Sebastian Ziółkowski
Cahiers ERTA, Numéro 17, 2019, s. 117 - 137
https://doi.org/10.4467/23538953CE.19.009.10304Sebastian Ziółkowski
Cahiers ERTA, Numéro 20, 2019, s. 125 - 140
https://doi.org/10.4467/23538953CE.19.033.11557Sebastian Ziółkowski
Cahiers ERTA, Numéro 29, 2022, s. 152 - 175
https://doi.org/10.4467/23538953CE.22.006.15627Sebastian Ziółkowski
Cahiers ERTA, Numéro 31, 2022, s. 112 - 130
https://doi.org/10.4467/23538953CE.22.017.16505Sebastian Ziółkowski
Cahiers ERTA, Numéro 34, 2023, s. 227 - 245
https://doi.org/10.4467/23538953CE.23.020.17937Sebastian Ziółkowski
Romanica Cracoviensia, Tom 22, Numer 1, Tom 22 (2022), s. 43 - 51
https://doi.org/10.4467/20843917RC.22.004.15636Arthur Rimbaud and Dramatic Expressionism
The aim of this paper is to analyse some characteristics of the art of poetry by Rimbaud in the context of dramatic expressionism. The expressionist movement seems in fact to have inherited some concepts and motifs from the new aesthetic introduced by Rimbaud (poetic language revolution, a very personal vision of art where all the elements of the fictional world seem subordinated to fluctuations of the author’s psyche, subjectivism which abolishes the rules of the Aristotle’s mimesis, etc.). This new analytic perspective is particularly interesting because we can easily find realisation of the Rimbaudian vision of the new art of poetry in some pieces by such expressionist dramatic authors as Strindberg, Lenormand or Pellerin.
Sebastian Ziółkowski
Romanica Cracoviensia, Tom 20, Numer 1, Tom 20 (2020), s. 1 - 8
https://doi.org/10.4467/20843917RC.20.001.12170Time and space in L’Inconnue d’Arras by Salacrou. In search of traces of Dramatic Expressionism
The aim of this paper is to analyse the treatment of the categories of time and space in L’Inconnue d’Arras by Armand Salacrou [The Unknown Woman of Arras] in the context of the European Dramatic Expressionism. In the analysed drama Salacrou abandons the traditional vision of time and presents a sort of deconstructed time perspective in which events and situations from the life of the main character do not follow any chronological logic. As for his treatment of space, Salacrou establishes a spatial perspective which is situated beyond all material and realistic contours and which reminds us expressionist techniques of spatial structuration.