Celem artykułu jest rozważenie emancypacyjnego wymiaru samofolkloryzacji – kategorii zaproponowanej przez Ewę Klekot na określenie strategii odzyskiwania głosu przez podmioty podporządkowane, ...rozumianej jako jeden z ważnych elementów procesów nowoczesności. Materiałem do analizy procesów społeczno-kulturowych okresu powojennego przy użyciu tej kategorii jest powieść Edwarda Redlińskiego Awans (1973), przedstawiająca dylematy samofolkloryzacji mieszkańców fikcyjnej socjalistycznej wsi w kontekście powojennych procesów modernizacyjnych. Analiza tej powieści pozwala zadać pytanie, po pierwsze, o emancypacyjny wymiar samofolkloryzacji, a po drugie, o związki utworu Redlińskiego z przemianami społecznymi w Polsce Ludowej drugiej połowy XX w.
Zofia and Władysław Jarema – the founders of the Groteska Theatre – from the beginning of their artitistic work in Krakow distanced themselves from perceiving the theatre of dolls as exclusively ...children-oriented. By gathering around themselves a group of distinguished artists, they consistently and reasonably built up the repertoire and Groteska stage for the adult audience. In their search, they included Konstanty Ildefons Gałczyński, Sławomir Mrożek, and Tadeusz Różewicz. This paper is an attempt at analysing and reconstructing the performance of Kartoteka (a drama by Różewicz), which was staged in Groteska Theatre (interpretation by Zofia Jarema, stage design by Kazimierz Mikulski) a few months after its Warsaw preview in the Drama Theatre. The author of the paper also discusses the type of influence which this performance and the Jaremas’ activity in general had on the contemporary theatre of dolls.
Artykuł zatytułowany "Karnawalizacja grozy w folklorze dziecięcym" porusza temat kreacyjnego języka dzieci w wieku przedszkolnym i wczesnym wieku szkolnym, w którym jako dominanty kompozycyjne ...pojawiają się absurd, groteska, aluzyjność, turpizm, makabra, niestosowność, obscena, skatologiczny żart, infantylizacje, profanacje, hiperbole oraz ludyczne puenty. Szczegółowej analizie poddany zostaje folklor dziecięcy, czyli spontaniczna, wierszowana aktywność słowna dzieci towarzysząca zabawie. Tego rodzaju improwizowane mikroformy wierszowane wpisane są w kulturę dziecięcą i powstają w grupie rówieśniczej poza oficjalną kulturą językową jako słowny akt buntu dzieci wobec narzucania im przez dorosłych języka sformalizowanego, instrumentalnego, ukierunkowanego na odwzorowanie rzeczywistości. Dzieci mają satysfakcję z łamania tabu językowych i wprowadzania w konsternację starszych od siebie. W wierszach tych obserwować można typowy dla struktury karnawału gest, jakim jest wzniesienie na piedestał najsłabszego w hierarchii społecznej – w zabawie – dziecka, które eksponuje poprzez język karnawałową wizję świata. Analiza obejmuje obecne w obiegu ustnym dzieci wiersze i krótkie formy prozatorskie obrazujące grozę skarnawalizowaną. Karnawałowe ujęcie grozy przez dzieci jest przejawem obalania monolityczności strachu, egzorcyzmowania lęku poprzez śmiech, neutralizowania go i nadawania „strachom” po bachtinowsku rozumianej „gęby”, innymi słowy budowania ludycznej i groteskowej wersji świata – na opak.
What exactly is the fantastic? In the twentieth-century world, our notions of what is impossible are assaulted every day. To define the nature of fantasy and the fantastic, Eric S. Rabkin considers ...its role in fairy tales, science fiction, detective stories, and religious allegory, as well as in traditional literature.
The examples he studies range from Grimm's fairy tales to Agatha Christie, fromChildhood's Endto the novels of Henry James, from Voltaire to Robbe-Grillet toA Canticle for Leiboivitz. By analyzing different works of literature, the author shows that the fantastic depends on a reversal of the ground rules of a narrative world. This reversal signals most commonly a psychological escape, often from boredom, to an unknown world secretly yearned for, whose order, although reversed, bears a precise relation to reality.
Originally published in 1977.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Grotesque provides an invaluable and accessible guide to the use (and abuse) of this complex literary term. Justin D. Edwards and Rune Graulund explore the influence of the grotesque on cultural ...forms throughout history, with particular focus on its representation in literature, visual art and film.
The book:
presents a history of the literary grotesque from Classical writing to the present
examines theoretical debates around the term in their historical and cultural contexts
introduce readers to key writers and artists of the grotesque, from Homer to Rabelais, Shakespeare, Carson McCullers and David Cronenberg
analyses key terms such as disharmony, deformed and distorted bodies, misfits and freaks
explores the grotesque in relation to queer theory, post-colonialism and the carnivalesque.
Grotesque presents readers with an original and distinctive overview of this vital genre and is an essential guide for students of literature, art history and film studies.
The article deals with the problem of fantasy in Russian émigré literature of the first wave on the example of Vasily Yanovsky's prose. The author tries to show that fantasy in Yanovsky's prose has a ...diverse character. The writer reaches for science fiction motifs and introduces supernatural themes. Regardless of the nature of the fantasy motif, it always becomes a contribution to more serious social and moral considerations. The considerations were based on studies of literary fantasy by Tzvetan Todorov and Roger Callois. The interpretation also shows that Yanovsky's texts are full of intertextual references to the works of other authors.
The grotesque -- American traditions of the grotesque -- The modern : depiction and description -- Grotesques in modern America : Sherwood Anderson -- "Elephantine close-ups" : Nathanael West -- All ...God's grotesques : Flannery O'Connor -- New York sights : Weegee -- Creatural realism : Diane Arbus -- Conclusion. Grotesque to monstrous
This article presents the influence that Witold Gombrowicz’s work has had on Polish cinema. It covers several generations of directors, for example, Andrzej Munk (born in the 1920s), Roman Polański ...and Jerzy Skolimowski (born in the 1930) as well as Agnieszka Holland, Piotr Szulkin and Marek Koterski (born in the 1940s and 1950s), and discusses the topic of film adaptations of his books (Jerzy Skolimowski’s Ferdydurke and Jan Jakub Kolski’s Pornografia Pornography). The article shows that Polish cinema uses Gombrowicz’s works most of all by taking up the issue of life’s authenticity and inauthenticity as well as to demythologize Polish tradition and history. As for esthetics, it employs Gombrowicz’s favorite style, i.e. the grotesque.
Bourek od početka svojeg umjetničkog djelovanja na osobit način spaja logičku kombinatoriku i estetiku ružnoće s groteskom kao njezinom dominantnom označnicom. Kao sredstvo kontrasta groteskna je ...forma i najbogatije vrelo umjetnosti jer s jedne strane stvara užasno i nakazno, a s druge komično i lakrdijaško. U svakoj izabranoj izražajnoj vrsti – slikarstvu, crtežu, kiparstvu, dizajnu, scenografiji, kostimografiji za kazalište i film – autor ne iznevjerava karakter izabranoga izraza kao ni njegove grabancijaško-žonglerske izražajne mogućnosti. Sve to Bourek od 1977. do danas povezuje u jedinstveno kazalište nakaza, posebice svojim redateljskim ostvarajima te autorskim i suautorskim predstavama. U potonjim kreacijama glavni su likovi osuvremenjeni likovi - figure nekad žive osječke kabaretske i sajmišne scene iz prve polovice 20. stoljeća, poput Vesele Mice, Popa, Žandara, Kralja, Janoša Paprike, Vraga, Isusa i Smrti, dok lik-figura Smrt postaje akterom radnje u inscenacijama klasičnoga komediografskog repertoara. Osobitu poetiku/estetiku kazališta nakaza Bourek ostvaruje režijom Hamleta Toma Stopparda 1981. godine u zagrebačkome Teatru ITD. Bourekov lutkarski sinkretizam očituje se i u lutkarskoj radionici Od jedan do nule koju 2003. godine realizira s kazališnim amaterima, prosvjetnim djelatnicima.
Grotesque Anatomies is a study of Menippean satire in English since the Renaissance. It consists of revisionist, close readings of canonical works such as Eliots The Waste Land and Popes Dunciad ...among others, and investigates how identifying them as Menippean satires changes our understanding of them. The initial chapter offers a comprehensive account of the form from antiquity to the present day, identifying its bifurcated development in the shorter form (Seneca-Lucian-Julian) and the long.
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