story The Gjinn in the Nightingale’s Eye, the composition and narrative strategy and other peculiarities according to the personage system, text organization, different discourses, palimpsest, allusions, ekphrasis, fragmentation and integrity. This fairy story represents the examples of variations of fragmentation and integrity, the palimpsest construction, the role of allusions in the modern text communicative connections with the cultural past and contemporaneousness.

Der Artikel ist der Genese und Transformation des Konzepts der historischen Poetik gewidmet, die in den Arbeiten des Akademikers A. N. Veselovskij gepragt worden ist. Der grandiose Entwurf des russischen Wissenschaftlers — die historische Poetik der Weltliteratur — wurde, bekannterweise, von seinem Autor nur teilweise verwirklicht, aber das von ihm geschaffene Modell der kulturhistorischen Entwicklung des asthetischen und kunstlerischen Bewusstseins wirkte in verschiedenen Formen des wissenschaftlichen Diskurses des 20. Jahrhunderts nach und verlor seine Bedeutung bis heute nicht. Im Gegensatz zur verbreiteten Meinung uber den positivistischen Charakter der Veselovskij — Methodologie werden jene Elemente seines Denkens hervorgehoben, die auf die Tradition der romantischen Geschichtsphilosophie zuruckgehen. Laut Veselovskij stellt die Weltliteratur keine Sammlung vereinzelter oder nur teilweise zusammenhangender Fakten dar, sondern ein dynamisches System, das eine Analogie mit dem Modell des Weltprozesses in der russischen Alleinheits-Metaphysik moglich macht: Vom anfanglichen Synkretismus uber Differenzierung und Trennung zur polyphonen „Einheit der Vielheit“ zur „transrationalen Einheit von Getrenntheit und Durchdringung“ (S. Frank). Das Konzept von Veselovskij leitet die Herausbildung des Problemfeldes ein, in dem unterschiedliche Ansatze der russischen Literaturtheorie mit Methoden und Konzepten der deutschen philosophischen Literaturwissenschaft sowohl auf der Ebene typologischer Zusammenhange, als auch auf der und kontaktbezogener Beziehungen korrelieren und beeinflussen. Dies gilt erstens fur das Konzept von drei aufeinanderfolgenden Typen des kunstlerischen Bewusstseins, die von Veselovskij skizziert, aber erst in der russischen Literaturwissenschaft der 1980 / — 1990er Jahre unter dem Einfluss von Ernst Robert Curtius begrundet wurde, zweitens, fur die Dichotomie von Stil und Synkretismus in Renate Lachmanns Studie „Literatur und Gedachtnis“ (1990), drittens fur die Analogie zwischen der „Poetik der Modalitat“ in der „Historischen Poetik“ (2001) von Samson N. Broytman und der „transzendentalen Texttypologie“ in „Die Asthetik der Moderne“ (2001) von Silvio Vietta.

The author discusses the poetical, ethical and political intricacies of staging a work by Elfriede Jelinek in Australia. He points to origin as an ambivalent pivot of artistic creativity. On the one hand, the examination of ›self‹ (or the supposedly ›known‹) and ›other‹ (or the ›unknown‹) becomes a source of inspiration in artistic diaspora; on the other hand, transgressing the threshold of the accepted at the place of arrival becomes a risk that is difficult to calculate. Sounding out this risky terrain in the context of the Australian discourse of indigeneity, the paper centres on the descision of casting an Indigenous actress in the role of ›Jackie‹ in the eponymous play by Jelinek, and reflects on the category of ›origin‹ as a fundamental element in judgements about the quality of artistic creation. [ABSTRACT FROM AUTHOR]

En este artículo se pretende rastrear la estética y actitud del movimiento infrarrealista en las novelas de Roberto Bolaño, mostrando su particular traducción a la narrativa en clave de humor. Se le prestará especial atención a las técnicas para posicionarse en contra de la cultura institucionalizada, formando lo que Bajtín denomina una descentralización del lenguaje a favor de un plurilingüismo, donde se distinguen mundos ideológicos en las voces del discurso. Unas de estas voces representan en ocasiones instituciones de la cultura oficial y otras se posicionan en contra, haciendo para ello uso de, por ejemplo, la parodia, la ironía o la caricatura.

Zwrócenie uwagi na przypadek Franza Kafki w kontekście pytania o właściwe lub niewłaściwe użycie literatury wydaje się zasadne o tyle, że praski pisarz z jednej strony powszechnie kojarzony jest jako ten, który polecił spalić całą swoją literacką spuściznę, z drugiej zaś stał się w XX wieku wręcz ikoną egzystencji na wskroś literaturą przesiąkniętej, z literaturą najsilniej związanej, realizującej się wyłącznie w twórczości. Przedmiotem artykułu jest zatem próba syntetycznego ukazania podejścia Franza Kafki do literatury. Pod tym hasłem należy rozumieć jednak nie tylko stosunek pisarza do własnej aktywności literackiej, ale i nie do końca jeszcze zbadany wpływ dostępnych Kafce lektur na jego twórczość. Wychodząc od rozważań na temat różnorakich nadużyć wobec utworów literackich i śledząc zmagania Kafki z przekleństwem własnego talentu, nieuchronnie dochodzimy do pytania o sens literatury jako takiej i o jej rangę w życiu – nie tylko samotnika z Pragi.

ENHuysmans has tried, with À rebours, to put into practice his will of renewal of the novel. In this perspective, he has used the resources of intertextuality in order to distance himself from what he calls “le roman romanesque”. The wish of des Esseintes to visit London is the occasion of an interplay of readings and re-readings that paves the way to an omnipresent intertextuality. The places visited by des Esseintes be¬come an open book and the other characters, in a vertiginous mise en abyme, become a mere scenery for des Esseintes, turned into a reader who revisits the world in the light of the novels of Dickens. Intertextuality thus becomes a diegetic element which creates also the comic dimension of this chapter. It also contributes to question the naturalist novel with the help of derision and parody.<<>>Huysmans a cherché avec À rebours à mettre en pratique sa volonté renouvellement du roman. Dans cette perspective, il a utilisé les ressources de l’intertextualité pour se distancer de ce qu’il appelle le « roman romanesque ». Le souhait de des Esseintes de visiter Londres est l’occasion d’un jeu de lectures et de relectures qui ouvre la voie à une intertextualité omniprésente. Les lieux visités par des Esseintes deviennent un livre ouvert et les autres personnages, dans une mise en abyme vertigineuse, deviennent un simple décor pour des Esseintes devenu lecteur d’un monde revisité à la lumière des romans de Dickens. L’intertextualité devient ainsi un élément diégétique qui s’inscrit parallèlement dans la création de la tonalité comique du chapitre. Elle contribue aussi à remettre en cause du roman naturaliste par la parodie et la dérision.

“Future is in the past…?” (A History of the World in 10 ½ Chapters by Julian Barnes; Vendredi ou la Vie Sauvage by Michel Tournier) The article is devoted to the new modification of postmodern Novel – “Novel-echo” and to its palimpsest structure. Ironical or positive discussion of the famous Theory of Natural Human by Jean-Jacques Rousseau, conceptions of Baruch Spinoza (later Benedict de Spinoza), Gaston Bashlar, Jean-Paul Sartre and Claude Levi-Strauss created the Palimpsest of the ideas and forms: for example such as versions and the fabulation. Creative experiments of Julian Barnes in A History of the World in 10 ½ Chapters and Michel Tournier in Vendredi ou la Vie Sauvage had determined not only the genre of the “Novel-echo” but narrative strategy and other peculiarities according to the personage system, temporal organization, different types of discourses (aesthetical, scientific, historical etc.). These novels give us the examples of the variations and complexity of the modern communicative connections with the cultural past and contemporaneousness.

“And who needs the little street like that and the tram to nowhere?” “Palimpsest places” in the guidebooks and city walk books for children The article’s main subject of analysis is the category of “palimpsest places” inscribed in guidebooks and walk books for children by Ewa Stadtmüller, Paweł Beręsewicz, Anna Czerwińska-Rydel, Marta Gaj, Katarzyna Kulik and Agnieszka Idziak. The article addresses two issues. The first part includes genological specificity of Baedeker and walker with particular emphasis on the works for children. These books represent an intermediate form between non-literary and literary texts, combine an informational and an educational function, an instruction of journey/trip/walk for a young tourist with the elements of literary creation of the city’s space. In the second part of the article author focuses on a problem of textological look at the geographical spaces (Warszawa, Kraków, Szczecin, Łódź, Poznań, Galicja, Otwock), which structure is similar to the palimpsest. These are the multicultural areas with multi-layered and ambiguous historical and cultural past. The writer refers to the metaphor of a “palimpsest place” taken from the works of Elżbeta Rybicka, as well as to the other conceptual tools developed on the basis of humanistic geography and geopoetry (space and place, toponymy, heterotopia).

A. Remizov’s fictional masks and stylistic strategies in A. Sinyavsky-Terts creative works A. Remizov’s works and life were perceived by A. Sinyavsky as a catalyst of creative ideas and a source of productive material for self-examination and self-identification. Some of his conclusions about the nature of Remizov’s creativity and his fictional masks might be interpreted as Sinyavsky’s own implicit auto-reflection, integrated in the process of close reading. The books Walks with Pushkin and Ivan the Fool. An outline of Folk Faith by A. Sinyavsky-Terts are analyzed in the article as texts containing some implicit parallels with A. Remizov’s creative strategies – namely his literary and life-creating masks.

After successfully completing her literary apprenticeship with 3rd place at the 2005 German International Poetry Slam, Lydia Daher has continually sought new and often experimental platforms for showcasing the potential of language. Among her major projects, she has published several volumes of poetry, a number of music albums, and most recently Daher applied an innovative method of 'sampling,' reminiscent of HipHop producers such as DJ Shadow or The Avalanches to produce a volume of text and picture collages entitled Und auch nun, gegenüber dem Ganzen - dies (2014). Each collage relies on the textual (and pictorial) material of just one literary review taken from the literary supplement of the most recent edition of a German weekly newspaper. Although Daher is aware of each text as the most recent part of sequence that stretches back through the literary review, the reviewed novel, and the novelist's source material, she recognises that this structure is mere illusion. To describe the completed collage, I invoke the theoretical framework of the palimpsest, for the collage is less a succession of parts than it is a structure of co-existence. Like the influential cut-up artist, William S. Burroughs, Lydia Daher further recognises that the surface structure closely mirrors the palimpsest of human perception. [ABSTRACT FROM AUTHOR]

Poetic „cross sections” – from Trembecki to Grochowiak The tactic of inquiring reading (close reading, explikation de texte) focuses mainly on the text’s subject – it is beneficial if it is of topical character. It is then easier to find and interprete intertextual connections which put some pieces together. In such reading of the chosen poems – Do Kossowskiej w tańcu by Trembecki and Król zabity by Grochowiak – we can see the classical high style of an enlightened poet and turpism, meaning the aesthetics of ugliness of the modern poet, who takes up the game with literary tradition. In this way, you can manage the history of literature…

Writing in the second degree and its communicational value in poetic discourse. The article takes a look at some poetic strategies pertaining to writing “in the second degree”, and their more general implications, mostly from a communicational perspective. The cognitive metaphor of palimpsest covers various forms of rewriting and absorption of discursive otherness. Against this theoretical background, the dialogic-communicative framework is deemed highly adequate for the comparative analysis as a whole and acquires renewed importance in the context of contemporary productions, where ironic double-voicedness, reported discourse, polyphony and intertextuality have become the very texture of poetic discourse. A new reading contract is established by the specificity of postmodern intertextuality, due to its inherent ambivalence towards previous texts. By drawing on examples from the Romanian poets Radu Andriescu, Mircea Cărtărescu and Alexandru Mușina, I argue that the differential re-enunciation of already codified texts and discourses relies, for its illocutionary and communicational impact, on the deliberate vacillation between pastiche and parody.

An article on the history of the field of Belarusian literature in the 20th century is presented using the the example of Marxist Belasrusian author Michas' Zarėcki. The author discusses the personal and professional history as well as the literary works of Zarėcki including a fragment of the novel "Kryvičy," as well as the book "Smerc' Andrėja Berazoŭskaha." The role of autonomy in the Belarusian literary scene is examined, and the author offers criticisms of the position-taking techniques used in Zarėcki's writings.

After the end of the war in Vietnam, socialist experts from around the world descended on the heavily bombed country to aid in the reconstruction of its demolished industry and infrastructure. Today, these material relics of socialist assistance reveal a dynamic landscape of urban design and building technology transfers. This essay examines the resulting global infrastructure-scape in Vinh City, central Vietnam, by focusing on two successive periods of urban destruction and renewal during the wars of independence against France and the United States. In the first period of socialist urbanization (1954–1964), the author examines international construction projects and efforts to transform the leveled township and its colonial ruins into a major industrial center. In the second period, after the end of the air war in 1973, the author analyzes the full-scale redesign and reconstruction of the city with the assistance of East Germany To better understand how these layered architectural histories continue to resonate in the lives of urban residents today, the author draws on the notion of the urban palimpsest to bring attention to the practices through which socialist constructions take on new use and meaning in a market economy, though often in unintended ways.