Volume 4, Issue 1

Living for the ‘Islamic Cause’: Selected Memoirs of Contemporary Muslim Activists

Roswitha Badry

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 7-20

Folgen der Intertextualität bei Georg Trakl

Hans Esselborn

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 21-32

Marek Hermann

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 33-47

Béla Horváth

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 49-61

The opposition that unfolded in Hungarian literature between the two world wars among the representatives of liberalism and the folk-country idea, is still sensible until now. One of the major contrast was the „Jewish” issue. The historical environment, the Hungarian territory loss, unsolved social matters and especially the farm granting issue, the liberal economic policies represented by Jewish capitalists, who played signifi cant role in the boom period in the 19th century history of Hungary, are the reason behind social tensions in the eyes of the left wing and writers with folk-roots. The representatives of folk literature expected the modernization from the rise of folk classes and considered the old Hungarian literacy and the archaic folk culture as basis for the modernization. The folk-urban opposition is remarkable in current Hungarian politics and culture.

Agnieszka Liszka

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 63-74

Symbolika w relacji ilustracji i tekstu w pierwszej księdze Scivias Hildegardy z Bingen

Justyna Łukaszewska-Haberkowa

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 75-93

The ﬁrst book of Scivias of Hildegard of Bingen is composed of six visions which recount the author’s revelation. The visions were written by Hildegard’s secretary, and at the same time illuminations were painted to illustrate the written text. The ﬁ rst book of Scivias shows the creation of the world. In the ﬁ rst vision one can read about the Creator. The second, very extensive, vision describes the fall of Lucifer and its consequence – the original sin of Adam and Eve. The third vision in turn shows the cosmic egg, which symbolizes the Universe. The fourth one consists of three parts and concerns the human body and soul as well as a relationship between them. Synagogue as a „mother of incarnation” and the mother-in-law of the Church is described in the ﬁ fth vision. The last part of the book shows the characteristics of angels’ choruses. All elements that appear in visions, apart from their literary sense, also have a symbolic meaning. In some cases it is related to the real form of the person, thing or phenomenon. In the present paper these elements of cosmos are described according to their function and artistic representation.

Alicja Raczyńska

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 97-109

Szekspir Czesława Miłosza

Agnieszka Romanowska

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 111-128

Czesław Miłosz translated only one play by Shakespeare, As You Like It, and the ﬁ rst two acts of Othello. Both „Shakespearean episodes” by this otherwise proliﬁ c translator took place at the time of dramatic circumstances that were heavily affecting Miłosz’s life and work. The task of translating As You Like It was commissioned by the Polish Underground Theatre Board in 1943. The attempt at translating Othello had been undertaken just before the poet emigrated to France as a political refugee in 1951. The paper focuses on some of the areas of interest that the case of Miłosz’s Shakespeare opens for historico-literary analysis: the aims and conditions of Miłosz’s translation of Shakespeare marked by the extreme extra-textual conditions; Miłosz’s poetry about the Nazi occupied Warsaw vis-a-vis his artistic, intellectual and political involvement in translating As You Like It; the translated texts’ literary and theatrical reception versus the poet’s initial aims and his low opinion about his rendition; Miłosz’s decision to give up Othello in the face of the growing isolation from his homeland. The presented analysis highlights the position of translation within the wider context of Miłosz’s creative work as poet-translator.

Barbara Sosień

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 129-145

Krystyna Stamirowska

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 147-158

Dagmara Zając

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 4, Issue 1, 2009, pp. 159-167

The article aims at presenting the problems of defi nition concerning American horror fi ction after Edgar Allan Poe. The general confusion and lack of consistency, characterizing the discussion of horror fi ction in terms of genre, is identifi ed as a problem in contemporary critical debates. Readers and critics alike describe works by Stephen King or Richard Matheson as ghost stories, horror/terror novels, supernatural thriller, or even Gothic. Still, satisfactory explanations for applying the names are seldom provided. The article attempts to identify some of the reasons for this genological disorder while various suggested defi nitions are being discussed.

Volume 4, Issue 1

2009 Next

Issue content

2009