This article discusses the American avant-garde movement called New Narrative, which originated in the 1970s, as well as the poetic strategies that accompanied its socio-political involvement in the ...cause of emancipation of sexual minority groups. The author discusses the output of three representatives of this movement: Eileen Myles, Magdalena Zurawski, and CA Conrad, whose work and artistic activity have focused on the problems of civil rights and the freedoms, or lack thereof, of LGBTQ+ persons in the United States. The author undertakes an analysis of the three artists’ output within the context of the philosophical reflections of Joseph-Achille Mbembe on the necropolitics, a body of ideas currently investigated in the US in relation to queer identity and queer practices.
Ewa Szkudlarek’s book Portrety cieni Witkacego Witkacy’s shadow portraits is an innovative look at the work of Stanisław Ignacy Witkiewicz. The author discusses the visual and the metaphorical ...aspects of shadows by analyzing the artist’s oeuvre across different media. This has not been done so far. The shadow connects and differentiates the works of Witkacy. The multi-faceted nature of the shadow in the context of culture, psychology, psychoanalysis, and existentialism unites Witkacy’s work. The shadow acts as a metaphor for the human condition, human vulnerability and mortality.
The author of the article searches for an answer to the question whether the stories might have been written by Bruno Schulz from Drogobych, the one who wrote The Cinnamon Shops. Given that the query ...has not yet been concluded beyond doubt, she tries to find alternative methods of analyzing these texts. She assumes that young Schulz’s style pattern should not be established by analyzing only his mature texts. Schulz wrote many short stories that could not be found, therefore, the question of his literary identity is still relevant. An account of his literary style can be found in the analysis carried out in the 1970s by Piotr Wróblewski. It allows for finding the most common features that distinguish Schulz from other writers. The distinction is crucial for either confirmation or rejection of authorship. The author conducts an experiment to evaluate the stylistic features in German stories and the result is surprising. In reference to The Cinnamon Shops as well as Schulz’s other well-known other works and his early story “Undula,” his authorship proves certain. However, in the German stories examination yields slightly more than half of the positive responses. The author assumes that in each text there are traces of someone’s individual, unique style, calling them metaphorically “text signatures,” the “fingerprints” of the text. In her research, she also uses methods such as forensic linguistics and stylometry. The author deals with the stereotype of Schulz’s literary debut facilitated by the support of Zofia Nałkowska. In the article, she tries to reconstruct Schulz’s first literary steps and wonders what he might have written between the publication of ”Undula” and “The Birds” (and later The Cinnamon Shops), and whether he included his first literary samples in letters to his friends or during the Kalleia’s meetings in Drogobych. The author lists his lost works and ends the article with the question of Schulz’s identity.
The 2016 referendum in the UK and then Brexit itself, formally introduced in 2020 and finalized – upon the conclusion of the transition period – at the beginning of 2021, have significantly affected ...the status of the border on the island of Ireland. Once the UK left the European Union, the border that separates the Republic of Ireland from Northern Ireland became an EU border as well. Although overnight the lives of the Irish people crossing the border did not change that much, gradual, and far-reaching, transformations have been taking place in the minds of the Irish and the British and in the overall economic, social and political circumstances on both sides of the old/new border. This essay seeks to address the Irish border’s history as well as its cultural and geopolitical contexts, based on the most useful insights of border studies. That perspective is enriched by elements of cultural memory studies to develop a position sensitive to the needs and aspirations of the border communities and individual borderlanders, who look for support and inspiration to their own local cultures and literary discourses. The aim of this essay is to explore various facets of the Irish border in light of the 2016 referendum’s results and ramifications. What is characteristic of the Tory neoimperialist vision and rhetoric in the UK is its disregard for the local, minority and regional issues on the island of Ireland. In consequence, the status of the 56 per cent of the inhabitants of Northern Ireland who voted “Remain” in the 2016 referendum may be described as that of a marginalized minority in their own country.
Schulz w Roju Sitkiewicz, Piotr
Schulz Forum,
2021
17-18
Journal Article
Recenzirano
Odprti dostop
After writing Cinnamon Shops, Bruno Schulz faced the need to find a publisher. We know that thanks to the protection of Zofia Nałkowska, he managed to publish his debut book with the Rój publishing ...house located in Warsaw. However, before it happened, he had been unsuccessfully looking for a publisher willing to take the risk of publishing a sophisticated book by an unknown author. To examine this problem, the author of the article investigates the condition of the Polish book market in the 1930s, examining surviving documentation and memories. He also analyzes what Schulz expected from his publisher and the terms under which his book was released. Finally, he attempts to calculate the benefits and losses that Schulz incurred by publishing the book with the Rój publishing house.
This article aims to reevaluate Schulz’s early drawings from 1919 to 1921, rarely included in scholarship on Schulz’s artwork, by focusing on the motifs of “picture within a picture,” imitation of ...historical paintings, and the frame of the image. Previous scholarship on Schulz’s artwork mainly discussed the specific theme of men’s worship of women in the 1920s cliché-verre series The Book of Idolatry and regarded Schulz’s seemingly realistic renderings as “anachronistic” compared to twentieth-century modernist art. Here, I will first focus on Schulz’s adaptation of the style of historical paintings into his so-called “masochistic motifs” of men supplicating themselves to women. By creating a gap between the style and the content expectations of the viewer familiar with the conventions of European paintings, Schulz’s early drawings question the custom or conventional understanding of paintings created for acceptance and success in the European Art Academy system. Second, I invoke Derrida’s interpretation of the concept of “parergon” in The Truth in Painting (1978) to reconsider the motifs of frame and “picture within a picture,” omnipresent in Schulz’s early drawings. Through these means, I explore Schulz’s perception and attitude regarding medium specifics of paintings as Clement Greenberg argued regarding modernist paintings. Thus, I discuss his early drawings as self-referential and radically modernist works.
The essay is an attempt to read The Tree of Codes by Jonathan Safran Foer in linear and nonlinear modes. The author analyzes Foer’s text made of „The Street of Crocodiles” by Bruno Schulz and ...compares the literary experiment of the American writer with the selected phenomena in contemporary culture, repeating the question about the status of Foer’s book’s, both a ruin and a monument.
