Volume 19, Issue 4

2024

Publication date: 06.11.2025

Description

This publication was supported by a grant from the Faculty of Philology under the Excellence Initiative – Research University programme at the Jagiellonian University.

This publication was funded by the program „Rozwój Czasopism Naukowych”, MEiN, no RCN/SP/0284/2021.

Cover design: Paweł Bigos

Licence: CC BY 4.0

Editorial team

Editor-in-Chief Katarzyna Bazarnik

Zastępca redaktor naczelnej / sekretarz Natalia Palich

Issue content

Czas miłości i czas opowieści: ewolucja postaci i przemiany formy literackiej na przykładzie dwóch tekstów z końca średniowiecza (Le Dit du Prunier i Jehan d’Avennes)

Agata Sobczyk

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 19, Issue 4, 2024, pp. 205-214

https://doi.org/10.4467/20843933ST.24.016.21775

The article analyses the evolution of character and the transformation of literary forms in the context of courtly love through the lens of two late medieval texts: Le Dit du Prunier and Jehan d’Avennes. The concept of love is inextricably connected to time, revealing dynamics and internal tensions between the past and future expectations. The study demonstrates how, in the context of troubadour poetry, the pursuit of individual fulfilment is characterized by cyclicality and transformation, leading to the personal development of the characters. In both analysed works, a young man is educated in love by a married lady, which profoundly influences his personality and social standing. The variation in narrative forms—from verse to prose—affects the depiction of time and character psychology, thereby linking emotional development with transformations in narrative structures. The narrative techniques, such as metalepsis and epistolography, enrich the portrayal of relationships between the characters, revealing the complexities of their aspirations with regard to time. The article emphasises the significance of time management skills in the context of love as a crucial element in the personal and social development of the protagonist.

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„Te ruchy były wyrazem jakiejś osobliwej mowy…” Taniec i słowo w Nocach florenckich H. Heinego

Katarzyna Jaśtal

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 19, Issue 4, 2024, pp. 215-226

https://doi.org/10.4467/20843933ST.24.017.21776

This article focuses on Heinrich Heine’s 1836 story “Florentine Nights,” interpreted as a reflection on the art of dance, particularly in relation to the dominant form of the time – the ballet. By juxtaposing Heine’s descriptions of dance with contemporary ballet treatises, the article examines how the author, through the character of the dancer Laurence, envisions an alternative model for dance. Heine’s narrative argues that the essential quality of art, even at the cost of aesthetics, is truth. This conception of dance aligns with the views of late 19th-century dance theorists who rebelled against the rigidity of ballet and advocated for the acceptance of movements that reflected the individual expressive potential of the human body. Consequently, “Florentine Nights” can be seen as a literary text that anticipates future developments in dance technique.

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Poetic Sexism: The Liminal Experiences of Mestûre Ardalan (Mestûrey Kurdistani)

Kaziwa Salih

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 19, Issue 4, 2024, pp. 227-240

https://doi.org/10.4467/20843933ST.24.019.21778

The Kurdish world is a liminal space, where varying degrees of war and peace, resistance and receptiveness, objectivity and subjectivity, social transition and social distortion, can all be experienced. This article will focus on the experiences of the most renowned woman in Kurdish history within this liminal space, namely Mestûre Ardalan, a Kurdish princess from the principality of Ardalan. A poet and author, she was also the only female Middle Eastern historian active by the end of the nineteenth century. This article explores how Mestûre’s liminal experiences structured her formative and transformative space, which represents what Victor Turner (1974, 359) calls a “rite of passage”, since it reveals both the drama and flow of daily social life, as well as the significance of rites in social transformation.
This article explores liminality in three different contexts related to Mestûre’s experiences: firstly, liminality in the sense of being diametrically opposed to the existing structure; secondly, liminality as a form of symbolic transitional status in an intermediate state; and finally, liminality as gender-neutral self-abnegation, seen in the way Mestûre channeled her personal crisis in a patriarchal manner, in a similar way to that which she herself had been subjected to.
In this context, liminality can be viewed as traversing a new threshold or transitional boundary. When individuals, voluntarily or involuntarily, abandon liminal time and space, they enter a space confined by new boundaries, even if that new space brings with it experiences between the past and the present.

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Bir Kadının Penceresinden [Through a Woman’s Window] by Oktay Rifat: A Novel about Female Participation in Turkey’s Political Life in the 1970s

Sylwia Filipowska

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 19, Issue 4, 2024, pp. 241-253

https://doi.org/10.4467/20843933ST.24.020.21779

In this article, Oktay Rifat’s novel Bir Kadının Penceresinden (1976) is read in the context of women’s involvement in Turkish political life during the 1970s, and analysed using the tools of feminist narratology to outline the path Turkish women took in order to gain full political rights. An analysis of the novel, which depicts the female protagonist’s potential participation in political life, reveals how, despite the fact that she was surrounded by revolutionaries, she remained uninterested in – and a passive observer of – political issues. This theme, seemingly digressive and reduced to a mere background concern, is viewed as symptomatic of the lack of opportunities for women to fully participate in Turkish political life at that time.

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Poszerzanie pola widzenia. Powieść Jasenovac Ljuby Jandricia w kontekście ekokrytyki

Sabina Giergiel

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 19, Issue 4, 2024, pp. 255-269

https://doi.org/10.4467/20843933ST.24.018.21777

This article focuses on a more obscure literary representation of concentration camp reality: the novel Jasenovac by Ljubo Jandrić (1980), which presents an unusual perspective on the realities of internment, from the viewpoint of the camp commander. However, the originality of the work lies in the author’s emphasis on how natural conditions influence genocidal actions: here, nature is portrayed as a significant factor in the functioning of the camp. The article also reveals how the senses (sight, hearing, and smell) function as elements of the depicted world, through which the author conveys the horrific experience of the camp itself. The article emphasizes the need for retrospective readings (Aleksandra Ubertowska), thus allowing readers to be reintroduced to overlooked texts, enabling their reinterpretation and pointing out their (non-obvious) meanings.

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Słowa kluczowe: courtly love, time, maturation, narration, 19th-century German prose, literary reflection on dance, Heinrich Heine, Florentine Nights, Mestûre Ardalan, liminality, social transformation, Kurd, Nalî, Iraq, Iran, gender, Kurdish women, women in Turkey, women and politics, Turkish literature, Oktay Rifat, feminist narratology, Jasenovac, Ljubo Jandrić, Yugoslav literature, nature, senses, ecocriticism

Volume 19, Issue 4

2024 Next

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Funding information

2024