“Masochistic Art of Fantasy”: The Literary Works of Bruno Schulz in the Context of Modern Masochism

2004 ◽  
Vol 55 (4) ◽  
pp. 469-501 ◽  
Author(s):  
S.D. Chrostowska
Keyword(s):  
Literary Works ◽  
Bruno Schulz

scholarly journals Dlaczego się tłumaczy ponownie: nowe ukraińskie odczytania polskiej prozy

1970 ◽  
Vol 9 (1) ◽  
Author(s):  
Andrij Saweneć
Keyword(s):  
Short Stories ◽  
Literary Culture ◽  
Critical Reception ◽  
Literary Translation ◽  
Literary Works ◽  
Significant Aspect ◽  
Contemporary Practice ◽  
Short Time ◽  
Bruno Schulz

Why to Retranslate: New Ukrainian Renderings of Polish ProseThe paper focuses on the issue of retranslation perceived as a significant aspect of contemporary practice of literary translation into Ukrainian, exemplified by the cases of the retranslation of short stories by Bruno Schulz and Tadeusz Konwicki’s Minor Apocalypse. The emergence of new translations within a short time encourages questions about the ambitions that drove translators and publishers to present new translations of the previously translated literary works, as well as about the strategies used by translators.KEY WORDS: retranslation, Bruno Schulz, Tadeusz Konwicki, critical reception of translation, Ukrainian literary culture

scholarly journals „Tak bliscy mi, jak sam sobie jestem bliski”. Jachimowicz o Schulzu i borysławskim „zagłębiu poetyckim”

Schulz/Forum ◽  
2019 ◽  
Author(s):  
Stanisław Rosiek
Keyword(s):  
The Other ◽  
Literary Works ◽  
Other Hand ◽  
The World ◽  
Bruno Schulz ◽  
Literary Experience

The paper is an extended comment on Marian Jachimowicz’s “Reminiscence of Bruno Schulz.” On the basis of ample unpublished archive materials, the author reconstructs Jachimowicz’s biography, paying the most attention to the period of 1938–1942, when Jachimowicz as an aspiring man of letters had close friendly contacts with Schulz as well as other artists and writers of the Drogobych and Borysław region, known as the “Borysław Poetry Zone” (Marek Zwillich, Anna Płockier, Henryk Wiciński, Juliusz Wit, Artur Rzeczyca, and others). It turns out that his relationship with Schulz was a formative literary experience for the young poet. As he admits, it was thanks to the access to Schulz’s library and his recommendations, that he came across the books by poets who became important for his own development. Meeting Schulz was also important for another reason: he was the first “great artist” whom Jachimowicz met in person, knowing his literary works – Cinnamon Shops and A Sanatorium under the Sign of the Hourglass – and appreciating them highly. Jachimowicz’s attitude to Schulz was ambiguous, and this is what the present paper is mainly about. Starting with an analysis of an unpublished “source reminiscence” of 1948, the author approaches its subsequent versions published in journals (Twórczość, 1958 and Poezja, 1966). It was characteristic for Jachimowicz that his imagination and memory, fixed upon Schulz for several decades, pictured the Drogobych writer as “approaching.” Particularly in the first version of his text, Jachimowicz describes Schulz’s physique, doing it in a shockingly brutal, even abjectal, way. On the other hand, his essays demonstrate a more and more intense tone of mourning. The world of Drogobych and Borysław, to which both Jachimowicz and Schulz belonged before the war, appears in them as an irrevocably lost Arcadia, the only reality where the former did not feel all alone.

scholarly journals Schulz na scenie

Schulz/Forum ◽  
2019 ◽  
Author(s):  
Wojciech Owczarski
Keyword(s):  
Recent Decade ◽  
Literary Works ◽  
Theatrical Performances ◽  
Theater Directors ◽  
Bruno Schulz ◽  
Contemporary Artists

The aim of this paper is to answer the question why theatrical performances based on the literary works of Bruno Schulz usually turn out disappointing. It was first posed by Jerzy Jarzębski 25 years ago. The author of the present paper discusses Jarzębski’s theses and proposes his own explanation. He disagrees with a claim that Schulz’s fiction is “unstageable” by nature. In the era of post-dramatic theatre, the idea of “unstageability” is evidently anachronistic. Therefore, the author demonstrates that there must be something wrong in the theater directors’ approaches to Schulz and his works. An analysis of several performances from the recent decade – directed by Petr Boháč, Robert Drobniuch, Konrad Dworakowski, Edyta Janusz-Ehrlich, Tomasz Kajdański, Jacek Krawczyk, Leszek Mądzik, Jan Szurmiej, Piotr Tomaszuk, Julia Wernio, Ingmar Villqist and Rudolf Zioło – leads to a conclusion that contemporary artists who deal with Schulz are unable to look at him from a distance and free themselves from his influence. They are simply too passive to create an autonomous theatrical vision in which Schulz’s literary world would be only a component and not the dominant substance. For this reason, their theatrical adaptations remain unsuccessful. In Polish theater there was only one artist who became a real partner for Schulz, strong enough to face his genius –Tadeusz Kantor. In his Dead Class (1975), Kantor managed to “utilize” the poetics of Schulz’s stories to create his own, original, and totally independent narrative. Since that time, each director who wants to stage Schulz’s literary works has had to struggle not only with the author of The Cinnamon Shops, but also with the leader of the Theater of Death. And this is, indeed, a very difficult task.

The Qur'an in the Novels of Naguib Mahfouz (in Arabic)

2014 ◽  
Vol 16 (3) ◽  
pp. 126-104
Author(s):  
M.A.S. Abdel Haleem
Keyword(s):  
Creative Writing ◽  
Nobel Prize ◽  
Literary Works ◽  
Modern Education ◽  
Ubiquitous Presence ◽  
Structural Aspects ◽  
Artistic Talent ◽  
Naguib Mahfouz

With a rich, productive career spanning over 60 years, culminating in the award of the Nobel Prize for Literature in 1988, Naguib Mahfouz's literary works have naturally attracted numerous studies and critiques. These studies have covered a great many aspects of Mahfouz's creative writing, but, perhaps because of the secular, modern education Mahfouz received (both at school and in the Department of Philosophy in Cairo University), and his personal lifestyle, they have concentrated on the socialist, materialist, and structural aspects of his work. Perhaps because of this, one important aspect of his writing has largely escaped attention: his artistic use of the language of the Qur'an. Mahfouz does not signal that a given phrase or reference is Qur'anic, leaving it to blend with the text, and making it easy to miss the fact that the Qur'an played any part in Mahfouz's use of language. However, to a reader who knows the Qur'an by heart the presence of Qur'anic language in his works is obvious, and equally obvious is Mahfouz's artistic talent in using it. Eventually, he himself announced at the end of his life that he had always had an intimate interest in the Qur'an, read it daily, and benefited from it. This article seeks to demonstrate the ubiquitous presence of Qur'anic language in Mahfouz's works, and the skill and subtlety with which he used it.

New Morning: Optimism and Resilience in Tony Richardson's A Taste of Honey and The Loneliness of the Long Distance Runner

2014 ◽  
Vol 11 (2-3) ◽  
pp. 378-396 ◽  
Author(s):  
Robert Murphy
Keyword(s):  
Small Town ◽  
Distance Runner ◽  
New Wave ◽  
Long Distance ◽  
Literary Works

Tony Richardson's major contribution to British and international cinema has been obscured by jejune prejudices over his small-town, north of England origins, his parallel career as a theatre director and his eclectic choice of film subjects. This article concentrates on his two most important contributions to the ‘British New Wave’ – A Taste of Honey and The Loneliness of the Long Distance Runner – in order to demonstrate Richardson's ability to recreate dramatic and literary works as dynamic and innovative films.

“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome

2014 ◽  
Vol 55 (1-2) ◽  
pp. 17-26
Author(s):  
Paul W. Merrick
Keyword(s):  
Literary Works ◽  
The Real ◽  
English Poet ◽  
Byronic Hero ◽  
Public Enemy ◽  
The Face ◽  
Narrative Poem ◽  
Positive Force

The influence of Byron on Liszt was enormous, as is generally acknowledged. In particular the First Book of the Années de pèlerinage shows the poet’s influence in its choice of Byron epigraphs in English for four of the set of nine pieces. In his years of travel as a virtuoso pianist Liszt often referred to “mon byronisme.” The work by Byron that most affected Liszt is the long narrative poem Childe Harold’s Pilgrimage which was translated into many languages, including French. The word “pèlerinage” that replaced “voyageur” is a Byronic identity in Liszt’s thinking. The Byronic hero as Liszt saw him and imitated him in for example Mazeppa and Tasso is a figure who represented a positive force, suffering and perhaps a revolutionary, but definitely not a public enemy. Liszt’s life, viewed as a musical pilgrimage, led of course to Rome. Is it possible that Byron even influenced him in this direction? In this paper I try to give a portrait of the real Byron that hides behind the poseur of his literary works, and suggest that what drew Liszt to the English poet was precisely the man whom he sensed behind the artistic mask. Byron was not musical, but he was religious — as emerges from his life and his letters, a life which caused scandal to his English contemporaries. But today we can see that part of the youthful genius of the rebel Byron was his boldness in the face of hypocrisy and compromise — his heroism was simply to be true. In this we can see a parallel with the Liszt who left the piano and composed Christus. What look like incompatibilities are simply the connection between action and contemplation — between the journey and the goal. Byron, in fact, can help us follow the ligne intérieure which Liszt talked about in the 1830s.

Sign in / Sign up

Export Citation Format

Share Document