Publication date: 12.09.2016
Licence: None
Editorial team
Secretary Jakub Kornhauser
Romanica Cracoviensia, Volume 16, Issue 1, Volume 16 (2016), pp. 7-23
https://doi.org/10.4467/20843917RC.16.001.5694Romanica Cracoviensia, Volume 16, Issue 1, Volume 16 (2016), pp. 25-31
https://doi.org/10.4467/20843917RC.16.002.5695Romanica Cracoviensia, Volume 16, Issue 1, Volume 16 (2016), pp. 33-39
https://doi.org/10.4467/20843917RC.16.003.5696Romanica Cracoviensia, Volume 16, Issue 1, Volume 16 (2016), pp. 41-46
https://doi.org/10.4467/20843917RC.16.004.5697Romanica Cracoviensia, Volume 16, Issue 1, Volume 16 (2016), pp. 47-55
https://doi.org/10.4467/20843917RC.16.005.5698Słowa kluczowe: Charles de Coster, Théophile Gautier, Germaine de Staël, La Légende d’Ulenspiegel, David Teniers (Téniers), Charles Baudelaire, Jules Huret, Naturalism, Symbolism, Parnasse, Zola, Mallarmé, Maupassant, Contes d’Yperdamme, Félicien Rops, polarization, Eugène Demolder, Belgian Symbolism, Belgian literature, alchemy, masks, Eugène Demolder, Delft faience, Schiedam's jenever, "imaginal vision", painter-alchemist, Eugène Demolder, melancholy, Breton landscape, the fantastic, Art, doubling, eponymous narrator, Belgium, Italy, naturalistic literariness, symbolic ambiguity, death