The Early Graphic Works of Bruno Schulz and Sacher-Masoch’s Venus in Furs: Schulz as a Modernist

2009 ◽  
pp. 219-249
Keyword(s):  
Bruno Schulz

scholarly journals Opowieści o mieszkaniach z kręgu Schulzowskiego mitu

Schulz/Forum ◽  
2018 ◽  
pp. 101-116
Author(s):  
Jerzy Kandziora
Keyword(s):  
Bourgeois Culture ◽  
Bruno Schulz

The topic of the paper are descriptions of apartments pccupied by Bruno Schulz and his two friends, Emanuel Pilpel and Stanisław Weingarten, included in the letters written by eye-witnesses to Jerzy Ficowski. The perception of those interiors was ambivalent – some accounts stress the dark and unhealthy atmosphere of the house. Even though they come from Schulz’s friends, they prove that his otherness was not fully accepted by them. There are also descriptions made by open-minded young observers, mainly schoolboys, for whom Schulz’s den is a temple of goodness and art. The accounts of the apartments of Pilpel and Weingarten also show problems with accepting otherness. The analysis presented makes the reader realize the distance separating Schulz and his friends from the stereotypical bourgeois culture.

scholarly journals From Japanese Schulz to Polish Parnicki – around the year 1974

2019 ◽  
Vol 26 ◽  
pp. 487-500
Author(s):  
Tokimasa Sekiguchi
Keyword(s):  
French Literature ◽  
World Literature ◽  
Contemporary Literature ◽  
Witold Gombrowicz ◽  
Polish Literature ◽  
The World ◽  
Polish Language ◽  
The 1960S ◽  
Polish Government ◽  
Bruno Schulz

The major works by Bruno Schulz and Witold Gombrowicz were translated into Japanese in the 1960s, mainly by Yukio Kudō. I was enchanted by those Japanese texts to such an extent that I decided to abandon French literature and switch to Polish contemporary literature. In 1974, I came to Poland on a post-graduate fellowship of the Polish government, and I began studies in literature and the Polish language at the Jagiellonian University. During that two-year stay in Krakow, my view of Polish literature changed several times. The phase well established in the Japanese translations I had known ended quickly. Then I began to “hunt” for promising Polish authors not yet present in world literature. I thus discovered the prolific, esoteric and difficult Teodor Parnicki (1908–1988). This essay is my description of my “penetrating” the world of the Polish language at that time.

A Judaism of Ethics in a Post-Holocaust World: The Interplay of Literature and Theology in Cynthia Ozick's Messiah of Stockholm

AJS Review ◽  
2021 ◽  
pp. 1-20
Author(s):  
Claire E. Sufrin
Keyword(s):  
The Novel ◽  
Jewish Literature ◽  
Harold Bloom ◽  
The Past ◽  
Jewish Thought ◽  
Literary Theories ◽  
Literature And Theology ◽  
Relationship Of ◽  
Bruno Schulz ◽  
The Relationship

This article suggests that bringing Jewish literature and Jewish thought into conversation can deepen our understanding of each. As an illustration of this interdisciplinary methodology, I offer a reading of Cynthia Ozick's 1987 Messiah of Stockholm. I claim that Ozick has embedded an argument about the relationship of post-Holocaust Jewry to the past into the literary features of her novel. Her argument draws in particular upon Leo Baeck's account of Judaism as focused on the present and future in contrast to the worshipful approach to the past characteristic of other religions. At the same time, I offer a more nuanced take on the fear of idolatry so often noted in analyses of Ozick's work and situate that fear in relationship to the literary theories of her predecessor Bruno Schulz, who plays a key role in the novel, and her contemporary Harold Bloom.

Fresco Fiasco: Narratives of National Identity and the Bruno Schulz Murals of Drogobych

2003 ◽  
Vol 17 (4) ◽  
pp. 622-653
Author(s):  
Denise V. Powers
Keyword(s):  
World War Ii ◽  
National Identity ◽  
National Identities ◽  
Moral Rights ◽  
World War ◽  
Starting Point ◽  
Bruno Schulz

In May 2001, Yad Vashem's removal of portions of a recently unearthed mural painted during World War II by creative artist Bruno Schulz was enormously controversial, not only because of the questionable circumstances in which they were taken, but also because several parties had a legitimate claim to them. This article examines the dispute over the Schulz murals, illustrating how competing narratives of national identity—Polish, Jewish, and Ukranian—have infused the debate with particular intensity. Claims to the murals have been advanced largely on the basis of moral rights, which are grounded—explicitly or implicitly—in each nation's experience of collective suffering and victimhood. While not an exhaustive discussion of all the national dimensions of the debate, it is a starting point for understanding how the interplay of national identities shapes political claims in general, and underpins specifically the debate over the Schulz murals.

scholarly journals Three poems

1979 ◽  
Vol 8 (6) ◽  
pp. 21-26
Author(s):  
Jerzy Ficowski ◽  
Krystyna Wandycz ◽  
Keith Bosley
Keyword(s):  
The Third ◽  
Affirmation Of Life ◽  
The Cross ◽  
John's Gospel ◽  
Special Studies ◽  
Bruno Schulz ◽  
Folk Poetry

Jerzy Ficowski, born 1924, has published seven collections of poems in Poland. He has also published stories, essays, and translations from Rumanian ( folk poetry), Romany ( Papusza), Spanish ( Garcia Lorca), and Yiddish. He is now on the editorial board of Zapis. He has written special studies of gipsy folklore and of Bruno Schulz. A major concern is the relation between Christians and Jews, to which his eighth collection of poems, Odczytanie Popiolów ( ‘Reading the Ashes’) bears witness; this collection, banned in Poland, was published earlier this year in England (in Polish). The following poems are taken from Reading the Ashes. The use of the Hebrew name of Jerusalem in the first poem indicates that the journey spoken of is spiritual. The ‘seven words’ of the second poem are both the Seven Words from the Cross and the seven words of a young victim at Belzec extermination camp; the poem reverses the familiar declaration in John's Gospel that the darkness could not contain the light. The third poem is a triumphant affirmation of life: thanks to a dose of Luminal (phenobarbitone) the baby survives to echo God's reply when Moses asked his name.

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