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Tom 17, Numer 2

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Tom 17 (2017) Następne

Data publikacji: 08.11.2017

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Barbara Markowska

Zastępca redaktora naczelnego Orcid Jakub Kornhauser

Sekretarz redakcji Jakub Kornhauser

Zawartość numeru

Paul Aron

Romanica Cracoviensia, Tom 17, Numer 2, Tom 17 (2017), s. 99 - 107

https://doi.org/10.4467/20843917RC.17.008.7690
New perspectives in Literary Studies
 
Where does philology go? This question inevitably arises in the context of a prestigious anniversary such as the 175th anniversary of French philology at Jagiellonian University in Krakow. This article outlines the new context in which the discipline takes place today and proposes some avenues to evolve philology in the sense of a discipline open to the present world. The article evokes research on ecocr­itics, geography of literature and relations between press and literature, a few trends to which his author devoted a part of his recent research.
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Michel Braud

Romanica Cracoviensia, Tom 17, Numer 2, Tom 17 (2017), s. 109 - 116

https://doi.org/10.4467/20843917RC.17.009.7691
Past and present in the personal diary: reading time
 
Autobiographical texts represent by definition real-life time. Nevertheless, retrospective autobiographies present bygone days at the time of writing, when personal diaries relate a close past or even record the immediate present. In the diary, present is a future past of which the diarist intends to read the transcription in an another time. The tracks of these second readings sprinkle diaries but do not exhaust the wait of a complete posthumous reading in which a reader will be the diarist double. It is thus important to protect the diary so that it survives his author, and any disappearance of the diary is perceived as a collapse of oneself.
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Renata Jakubczuk

Romanica Cracoviensia, Tom 17, Numer 2, Tom 17 (2017), s. 117 - 123

https://doi.org/10.4467/20843917RC.17.010.7692
The myth of Œdipus reversed? The case of Au retour des oies blanches by Marcel Dubé
 
Marcel Dubé forms part of the first generation of Quebec authors, and specifically Quebec playwrights, who have popularized the francophone theatre in North America. The apotheosis of his work belongs to the period of the Quiet Revolution in Quebec of the 1960s. Dubé becomes a spokesman of the entire Quebec people and the painter of the way of life of the inhabitants of this huge Canadian province. Nonetheless, he addresses universal issues related to intergenerational conflict, revolt, quest for identity, religion or love. The present study, based on the play entitled Au retour des oies blanches (1969), intends to analyse the dramaturgical functioning of myth, other form of “dialogue between texts and cultures”; to investigate sources of inspiration for Dubé, other form of rewriting and of intertextuality; and also to examine the structure of the play in order to deal with the issue of tragedy as a literary genre.
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Józef Kwaterko

Romanica Cracoviensia, Tom 17, Numer 2, Tom 17 (2017), s. 125 - 135

https://doi.org/10.4467/20843917RC.17.011.7693
« Le nègre débout » : the spirit of jazz and blues among the poets of the American Harlem Renaissance and the poets of Franco-Caribbean Négritude
 
This paper is devoted to the ideological and aesthetic affinities between the Afro-American poetry of Harlem Renaissance (1920–1960), called also the “New-Negro”, and the poetry of Negritude, a literary movement born in Paris in the 1930s’ among the poets coming from French Antilles and Madagascar, and particularly popular in the French Caribbean, Guyana and Haiti in the 1940s’–1960s’. I will start with the analysis of the historical context and I will focus on the personal contacts between the poets of the two literary movements as well as on the impact of the black American poetry on the French literary journals involved with Négritude (Légitime Défense, La Dépêche africaine, La revue du monde noir et Présence africaine). Subsequently I will analyze poems by Claude MacKay and Langston Hughes on the one hand, and Aimé Césaire (Martinique), Léon-Gontran Damas (Guyane), Jean Fernand Brière (Haiti) on the other. I will attempt to highlight the affinities between the two sets of poems, both on the thematic and ethical level (exile, identity issues, antiracist and anti-bourgeois claims), as well as on the level of poetics (interest in orality, similarities between the lexical fields and rhetoric, similarities in rhythmic structures and the musicality of the verse inspired by jazz and blues).
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Éric Lysøe

Romanica Cracoviensia, Tom 17, Numer 2, Tom 17 (2017), s. 137 - 147

https://doi.org/10.4467/20843917RC.17.012.7694
Debussy, the reader of Pelléas
 
This is a well-known story: a few days before the first performance, Maeterlinck had no words hard enough to describe the opera that Debussy created from Pelléas et Mélisande, the dramatist’s masterpiece. The critics, however, are too much inclined to reduce the causes of Maeterlinck’s anger to the expulsion of Georgette Leblanc, his mistress, who was to perform the first female role. The text of the play, which the composer almost always followed to the letter, has actually been cut and some amendments made by Maeterlinck to its 1892 text have not been taken into consideration. This paper aims at showing that, despite the apparent fidelity of the musical adaptation, the few variants inserted by Debussy generate a semiotic system and lead us to see the opera as a true translation, that is to say the transformation of a subordinate work into a source context and its adaptation to a target context. All typically “Belgian” aspects are blurred and attempts to make the unconscious emerge, as defined by Eduard von Hartman as early as 1869, are annihilated by the use of the leitmotif.
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Wiesław Mateusz Malinowski

Romanica Cracoviensia, Tom 17, Numer 2, Tom 17 (2017), s. 149 - 158

https://doi.org/10.4467/20843917RC.17.013.7695
Ubu rex vs Ubu roi – a dialogue of art genres, movements and periods 
 
This paper contrasts two artistic representations of the theme of the Polish king that appeared in France and Poland within a distance of a century, that is a musical vision of Ubu roi, composed in 1991 by Krzysztof Penderecki and his librettist Jerzy Jarocki in the German language opera entitled Ubu rex and its literary French original, Ubu roi, written by the playwright Alfred Jarry in 1896. This paper aims, first and foremost, at analyzing the style in which characters and events are presented and thereby the nature of a peculiar dialogue between these two works of art belonging to different periods, cultural backgrounds, and artistic genres.
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