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Studia Litteraria Universitatis Iagellonicae Cracoviensis

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Volume 12, Issue 3

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2017 Następne

Data publikacji: 22.01.2018

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Celina Juda

Sekretarz redakcji Anna Car

Zawartość numeru

Vesna Cakeljić

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 12, Issue 3, 2017, s. 165 - 174

https://doi.org/10.4467/20843933ST.17.013.7579
Maalouf’s Disoriented between the Homeland and the Land of Exile
 
 
“A stranger, always a stranger, unavoidably, in the land of my birth as well as in the land of exile”, said the protagonist of Amin Maalouf’s latest novel The Disoriented, weaved around the recurring Maalouf’s topics such as exile and identity. With an image of an ambassador of migrants, the author examines the relationship between those who left their country because of war, and those who stayed, loyal to their native land but faced with tough choices. This article first tackles the attitude of the French writer towards various notions of the exile concept, and then it sets out some paths of reflection concerning real or supposed affiliations of this novel’s characters trapped between different realities of a multi-ethnic state in which various advocates of tribal views of identity confront each other. Are those who have lost their Orient really “disoriented”? What is the impact of the native affiliation on the identity construction? Who is more “Levantine” in The Disoriented: those who have stayed and replaced their cosmopolitan visions with a narrow affiliation or those who have left in order to live elsewhere taking with them the substratum of a plural identity open for the universal?
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Monika Coghen

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 12, Issue 3, 2017, s. 175 - 185

https://doi.org/10.4467/20843933ST.17.014.7580
Abstract 
The aim of this paper is to track down the fortunes of cross-cultural transmission of The Wife of Bath’s Tale in the course of the 18th century. The continental interest in the tale was sparked off by Dryden’s adaptation in his Fables, Ancient and Modern (1700). Dryden’s version was rewritten by Voltaire as Ce qui plait aux dames (1764), which in turn was translated into Polish by Julian Ursyn Niemcewicz, and appeared in his collection Pisma różne wierszem i prozą (Various Writings in Verse and Prose, vol. I, 1803) as Co się damom podoba (What Pleases the Ladies). This trajectory of the Polish reception of Chaucer’s tale confirms the characteristic pattern of adaptations and translations of English literary works into Polish – from English through French into Polish, though it is not typical of Niemcewicz’s practice as a translator as he was one of the very few Polish translators translating directly from the English at the time. Thus, paradoxically to the 21st-century reader, the first, to my knowledge, Polish adaptation of The Wife of Bath’s Tale does not reveal an interest in Chaucer but rather confirms the dependence of late 18th- and early 19th-century Polish writers on French literary models. Likewise, differences in the representation of gender relationships between Chaucer’s romance and its eighteenth-century versions reveal that the agenda of the eighteenth-century adapters was rather catering to the taste of their contemporaneous readers than engaging with medieval English culture.
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Alina Ielisieieva

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 12, Issue 3, 2017, s. 187 - 197

https://doi.org/10.4467/20843933ST.17.015.7581
Abstract
To achieve its cathartic effect tragedy must communicate and elicit emotions. Any dramatic utterance, treated as an act of communication within the represented world, rests on the interaction of two inseparable, accordant, and interrelated systems – language and emotions. Language can name and verbalize emotions in order to construct them in the dramatic world, but to create a linguistic image of a believable emotional utterance the language a character speaks must appear to be influenced and shaped by emotions. Further, that mimetic representation of emotion through language must be understood by the audience. To achieve this, dramatic language must either rely on conventional linguistic means used to express emotions or create its own code that will be decoded by the audience. The audience will vicariously experience the characters’ emotions by recognizing them in their language and actions. 
The emotionally dynamic image of Othello, one of the most passionate men of Elizabethan drama, is created primarily by the language he uses. To follow the changes in the syntax and the semantics of his language as the action of the play develops is to observe the transformation of the character from a loving and caring husband into a jealous beast that knows no mercy. 
The article will offer an analysis of the pragmalinguistic representation of jealousy in Othello’s language and show how his discourse changes in the text. The analysis will rely on basic pragmatic categories and consider Othello’s use of directives, assertives, expressives, etc. The emotional change in Othello will also be illustrated by a brief study of the change in his syntax and his vocabulary: from balanced rhetorics and sophisticated words to erratic speech and expletive swearwords.
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Fritz König

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 12, Issue 3, 2017, s. 199 - 208

https://doi.org/10.4467/20843933ST.17.016.7582
Abstract
This paper is based on a Memorandum about Conditions Regarding Prostitution, published by the Federation of German Women’s Associations in 1904. This publication makes it evident that German women had organized into a political force to be reckoned with in the future. The topic is prostitution. Prostitution, obviously, should be fought, brothels (advocated by German physicians and sociologists) should be abolished, but so called “free prostitution” should be tolerated for the time being, because its eradication is a distant goal.
the paper then tries to outline the literary treatment of prostitution and women’s cause in general in Wilhelminian/Victorian Europe, discussing such works as Ghosts by the Norwegian Henrik Ibsen, Bahnwärter Thiel by Gerhart Hauptmann, Wuthering Heights by Emily Brontë, Effi Briest by Theodor Fontane, Lieutenant Gustl by the Austrian Arthur Schnitzler, and Nana by Emile Zola. All these works, and, of course, many other could have been considered, explore the fate of women and their social repression in the late 19th and early 20th centuries.
The paper concludes with a brief outline of how women’s mental, emotional, and physical functions and conditions were viewed. The theories and assumptions by contemporary scientists, viewed 125 years later, are truly amazing.
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Maria Maślanka-Soro

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 12, Issue 3, 2017, s. 209 - 222

https://doi.org/10.4467/20843933ST.17.017.7583
The Spectacle of Guilt in the Tenth Trench (bolgia) of Dante’s Hell: The Case of Master Adam and the Greek Sinon
 
This essay aims to analyse one of the episodes in which the action goes on in the tenth trench (Italian: bolgia) of the eighth circle of Dante’s Hell, where the falsifiers of things, words, money, and persons lie stricken with hideous diseases that are their contrapasso and should be interpreted allegorically. My attention is focused upon the protagonist of the Canto XXX, the Englishman Master Adam that counterfeited Florentine coins (on which the portrait of the patron saint of the city, St John the Baptist, was engraved), his dialogue with Dante, as well as the spectacular quarrel between him and the Greek Sinon who convinced the Trojans to bring the famous wooden horse into the city. The analyse concerns particular dramatic and theatrical strategies, as well as rhetoric means on account of which the entire scene assumes highly performative character. I also try to clarify and interpret the semantic dimension of some singular points of the episode.  
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Sylwia Nowak-Bajcar

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 12, Issue 3, 2017, s. 223 - 233

https://doi.org/10.4467/20843933ST.17.018.7584
To Defeat an Epidemic, or on Decadence in Serbian Literature (the Case of David S. Pijade’s novel Strast)
 
 
Since its publication in 1921, David S. Pijade’s Strast (The Passion)  has been classified as a naturalist novel, contrary to its themes: passion as subordinated to the fatalism of nature: Eros and Thanatos, the hedonistic experience of an ‚intense moment’, the theme of sacred lesbian love. The article indicates that this classification is a mistake stemming from the lack of the decadent movement in Serbia, either as a literary current, or a worldview. A new reading proposed in this article calls for a revision of persistent views about the shape of Serbian modernism in the early twentieth century.
 
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Agnieszka Romanowska

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 12, Issue 3, 2017, s. 235 - 244

https://doi.org/10.4467/20843933ST.17.019.7585
Abstract
The article presents an interpretation of Po Burzy Szekspira, Agata Duda-Gracz’s adaptation of Shakespeare’s The Tempest, as a play focused on the topic of death. The key feature of Duda-Gracz’s theatre is authorial scenography, in which the visual metaphor is the main vehicle of meaning, not less important than the text. Her variation on Shakespeare’s late drama is a story about unhappy life that results in frustration and desire for revenge, with death images being the most crucial elements of stage design, generated by amplifying the motifs of death found in The Tempest. Although Duda-Gracz concentrates mostly on individual suffering and personal failures, many stage design metaphors activate our collective traumas as well. Duda-Gracz’s play is an interesting example of how today’s theatre uses Shakespeare to deal with our fears, including the basic one – the fear of death.
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Słowa kluczowe: The Disoriented, Amin Maalouf, exile, identity, real or supposed affiliations., Chaucer, The Wife of Bath’s Tale, Voltaire, Ce qui plait aux dames, Julian Ursyn Niemcewicz, Co się damom podoba, translation, adaptation, rewriting, gender, medievalism., jealousy, dangerous emotions, pragmatics, discourse, semantic and syntactic structures, text-linguistics., brothels, contraception, divorce, duel, impotence, love, prostitution, marriage, masturbation, menstruation, morality, relationship, religion, sexuality, Women’s Associations., Dante, The Divine Comedy, Hell, Master Adam, Greek Sinon, guilt, contrapasso, theatricality., naturalizm, dekadentyzm, Eros i Tanatos, homoerotyzm, literatura serbska początku XX wieku., Shakespeare, Agata Duda-Gracz, The Tempest, Po Burzy Szekspira, stage design, images of death.