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Abstract

The aim of this article is to analyze the relationships between the characters of Serhij Zhadan’s novels and their place, in terms of geopoetics. Voroshilovgrad ( Ворошиловград) and The Orphanage ( Iнтернат) are the two novels that have been chosen to compare the characters in the context of the war in the Donbas, which can be considered a kind of censorship of the people. The methodological tools employed here are geopoetics, as determined by Elżbieta Rybicka. Further elements were recalled, such as the sensory space category, the reciprocal relationships between literature and geographical space and Mikolaj Madurowicz’s theory of homo localis, which is a visualisation of the relationship between the human and place. Moreover, the relationships between the characters and the place in the two mentioned texts were confronted with the recent study of Maria Lewicka on the psychology of place conducted in the Donbas. As the analysis shows, Zhadan’s characters develop either a weak or unusual bond with place. This was heavily affected by the historical background and its homo sovieticus phenomenon. The place alone seen through the sensory space category reflects a human attitude, thus fulfilling a broader view. As described in The Orphanage, the war becomes an indicator for this relationship, a moment of trial, whose results are currently unknown. A transversal view of change from a homo sovieticus to homo localis attitude emerges from the comparison of the relationships between Voroshilovgrad and The Orphanage, and their places.
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Bibliography

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Bernat S., Dźwięk w krajobrazie. Podejście geograficzne, Lublin 2015.

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Dzyuba I., Serhiy Zhadan. Chornyy romantyk, Kyyiv 2017.

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Lewicka M., Psychologia miejsca, Warszawa 2012.

Madurowicz M., Tożsamość homo localis w geografii człowieka, [w:] Człowiek w badaniach geograficznych, red. W. Maik, K. Rembowska, A. Suliborski, t. II, Bydgoszcz 2006, s. 169‑180.

Majewska J., Kwestia autorytetu w powieści Serhija Żadana – Internat. Kontekst klasycznej relacji mistrz – uczeń, „Studenckie Zeszyty Naukowe „Wkoło Rosji”” 2019, nr 2, s. 35‑44.

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Pogorzelski P., Barszcz ukraiński, Gliwice 2014. Polishchuk Ya., Hibrydna topohrafiya. Mistsya i ne‑mistsya v suchasniy ukrayinsʹkiy literaturi, Chernivtsi 2018.

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Authors and Affiliations

Joanna Majewska
1
ORCID: ORCID

  1. Uniwersytet Jagielloński w Krakowie
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Abstract

Stefan Grabiński, a famous Polish author of weird fiction, who is known especially for his collection of short stories Demon ruchu (The Motion Demon, 1919), lived and worked in a period marked by a new artistic style – expressionism. Although Grabiński came from Lviv, often regarded as a province in Poland after the Great War, he could have a contact with the latest ideas concerning art and philosophy. Indeed, both in his short stories and in his novels may be found some traits typical for the expressionist poetics as, for example, a subjective perspective, a color sensitivity or a tendency to violent and dynamic use of formal elements. Grabiński was fascinated by a German literature – he read Gustav Meyrink, E.T.A. Hoffmann and an expressionist magazine “Der Orchideengarten”. Moreover, he liked going to the cinema where he could watch, for example, a famous German expressionist film – The Cabinet of Dr. Caligari. The only text by Grabiński which was adapted into film in his life was a short story Kochanka Szamoty (Szamota’s Mistress, 1922). Although this seemed to be a great material for an expressionist film, the director – Leon Trystan – decided to realize it in an impressionist poetics.

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Authors and Affiliations

Joanna Majewska
ORCID: ORCID
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Abstract

The article treats about a forgotten play Zaduszki (All Souls’ Day) by Stefan Grabiński, widely known as the author of fantastic literature and horror stories. The play Zaduszki consists of three parts: 1. Strzygoń. Klechda zaduszna; 2. W dzień zaduszny; 3. Sen Krysty. Misterium zaduszne. First of them is written in folk dialect. The second one, sometimes named „the longest one-act play ever staged in Polish theatre”, considers a problem of a fault and a punishment. The third one, similarly to the first one, presents folk beliefs in supernatural phenomena which take place on All Souls’ Day. Moreover, it partly resembles a mystery play. Although the trilogy got an unfavourable reception (it was shown only seven times in Juliusz Słowacki Theatre in Kraków), it may be considered as an ambitious attempt to match the heritage of Stanisław Wyspiański – according to Grabiński, the greatest authority in the field of theatre.

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Authors and Affiliations

Joanna Majewska
ORCID: ORCID
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Abstract

Autorka artykułu analizuje wpływ twórczości Marcela Prousta na utwory dramatyczne Tennessee Williamsa, zwłaszcza na dramat Szklana menażeria, znany także z hollywoodzkiej wersji filmowej. W sztuce tej ważną rolę odgrywają Proustowskie motywy, takie jak czas, pamięć i jej mechanizmy. Podobnie jak Proust, Williams nie ukrywa w swoim utworze elementów autobiograficznych. W Szklanej menażerii zwraca również uwagę inspirowane powieścią Prousta wykorzystanie motywów muzycznych oraz doszukiwanie się podobieństw między bohaterami literackimi a postaciami z dzieł malarskich. Choć Proust nie pisał dramatów, a Williams nie zostawił po sobie żadnej powieści, to łączyła ich miłość do teatru i przekonanie, że wspomnienie jest swego rodzaju spektaklem, a scena to szczególnie odpowiednie miejsce, by opowiadać o przeszłości.
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Authors and Affiliations

Joanna Majewska
1
ORCID: ORCID

  1. Akademia Teatralna im. Aleksandra Zelwerowicza, Warszawa
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Abstract

The article presents Tennessee Williams’ play Suddenly Last Summer (1958) which is little-known in Poland. It was written while the playwright started to undergo a psychoanalytic therapy and is commonly considered as one of his most personal plays. The author of the article puts the play in the context of Williams family life, especially his sister’s mental disorder (which lead to unsuccessful lobotomy), his relationship with his mother and his father and his own mental health problems. An important theme of the play is cruelty, present as well in other Williams dramatic works (for example Orpheus Descending or Sweet Bird of Youth) and evident particularly in a short story Desire and the Black Masseur written shortly before famous A Streetcar Named Desire. Another theme is the sacred, often present in Williams’ work as a reference both to Christianity and ancient pagan rituals.
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Authors and Affiliations

Joanna Majewska
1
ORCID: ORCID

  1. Akademia Teatralna w Warszawie

Authors and Affiliations

Joanna Majewska
ORCID: ORCID
Download PDF Download RIS Download Bibtex

Abstract

In the second half of the 19th century in the European culture appears an increased interest in evil. This phenomenon is widely spread particularly in France and England. In his famous volume of poems Les Fleurs du Mal Charles Baudelaire publishes The Litanies for Satan where the Devil replaces God as the addressee of a blasphemous prayer. Joris-Karl Huysmans, an author of the novel LB-bas, describes a black mess and a litany addressed to Satan who seems to be closer to sinful people than perfectly indifferent God. A poet from the Huysmans’ artictic circle, Édouard Dubus, devotes his litany to a „Lady of grace and immorality” – a blasphemous double of Mary, mother of Jesus. An English poet Charles Algernon Swinburne writes Dolores, a poem addressed to „Our Lady of Pain” and recognised as the apogee of the satanic litany. In all these cases the choice of a litany as a literary genre results in acceptance of a vision of the world broaden with spirituality. In spite of their seemingly blasphemous plots, all these texts express a deep hunger for the sacred – the hunger that could not be satisfied with official religion.

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Authors and Affiliations

Joanna Majewska
ORCID: ORCID

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