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Number of results: 11
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Abstract

The article studies the problem of the Yekaterinoslav urban text formation in Russian literature. The image of the city in the poem by Alexander Pushkin Brothers‑Robbers is analysed; the real (historical) image of Yekaterinoslav is considered in correlation with the image depicted in the poem, determined are the functions of romanticist topoi in the creation of the Yekaterinoslav text, while revealed are the peculiar features of the formation of the urban myth within the Yekaterinoslav text itself. The process of shift from the image of a real Yekaterinoslav city to the image of the ideal (non‑material) one, from a “physical” image to the “metaphysical” is investigated. There is a process of poeticizing a small city in the work of art, representing the primary stage of forming a myth about the city. After analysing the correlation of the Yekaterinoslav myth with the aesthetic constants of romanticism (the motif of freedom and predatory liberty, images of the noble robber and rebellious character, the motif of rejection, correlation with the utopian tradition) we may conclude that within the poetics of the urban text Alexander Pushkin reinterprets and transforms the traditional categories of romanticist poetics. The author’s characterization of the robber character diminishes the romantic ideal, revealing the other, “trivial” nature and interpreting rebellion not as a rejection or desire for freedom, but as a crime. Such a twist in depicting the image of a rebellious character stipulates a different interpretation of the theme of freedom, transforming it into the theme of guilt and punishment. Thus, the motifs of rejection, rebellion and repentance, compositionally uniting the development and understanding of the theme of predatory liberty in the poem, are interpreted in the metaphysical image of the city. Such a function of the city image determines the peculiar narrative structure of the poem at the level of plot, composition and style.
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Authors and Affiliations

Анна Степанова
1
ORCID: ORCID

  1. Дніпро, Університет імені Альфреда Нобеля
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Abstract

The article is devoted to the research of the motif of deception in the fairy‑tales of the Polish and Ukrainian writer S. Ostashevskyi. The work offers arguments for the topicality of the research as well as for the choice of the analysis methodology. It also emphasizes the significance of studying the author’s creative works with a view to revealing those connections between Ukrainian and Polish culture which indisputably prove their kinship. Four types of the deception motif have been distinguished based on the collections of fairy‑tales Half‑a‑Kopa Fairy‑Tales for the Little World and Half‑a‑Hundred Fairy‑Tales for Jolly People. These types are as follows: “a creature with superpowers deceives people by appearing in front of them in an anthropomorphous, intentionally inferior, everyday image”, “an infernal character takes people in without changing its image but promising material benefits and solutions to people’s life problems in exchange for their own souls or their children’s souls”, “a person (usually, a woman) deceives/tries to deceive an infernal character or some supreme forces in general”, and “a person deludes another person”. The comparison of this material with the corresponding folklore and literary heritage has defined the specificity of using and transforming the deception motif by S. Ostashevskyi: dependence on the expression of the religious idea, comical play such as appears in the 19th‑century burlesque and travesty art, and reflection on the harmonious combination of Ukrainian and Polish folklore traditions.
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Authors and Affiliations

Oleksandra Nikolova
1
ORCID: ORCID
Yana Kravchenko
1
ORCID: ORCID

  1. Zaporizhzhia National University
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Abstract

The article examines diverse relations between Cynthia Ozick’s The Shawl and the final distich of Paul Celan’s “Deathfugue,” which the American writer chose as an epigraph to her Holocaust prose. An intertextual analysis of both texts (which relate to each other in a midrash-like manner) demonstrates the existence of numerous parallels in the language and imagery used by both authors, as well as their identifiable references to the motif of “Death and the Maiden,” which can be found in German paintings (Grien, Deutsch) and music (Bach, Schubert, Wagner).
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Authors and Affiliations

Jacek Partyka
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Abstract

Contemporary design of food labels use different landscape pictures. Using the landscape in trade and market as a way of serving the message has long history and is very common. It was the main reason to create the concept of consumers landscape. According to research results two basic landscape images were observed — images of real landscape (pictures of recognizable and existing places, sites, cities, buildings, etc.) and images of imaginary landscape (imaginary view suggesting the certain type of landscape). The results of conducted researches could be helpful in recognizing the difference between real landscape and imaginary landscape. Conducted researches could be used not only in landscape architecture, but also in trade and marketing. Wide range of phenomenon called consumers landscape allows for expanding the studies on the dependency between a landscape vista and recognizing and selling the product.
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Authors and Affiliations

Anna Gałecka-Drozda
1
Ewa De Mezer
2

  1. Poznan University of Life Sciences, Department of Landscape Architecture
  2. Association of Polish Landscape Architects, Greater Poland Branch
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Abstract

The article reveals the peculiarities of the urban text in Isaac Babel’s Odessa Stories. The image of Odessa is analyzed as a poetological dominant of the cycle. The originality of the artistic image and the text of Odessa is considered as the relationship between the semantic setting in the social and cultural focus, the historical image of the city and its perception in the minds of townspeople. Thus, the author focuses on the space locus that serves as a marker of the Odessa text and identifies the city of Odessa (Moldavanka, Peresyp, Privoz), the images of the Odessa landscape in their symbolic interpretation and the image of Odessa man as closely related components of the artistic structure of the cycle and the Odessa text itself. Analysis of the stories distinguishes that the meaning‑forming and structure‑forming functions of the Odessa topoi are subordinated to a single goal – to create and typify the image of Odessa man. What is important is not the city itself as a socio‑cultural organism, but its perception in the urban consciousness. The key fact to reveal the specifics of the Odessa text and the Odessa consciousness is the idea of the decline – the collapse of the communal and tribal consciousness as the decline of the Odessa ethnos realized in the conflict of personal and social principles, the inverse comprehension of Rabelaisian corporality motif, the images of the sunset landscape and in the irony, which discredits as false both the gang life romance and the appearing concept of a new world. The city depicted by I. Babel on the threshold of the 1917 revolution is interpreted as a city at the decline of culture. The writer depicts the end or the decline of old Odessa through the end of Odessa man and the collapse of the Odessa ethnos. Thus, in I. Babel’s Odessa cycle, there is a transformation of the traditional image of sunny Odessa into the image of a city fallen into decline. The features of the image of Odessa man regarded as indications of the declining culture are determined in the article.
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Authors and Affiliations

Anna Stepanova
1
ORCID: ORCID

  1. Dnipro, Alfred Nobel University
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Abstract

This paper is dedicated to a study of the religious layer in I. Ilf and E. Petrov’s novel The Twelve Chairs. The analysis provided leads to a deeper understanding of the novel as a travesty. First of all, the few existing works devoted to the problem of biblical referencing in The Twelve Chairs are listed and summarised. Secondly, these existing works will be supplemented with previously unmentioned and unstudied allusions. Following on from the religious aspects considered are: the novel’s title, the parallel between Jesus and Ostap Bender, the character of Fedor Vostrikov, the story of the ‘hussar‑monk’ and several biblical allusions contained in The Twelve Chairs. Finally, in the last part of our research, all the religious motifs are classified in order to further an understanding of the authors’ attitude towards the Bible. In conclusion, we determine the nature of the perception of the Bible in The Twelve Chairs.
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Authors and Affiliations

Маргарита Шанурина
1
ORCID: ORCID

  1. Московский Государственный университет им. М. Ломоносова
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Abstract

The aim of the article is to analyze the motif of the road in the poetry of Gisella Lachman (1893‑1969), a poet belonging to the “first wave” of Russian emigration. It plays an important role in the constructed reality of her poems; the road appears in a literal and figurative sense – as a synonym for travel and an allegory of human life. It is used by the poet when she writes about interpersonal relationships, loneliness and longing for long unseen loved ones. Lachman creates her own “philosophy of the road”, to her being on the road is a metaphor of human existence, the formation of personality and the exploration of the world. Seen from that perspective Lachman’s poetry can be interpreted as a lyrical travelogue.
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Bibliography

Bauman Z., Dwa szkice o moralności ponowoczesnej, Warszawa 1994.
Bugayeva L.D., Mifologiya emigratsii: geopolitika i poetika, [v:] Ent‑Grenzen. Intellektuelle Emigration in der russischen Kultur des 20 Jahrhundrets [Za predelami. Intellektualʹnaya emigratsiya v russkoy kulʹture XX veka], red. L. Bugaeva, E. Hausbacher, Frankfurt am Main 2006.
Burszta W.J., Czytanie kultury. Pięć szkiców, Łódź 1996.
Eliade M., Sacrum, mit, historia. Wybór esejów, wyboru dokonał M. Czerwiński, wstępem opatrzył B. Moliński, przełożyła A. Tatarkiewicz, Warszawa 1970.
Horodecka M., Instynkt i filozofia podróżowania w twórczości Ryszarda Kapuścińskiego, [w:] Dziedzictwo Odyseusza. Podróż, obcość i tożsamość, identyfikacja, przestrzeń, red. M. Cieśla‑Korytowska, O. Płaszczewska, Kraków 2007.
Karpiński W., Pamięć Włoch, Kraków 1982.
Kochubey Yu., Dunoveniye Serebryanogo veka. Vstupitelʹnoye slovo, [v:] G.S. Lakhman, Izbrannaya poeziya, Kiyev 1997.
Koler G.B., Vezdesushchnostʹ i glubina: «Puteshestviye v neizvestnyy kray» Yuriya Terapiano v kontekste travelogov russkoy emigratsii, [v:] Beglyye vzglyady. Novoye prochteniye russkikh travelogov pervoy treti XX veka. Sbornik statey, red. V.S. Kisselʹ, perevod G.A. Time, Moskva 2010.
Kowalski P., Odyseje nasze byle jakie. Droga, przestrzeń i podróżowanie w kulturze współczesnej, Wrocław 2001.
Leving Yu., «Akhmatova russkoy emigratsii» – Gizella Lakhman, «Novoye Literaturnoye Obozreniye» 2006, № 5.
Ligęza W., Poeta emigracyjny: role i wyobrażenia, [w:] Literatura a wyobcowanie, red. J. Święch, Lublin 1990.
Lubecki M., Motyw drogi we współczesnej filozofii niemetafizycznej. „Wege, nicht werke” Martina Heideggera, „Zeszyty Naukowe Towarzystwa Doktorantów Uniwersytetu Jagiellońskiego – Nauki Humanistyczne” 2011, nr 1.
Mayga A.A., Literaturnyy travelog: spetsifika zhanra, „Filologiya i kulʹtura. Philology and Culture” 2014, № 3.
Nabokov V., Tamte brzegi, tłum. E. Siemaszkiewicz, fragmenty z angielskiego tłum. A. Kołyszko, [b.m.w.] 1986.
Ndiaye I.A., Hipertrofia tęsknoty za utraconym domem w poezji emigrantów rosyjskich „pierwszej fali“, Olsztyn 2008.
Ndiaye I.A., «Chemodannaya zhiznʹ» russkikh emigrantov v «Vospominaniyakh» Teffi, [w:] Twórczość Rosyjskiej Zagranicy – satyra i memuarystyka, red. T. Marczenko, I.A. Ndiaye, D. Nikołajew, Olsztyn 2018.
Pasquali A., Le Tour des Horizons. Critique et récits de voyage, Paris 1994. Sławiński J., Przestrzeń w literaturze: elementarne rozróżnienia i wstępne oczywistości, [w:] Przestrzeń i literatura: tom poświęcony VIII Kongresowi Slawistów, red. M. Głowiński, A. Okopień‑Sławińska, Wrocław 1978.
Smirnova A.I., Motiv puteshestviya i metafizika stranstviya v proze Gayto Gazdanova, [v:] Travelogi: retseptsiya i interpretatsiya. Sbornik statey, red. E.F. Shafranskaya, Sankt‑Peterburg 2016.
Yufereva E.V., Dinamika puteshestviy v stikhakh: zhanrovyy i geopoeticheskiy aspekty, [v:] Eadem, Dinamika periferiynykh zhanrov v russkoy poezii vtoroy poloviny XIX veka. Monografiya, Kiyev 2014.

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Authors and Affiliations

Jolanta Brzykcy
1
ORCID: ORCID

  1. Toruń, Uniwersytet Mikołaja Kopernika
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Abstract

The article is an attempt to present Józef Czechowicz’s relationships with the early works of Oleh Olzhych from the Камінь (1932) and Бронза (1932) cycles, preceding his debut collection of poems entitled Рінь (1935). Oleh Kandyba’s poems became the subject of interest of Polish literary circles as early as in the 1930s. His poems were translated mostly by writers associated with the Kamena magazine based in Chełm, a group whose member was also Józef Czechowicz. Kandyba’s poetry, described as “tragic optimism,” is to a large extent analogous with the works of the poet from Lublin. Both authors include apocalyptic and Arcadian motifs in their poems. Their compositions, based on contrast, are accompanied by Biblical and classical motifs, in which the imagery of stone played a special role. Both Olzhych and Czechowicz took care over the clarity of their poetry and focused on the right choice of words. Poems provided them with a means of escape from the realities of war and constituted a kind of an appeal to the nation.

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Authors and Affiliations

Anna Choma-Suwała
ORCID: ORCID
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Abstract

Despite the tormented national reality, the faith in the future redemption of Poland and the idea of change and purification gave birth in the works of the Polish romantics to the hope of salvation, of the advent of the divine kingdom on Earth. Undoubtedly an idea contributed to the birth of this optimistic vision, that was the conception of a Poland like the “Christ of the nations”, which took hold in the new mystical atmosphere of the early nineteenth century and which was combined with Christian eschatologism, revolutionary aspirations and hopes for the future redemption of history. The apocalyptic and millenarian motifs present in the Divine Comedy undeniably played a part in strengthening the messianic ideas of the romantics: the present from a fertile ground for evil and chaos, through suffering and destruction, became the privileged moment of expiation that prepared the advent of the city of God. The paper aims to analyze some motifs from Dante’s Paradise which inspired some of the most stunning pages of Polish romantic literature.
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Authors and Affiliations

Andrea F. de Carlo
1
ORCID: ORCID

  1. Università degli Studi di Napoli L'Orientale
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Abstract

This article presents the results of a search aimed at identifying the original publication details of Maria Konopnicka's reportages included in Ludzie i rzeczy ( People and Things), a book of her short stories and journalism published in 1898. It has been found that “Na kwiatowej giełdzie” (The Flower Festival [in Nice]) was published in Kurier Warszawski, 1893, No. 103–104; “Akwileja” (Aquileia [Italy]) in Kurier Warszawski, 1895, No. 103, pp. 5–6, while “Po drodze” (On the way [Admont Abbey, Austria]) was originally published in Wędrowiec, 1892 (No. 46–50), and “Chryzantemy” (Chrysanthe-mums) in Kurier Warszawski, 1894, No. 1. A discussion of the motif of flowers and flower shows is based on these and Konopnicka's other texts. In her work flowers functioned as a visual representation of thought, which enabled her to establish a connection between nature, human beings and culture (whose development was conditioned by the economy).
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Bibliography

Bibliografia

● M. Konopnicka, Akwileja „Kurierze Warszawskim” 1895, nr 103.
● M. Konopnicka, Chryzantemy, „Kurier Warszawski” 1894, nr 1.
● M.K. [M. Konopnicka], Kwiaty jako środek wychowawczy, „Świt: Część Modna i Gospodarczo-Przemysłowa” 1885, nr 45.
● M.K. [M. Konopnicka], Nizza: Korespondencja własna „Kuriera Warszawskiego”, „Kurier Warszawski” 1893, nr 103–104.
● M. Konopnicka, Pisma zebrane, pod redakcją A. Brodzkiej. 4. Nowele T. IV: Opowiadania, szkice, obrazki: Ludzie i rzeczy, Na normandzkim brzegu oraz inne opowiadania, Warszawa 1976.
● M. Konopnicka, Po drodze „Wędrowiec” 1892 (nr 46–50).
● M.K. [M. Konopnicka], Warszawskie i paryskie kwiaty, „Świt: Część Modna i Gospodarczo--Przemysłowa” 1885, nr 45.

Opracowania

● Biliński B., Marii Konopnickiej Kolumbowe reportaże z „Uroczystości imienia Kolumba” (Genua 1892), [w:] Maria Konopnicka: Nowe studia i szkice, red. J.Z. Białek T. Budrewicz, Kraków 1995, s. 19–38
● Baculewski J., Maria Konopnicka, Warszawa 1978.
● Bobrowska B., „Wilno i Werki” – czyli Konopnickiej wędrówka po ziemi i niebie, [w:] Miejsca Konopnickiej – przeżycia – pejzaż – pamięć, red. T. Budrewicz, M. Zięba, Kraków 2002, s. 101–111.
● Bordzoł P., Odwrócone decorum. „Obrazki więzienne” i „Za kratą Marii Konopnickiej, [w:] Etnos i Psyche w twórczości Marii Konopnickiej i Elizy Orzeszkowej, red. G. Marchwiński i D.M. Osiński, Warszawa 2012, s. 77–96.
● Czapczyński T., Tułacze lata Marii Konopnickiej: Przyczynki do biografii, Łódź 1957.
● Chyra-Rolicz Z., Maria Konopnicka: Opowieść o niezwykłej kobiecie, Siedlce 2012.
● Konopnicka M., Listy do synów i córek, Opracowała, wstępem i przypisami opatrzyła L. Magnone, Warszawa 2010.
● Rejter A., Jednorodność stylistyczna tekstu a problem złożoności gatunku mowy (Na przykładzie „Listów z podróży” Marii Konopnickiej), „Poradnik Językowy” 1996, nr 7, s. 59–67;
● Sikora I., Przyroda i wyobraźnia: O symbolice roślinnej w poezji Młodej Polski, Wrocław 1992
● Skotnicka G., Marii Konopnickiej relacja z pewnej podróży, [w:] Maria Konopnicka: Nowe studia i szkice, red. J.Z. Białek T. Budrewicz, Kraków 1995, s. 39–49.
● Sztachelska J., „Reporteryje” i reportaże: dokumentarne tradycje polskiej prozy 2 poł. XIX i na początku XX wieku (Prus – Konopnicka – Dygasiński – Reymont), Białystok 1997.
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Authors and Affiliations

Tadeusz Budrewicz
1
ORCID: ORCID

  1. Uniwersytet Pedagogiczny im. KEN w Krakowie
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Abstract

The thread that runs through this article is made of silk, a fabric with a fascinating history of origins in China and a long record of projects aimed at organizing and mechanizing its production in Europe. The silk motif recurs throughout 19th century literature. As an object of realist description it gives the writer the opportunity to explore its sensuous material appeal and, also, to create around it a web of additional references and associations. For Honoré de Balzac and Bolesław Prus silk carries connotations of elegance, social status and social aspirations. In the fiction of Eliza Orzeszkowa it is one of the regularly recurring elements of descriptions of outward appearance of characters. It can interpreted as a mechanical repetition or, perhaps, the foregrounding of the stereotype meaning of silk intended as an invitation to the moral judgment of characters furnished with that mark.
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Authors and Affiliations

Małgorzata Sokalska
1
ORCID: ORCID

  1. Uniwersytet Jagielloński, Kraków

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