Is it possible that the visual sensitivity in the prose of Bruno Schulz is a result of his artistic formation? Passages from the book Cinnamon Shops and three illustrations of the The Booke of ...Idolatry were analyzed. As comparable analysis we took, Almada Negreiros's work, Nome de Guerra, and concluded that both in Schulz as in Almada there is an identical visual sense, clearly using their visual training to express themselves in prose.
Is it possible that the visual sensitivity in the prose of Bruno Schulz is a result of his artistic formation? Passages from the book Cinnamon Shops and three illustrations of the The Booke of ...Idolatry were analyzed. As comparable analysis we took, Almada Negreiros's work, Nome de Guerra, and concluded that both in Schulz as in Almada there is an identical visual sense, clearly using their visual training to express themselves in prose. Keywords: Bruno Schulz's Illustrations / Cinnamon Shops / Almada Negreiros / Nome de Guerra. A sensibilidade visual na prosa de Bruno Schulz sera uma consequencia da sua formacao? Foram analisadas passagens do livro As Lojas de Canela e tres ilustracoes de O Livro do Idolatra. Tomamos como analise comparavel, Almada negreiros, na obra Nome de Guerra, e concluimos que tanto em Schulz como em Almada encontramos um sentimento visual identico, aproveitando nitidamente a sua formacao visual para se exprimirem em prosa. Palavras chave: Ilustracoes / Bruno Schulz / As Lojas de Canela / Almada Negreiros / Nome de Guerra.
The series of publications of Friedrich Schlegel Graduate School of Literary Studies at Freie Universitat Berlin stands for internationally oriented literary studies which go beyond an exclusive ...focus on the Western tradition and turn towards the European, American, Arabic and Asian literatures of modernity, medieval times and antiquity. The publication forum offers monographs and anthologies which present an exemplary effort within their subject and at the same time cross its boundaries into the philologies and literatures of the world. The purpose is the integration of single disciplinary and comparative research involving neighbouring discursive practices. Friedrich Schlegel's approach obliges to do research of literary cultures from a universal-poetic perspective. International Board Ute Berns (Universitat Hamburg) Hans Ulrich Gumbrecht (Stanford University) Stefan Keppler-Tasaki (University of Tokyo) Renate Lachmann (Universitat Konstanz) Ken'ichi Mishima (Osaka University) Glenn W. Most (Scuola Normale Superiore Pisa) Jean-Marie Schaeffer (EHESS Paris) Janet A. Walker (Rutgers University) David Wellbery (University of Chicago) Christopher Young (University of Cambridge)
Whatever critical scalpel one selects for dissecting the literary works of Bruno Schulz (1892-1942), there will always be a certain degree of textual resistance which cannot be broken. Or in other ...words, taking off one of Schulz's many masks, one will probably never avoid the impression that a new mask has emerged. This book contributes to the three most typical critical strategies of reading Schulz's works (combinations, fragmentations, reintegrations) - being fully aware, of course, of the relativity of each particular approach. In addition, the book sets out to explore all of Schulz's creative output (i.e. his stories as well as his graphic, epistolary and even literary critical works), as one of Schulz's main goals was exactly to cross artificially set up boundaries between, among other things, different artistic media of expression. The book for the first time brings together leading Schulzologists (Jarzębski, Robertson, Sproede) and their prospective successors (Augsburger, Gorin, Kato, Suchańska-Drażyńska, Underhill, Wojda), established Polish academics (Dąbrowski, Markowski, Skwara, Weretiuk) and their foreign counterparts (De Bruyn, Gall, Meyer-Fraatz, Schulte, Zieliński), scholars primarily working on other authors (Anessi, Śliwa, Żurek) and those focusing on other art forms (Sánchez-Pardo, Watt). The editors' introduction offers an overview of seven decades of Schulzology. The book is of interest for both readers with a general interest in (world) literature and/or a particular interest in Polish and Jewish studies.
At the close of his recently discovered 1937 essay on graphic artist and fellow Drohobyczan Ephraim Moses Lilien, Galician short-story writer Bruno Schulz spoke of Lilien's early graphic works Juda ...and Lieder des Ghetto, and at the same time of his own writing, as a “creation born of the longing of golus.” This article considers Schulz's artistic engagement with the concept of golus—understood as both diaspora and exile—as illustrated in his essay on Lilien and in the poet Rokhl Korn's Yiddish-language review of Schulz's Cinnamon Shops. Schulz's writing, in its polyphony and translinguality; in its rhetorical strategies of universalization and encryption; in its marriage of Jewish and universalist thematics; and in the choices that the author made about where and how to publish, represents both a reflection on and a textualization of the experience of diaspora. Schulz's work, within the context of the post–World War I Galician Jewish experience in a newly independent Poland, represents an affirmative diasporic cultural model that, though it was not easy to incorporate into the ethnonational narratives that have dominated in both Polish and Jewish literary studies since World War II, lends itself much more readily to the present scholarly context, with its renewed interest in diasporic, transnational, and cosmopolitan models of Jewish identity as well as its postsecularist attention to cultural projects that arise at the intersection of materialism and theology.
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BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
This essay uses Martin Buber's articulation of the concept "ecstatic confession" to inform a reading of Polish-Jewish author Bruno Schulz's tales of "Księga" (The Book). I argue that Schulz's ...narrator, Józef, is a visionary seeker, much like medieval visionaries of Buber's collection Ekstatische Konfessionen (Ecstatic Confessions). Revealing the distinctly Christian influence of Schulz's modernism, I show that for Schulz and the medieval writers in Buber's collection, language remains the common link between spiritual insight and sensory experience: in attempting to describe the ineffable, it becomes possible for ecstatic writers to gesture towards a sacred, communal, and primordial word.
This article examines the iconoclastic Modernist poetry of the Polish writer and critic Dvoyre Fogel (Debora Vogel, 1900-1942) and presents the first English translation of selections from her ...Yiddish poetry collection Manekinen (Mannequins, Warsaw 1934). Using poetic strategies of repetition, montage and stasis, Fogel developed a unique style informed by Unist and Constructivist visual art. Her representations of domestic space, materiality, sex work and reproductive labor anticipated elements of postwar feminist aesthetics. Despite her contributions to the Polish avant-garde, Fogel's writing has largely been eclipsed by her relationship with Bruno Schulz, whose work she profoundly influenced. My article examines three primary aspects of her work: the principle of simultaneity (simultanizm—the representation of multiple spatio-temporal perspectives); critiques of commodification, as in the suite of ballads on sex work and material consumption; and her mythologization of industry and commerce. The recovery of Fogel's poetry and literary theory invites a reconsideration of stillness and domesticity—alongside the prevailing focus on dynamism, self-revelation and mobility—as significant aspects of Yiddish modernism.
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BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Anna Jurascheks Buch befasst sich mit der Idee des Bildes im Werk des polnisch-jüdischen Künstlers, Schriftstellers und Essayisten Bruno Schulz, der sein Hauptwerk in der Zwischenkriegszeit in ...polnischer Sprache verfasst hat. Im Kontext der gesellschaftlichen und technischen Veränderungen um die Jahrhundertwende untersucht die Autorin Bruno Schulz` auffälligen und eigenwilligen Umgang mit Bildern, der sich sowohl im plastischen als auch im literarischen Werk sowie in der Verflechtung beider Ausdrucksmittel zeigt. Zur Analyse und Bewertung werden einerseits Untersuchungen zu Bildern und ihrer kulturellen Funktion in der Zwischenkriegszeit herangezogen, wie die wegweisenden Aufsätze von Walter Benjamin und Gisèle Freund, andererseits neuere bildwissenschaftliche Theorien wie jene von Hans Belting und Gottfried Boehm.
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.
