The literature on the cultural Cold War acknowledges that American philanthropic foundations provided funding to various Cold War projects, but does not provide a close analysis of the foundations’ ...involvement or examine how philanthropies and government agencies coordinated their funding, let alone consider the influence it had on writers and their work. This gap in analysis overlooks the intricacies of the foundations’ relationship with the American state and the role philanthropies played in circulating culture and building artistic networks throughout the Cold War. This dissertation begins to close that gap by examining the establishment of the Berlin Artists-in-Residence program by the Ford Foundation in 1963, focusing on its first two years of writing residences before the program was transferred to the German Academic Exchange Service, which still runs it today. Analyzing the function and influence of foundations within international artistic affairs during the Cold War period establishes that foundation personnel played key roles in connecting government policy to results on the ground. More broadly, this project explores how foundations built artistic networks and institutionalized art with a range of residency programs, grants, and accolades, setting a precedent, which still functions to this day. Analyzing the participation of Ingeborg Bachmann, Walter Höllerer, Witold Gombrowicz, Piers Paul Read, and W.H. Auden in the Berlin program shows that this new arrangement and the work it propelled resulted in mixed consequences for artists, extending prestige and visibility to certain artists and creating complications for others. Close attention to the Berlin projects elucidates how philanthropic foundations and Cold War networks played an essential role in connecting writers, while also allowing for exploration of how those writers utilized the opportunity in pursuit of their own goals. Ultimately, the analysis of writers’ texts illuminates their awareness of how the political-economic environment was working to shape them into suitable public intellectuals for the postwar age. The writers’ attention to and discussion of their artistic, social, and financial predicaments within their work defines a new subgenre of mid-century twentieth literature: foundation literature.
If, despite numerous critical introductions and dazzling autobiographical performances, we nonetheless return obsessively to the question formulated some years ago by Czeslaw Milosz -'Who is ...Gombrowicz?'- it is because the pervasive 'me' of Gombrowicz remains an enigma, a titillating cipher, a carefully orchestrated puzzle to which there is no one solution. Sin embargo, como afirma Longinoviç (Longino vie 1998: 33 - 34) Gombrowicz se muestra remiso a encarar el género 'directamente', y en lugar de ello, ofrece 'una especie' de testamento, como refleja el título en inglés de la obra.1 Y Peregrinaciones argentinas, que supuestamente es la narración de sus viajes por Argentina, resulta ser, al igual que otros relatos escritos por viajeros, la descripción de lugares en los que Gombrowicz nunca estuvo realmente. Sin embargo, estas notas están lejos de ser solo notas casuales, en el sentido de notas descuidadas. De acuerdo a Longinoviç, "the characters are never 'real people' living in a 'real world', but actors on the stage set by Gombrowicz' s vision of humanity" (Longinoviç 1993: 79 - 80).
Con el título de Memorias del tiempo de la inmadurez, vio la luz en Polonia en 1933, y suscitó reacciones diversas por parte de la crítica -en gran medida, desconcierto, pero también efusivas ...condenas tildándolo de un libro 'inmaduro' o entusiasmo por la irrupción de lo nuevo. Sin embargo, estos discursos no se superponen, sino que se combinan de manera compleja. In this book I argue for the importance of disgust in structuring our world and our stance toward the world. En este cuento, la noción de buen gusto establece una relación intrínseca con el asco, una relación que, sin embargo, no adopta la estructura de la oposición, como cabría esperar. En esta historia, sin embargo, la oposición entre lo alto y lo bajo no estructura la trama. El final está marcado también por un descubrimiento esencial, que explica parte de las alusiones veladas y las bromas de los aristócratas respecto al plato principal de la cena, "una gigantesca coliflor cubierta de mantequilla fresca deliciosamente horneada" (1986: 136).
Used within the structure ofthe literary work, this fictional diary takes on a different meaning, because it renounces thecommunication of something intimate and secret, and instead becomes ...literature, "aestheticcommunication". Additionally, this study of Encuentro en Saint-Nazaire Meeting in Saint-Nazaire will help show the characteristics of this type of pigliana prose, which functions as a laboratory of writing. Es decir, el diario pasa a ser: ... una técnica de la narración ficcional, una de las formas de la novela en primerapersona junto con las memorias y la novela epistolar sus propiedades fragmentariedad, incoherencia, etc., adquieren un status semiótico distinto: se convierte en elementos y medio de expresión en el seno de la estructura de una obra. Sabemos que Ricardo Piglia escribe un diario desde los 14 años motivado por una situación de crisis que recuerda de la siguiente manera: "Empiezo a escribir el diario cuando mi familia decide que nos tenemos que mudar a Mar del Plata y siento que mi casa y mi vida están desmanteladas.
Around 1949 Maria Kuncewiczowa worked on the project of ‘world citizenship’ – a remedy for those writers whom circumstances made stateless. In her view, the category of ‘world citizenship’ allowed to ...see one’s country from the perspective of the world. She also argued that knowledge of a foreign language was a promising way of opening up national, regional and doctrinal ‘ghettos’. Following her ideas, the article presents selftranslation as a phenomenon that exceeds one national context and creates a discursive space in which literature denies clear linguistic and cultural borders. After a brief outline of self-translation in the 20th-century Polish literature, the article analyses Kuncewiczowa’s self-translation of the play Thank You for the Rose (1950–1960) and Janusz Głowacki’s assisted self-translation of the play Antygona w Nowym Jorku (1992). In discussing the two case studies, the article pays particular attention to the idea of ‘world citizenship’ in relation to the concept of national literature.
Die Studie aus dem Bereich der Philosophie und Anthropologie der Literatur untersucht Verführung als Erschließungskategorie moderner Prosa. Die Hauptachse der Arbeit bilden die komparatistischen ...Analysen der Werke von Robert Musil, Bruno Schulz und Witold Gombrowicz. Die Autoren benutzten die Kategorie der Verführung in ihren literarischen und theoretischen Texten, um ihre Auffassungen von Kunst, Subjekt und Wirklichkeit zum Ausdruck zu bringen.
Using the example of Witold Gombrowicz‘s
Diary
, this essay argues that not all autobiographical texts try to eliminate fictionality and form an autobiographical pact with the reader. The Diary is ...not a depository of facts, a medium of self-confession, or an instrument of self-discovery. It is a type of autobiographical writing that deploys various devices of stylization and genre experimentation to provoke the reader and the writer, unsettle their habits, and draw out their artificialities. The goal of this provocation is to stimulate an act of self-reflection that generates a process of self-transformation that is continuous, non-normative, and non-teleological.
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