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Romanica Cracoviensia

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Volume 17, Issue 4

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Volume 17 (2017) Next

Publication date: 18.12.2017

Licence: CC BY-NC-ND licence icon

Editorial team

Secretary Jakub Kornhauser

Deputy Editor-in-Chief Orcid Jakub Kornhauser

Editor-in-Chief Orcid Wacław Rapak

Issue content

Alicja Bańczyk

Romanica Cracoviensia, Volume 17, Issue 4, Volume 17 (2017), pp. 209-221

https://doi.org/10.4467/20843917RC.17.020.8345
The aim of this paper is to analyse the problem of intertextuality in Marco Polo’s work – the Description of the World. It is undeniable that when having travelled to the East, Marco Polo had already known a lot of legends and texts dating from the Antiquity and they had influenced his expectations towards the East. Being far from his home Venice he tried to find things he already knew in unknown reality and then he tried to insert them into his work. The paper firstly analyses how the legend of Alexander the Great influenced the image of this king presented in The Description of the World. This paper also confirms that Marco Polo was highly influenced by Christian legends, trying to find the grave of St. Thomas the Apostle and the kingdoms of legendary Christian kings of the East: John and David. Moreover the author of The Description of the World tried to find some fantastic beasts like unicorns or griffins. The article also analyses how Marco Polo entered in debate with travel stories from his own times: the one of Giovanni Piano Carpini and the one of Guillaume Rubrouck. Those analyses lead to conclusion that Marco Polo wanted to insert in his work the contents well-known in Europe in order to satisfy the expectations of his readers. Though at the same time he did not hesitate to change and to demystify some of them.
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Anna Bistroń

Romanica Cracoviensia, Volume 17, Issue 4, Volume 17 (2017), pp. 223-233

https://doi.org/10.4467/20843917RC.17.021.8346
The article at hand comprises an attempt to answer the question about the identity of Virgil Duda, a recognized and respected in literary circles Romanian writer, who, as an almost 50-year-old artist, decided to leave (together with his family) for Israel – a country whose language and culture were completely foreign to him. These will not be deliberations on the subject of national identity. From amidst many a research field associated with the subject of identity, I have selected cultural space and it is from this perspective that I will look at Virgil Duda and his Israeli-period writing. In the case of this Romanian-Jewish-Israeli artist justified is a rendering of the concepts of cultural character and cultural identity as seen by Wolfgang Welsch and François Jullien.
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Gabriel Borowski

Romanica Cracoviensia, Volume 17, Issue 4, Volume 17 (2017), pp. 235-244

https://doi.org/10.4467/20843917RC.17.022.8347
The aim of this paper is to discuss two generic concepts based on the dialectics of approximation and distancing between the narrative subject and the empirical author. The first, autofiction, is a category already strongly present when it comes to theoretical reflection on the means of literary representation of the past, whereas the second, autonarrative fiction, is presented as a “project-term” which allows to acknowledge structural similarities between works written before the emergence of the autofictional paradigm. The point of arrival of this classificatory route is the novel Grande sertão: veredas by João Guimarães Rosa, which presents an implosive convergence of the two models.
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Sylwia Kucharuk

Romanica Cracoviensia, Volume 17, Issue 4, Volume 17 (2017), pp. 245-253

https://doi.org/10.4467/20843917RC.17.023.8348
The principal objective of the article is to illustrate the way Jean Anouilh plays with intertextuality, paying particular attention to inter- and intratextuality present in the playwright’s later works which create a peculiar macrotext. The main part of the article is devoted to a detailed analysis of autotextuality elements, as defined by L. Dällenbach, in the play Cher Antoine ou l’amour raté. 
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Jiřina Matoušková

Romanica Cracoviensia, Volume 17, Issue 4, Volume 17 (2017), pp. 255-265

https://doi.org/10.4467/20843917RC.17.024.8349
The paper deals with Éric-Emmanuel Schmitt’s play entitled La Nuit de Valognes [Don Juan on Trial], which is a modern rewriting of the Don Juan myth. Using the terminology proposed by Gérard Genette, the study explores the hypertextual links that exist between the Schmitt’s and the original Molière’s texts. Based on a subsequent analysis of the changes that occur both at the level of the dramatic categories and the thematic level, we offer some new possibilities of interpreting Schmitt’s text and point to the author’s creative originality.
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