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11.98 €

From Rhetoric to Aesthetics: Wit and Esprit in the English and French Theoretical Writings of the Late Seventeenth and Early Eighteenth Centuries

Author(s): Klára Bicanová / Language(s): English

The thesis deals primarily with the term wit and its modern and historical usage in literary and aesthetic theories. Further, it concerned with the literary and aesthetic implications of the terms wit and esprit as they were theorized in critical writings of several authors of the early modern England and France. The thesis has two primary goals. The first goal is to re-assess the English concept of wit, nowadays regarded as an out-dated device of past poetic systems, and to present it as vital and useful part of the contemporary discourse. The second goal is to provide comparative reading of early modern English and French theoretical texts dealing with wit and esprit, respectively. Presenting ideas on the English term wit as employed in the theoretical writings in the light of its French equivalent esprit, I wish to demonstrate a gradual development of the terms from rhetoric to aesthetic.

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30.00 €

Szekspiromania. Księga dedykowana pamięci Andrzeja Żurowskiego

Author(s): / Language(s): English,Polish

A collection of essays dedicated to the memory of a renowned Shakespeare scholar Andrzej Żurowski (1944–2013). The book is devoted to the interpretation and reception of Shakespeare’s works in Polish theatre and abroad, to theatrical practices and various dramatic devices, to translations and comparative studies, as well as to polemics and Shakespearean inspirations in broadly defined culture: in music, iconography, and translation. A diverse study of the phenomenon of the contemporary and global Shakespeare.

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4.50 €

Uścisk Szekspira

Author(s): Anna Cetera-Włodarczyk / Language(s): English,Polish Publication Year: 0

A collection of essays dedicated to the memory of a renowned Shakespeare scholar Andrzej Żurowski (1944–2013). The book is devoted to the interpretation and reception of Shakespeare’s works in Polish theatre and abroad, to theatrical practices and various dramatic devices, to translations and comparative studies, as well as to polemics and Shakespearean inspirations in broadly defined culture: in music, iconography, and translation. A diverse study of the phenomenon of the contemporary and global Shakespeare.

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4.50 €

Biogram i bibliografia prac Andrzeja Żurowskiego

Author(s): Jolanta Betkowska / Language(s): English,Polish Publication Year: 0

A collection of essays dedicated to the memory of a renowned Shakespeare scholar Andrzej Żurowski (1944–2013). The book is devoted to the interpretation and reception of Shakespeare’s works in Polish theatre and abroad, to theatrical practices and various dramatic devices, to translations and comparative studies, as well as to polemics and Shakespearean inspirations in broadly defined culture: in music, iconography, and translation. A diverse study of the phenomenon of the contemporary and global Shakespeare.

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4.50 €

Szekspir w teatrze Stanisława Koźmiana, Kraków: 1865-1885

Author(s): Marta Gibińska / Language(s): English,Polish Publication Year: 0

Koźmian, director of Cracow’s City Theatre in the years 1865–1885 and a theatre reviewer, created a well-organized theatrical enterprise with a distinct artistic profile and well-balanced repertoire in which the best Polish plays were shown together with the canonical French, German and Russian classics. Shakespeare loomed large in the Theatre’s repertoire because for Koźmian his plays were the top achievement of European drama. The paper examines Koźmian’s ideas about drama, theatre and acting; his emphasis on both Polish and European plays in the repertoire results from the ambition to change the provincial stage into a national one, influencing and stimulating intellectual and artistic life in the then partitioned country. In this context the gradual introduction of Shakespeare’s plays (or rather their adaptations) in new translations is shown as a process of appropriating them as part and parcel of Polish culture.

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4.50 €

Bolesław Prus podziwia Helenę Modrzejewską

Author(s): Józef Bachórz / Language(s): English,Polish Publication Year: 0

Bolesław Prus took a lively interest in Polish theatre, which he followed out of a sense of journalistic duty (throughout his life Prus earned most of his income through journalism). He took careful note of major events in Poland’s cultural life, notably those taking place in the Russian-occupied Kingdom of Poland, where the theatres were licensed to produce plays in Polish. Prus did not put a lot of a weight on theatre, which he never saw as fundamental to the nation’s life (he was similarly unimpressed by the other arts, including, perhaps a touch surprisingly, literature), and tended to focus instead on those areas which he saw as more fundamental to the well-being of society, such as education, science, economic development or relationships between social classes. Having said that, Prus enjoyed his theatre, and he paid attention to productions taking place in Warsaw. Notable among his numerous columns on the problems, events and personalities of Warsaw’s theatre are those which focus on the actress Helena Modrzejewska. Many of his columns written in 1882 and 1885 pay considerable attention to the actress. Prus believed that Modrzejewska was one of the most eminent artists of the theatre in Poland and abroad, and he ranked her alongside the famous Sarah Bernhardt. He admired here xtraordinary talent and range of expression, noting how her professionalism was based on reliability and diligence. Prus never joined her critics who decried Modrzejewska’s decision to pursue a career in the United States and did not see her as being unpatriotic. He criticised instead the Polish version of the tall poppy syndrome whose poisonous brew of envy and backbiting encouraged the more enterprising individuals to leave the country for an international career.

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4.50 €

Hamlet i Hamlet 1914. Rekonesans

Author(s): Jan Michalik / Language(s): English,Polish Publication Year: 0

This article was inspired by a handwritten outline of the “screenplay” for a largely forgotten 1914 production of Hamlet in Kraków; drafted by Tadeusz Pawlikowski, widely regarded as the greatest director and theatre principal of late 19th- and early 20th-century Poland. The article opens with a description of the manuscript, a hitherto unknown document which preserves traces of the creative effort leading to the production’s premiere. The first section pieces together evidence from the manuscript with details gleaned from contemporary reviews to reconstruct the structure of the production (which involved over a dozen separate scenes), and the structure of the stage-space which used elements of a 1909 (1912) Max Rheinhard production at the Deutsches Theater in Berlin. The second section of the article argues that the production was a turning point in the critical appreciation of Karol Adwentowicz’s performance as Hamlet, more than five years after the great modernist actor added the character to his repertoire. The article is intended as a sort of reconnaissance mission to encourage further scholarly attention to what was arguably one of the most interesting theatrical productions of Hamlet in Poland.

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4.50 €

Z szekspirowskiego archiwum reżysera

Author(s): Kazimierz Braun / Language(s): English,Polish Publication Year: 0

The essay presents Kazimierz Braun’s Shakespeare productions directed in the United States. It opens with recollections of productions of plays by Shakespeare in which Braun either acted (Twelfth Night, Poznań University, 1957) or which he directed. These included Romeo and Juliet (Teatr Polski, Warsaw 1963), Hamlet (Teatr im. J. Osterwy, Lublin 1968), Twelfth Night (Teatr Współczesny, Wrocław 1981), Hamlet (PWST Theatre Academy in Wrocław, 1984), and also Twelfth Night in Esslingen, West Germany (1984). In America, Braun first directed his own medley of love scenes from Romeo and Juliet and Twelfth Night (Swarthmore College, 1985). Next, he directed a series of the Bard’s plays at the Shakespeare in Delaware Park Festival in Buffalo, New York: Henry V (1987), Julius Caesar (1988), King Lear (1989), and As You Like It (1991). He also staged Richard III at the Kavinoky Theatre in Buffalo (1999), where he was responsible for directing and stage design. Directing Shakespeare in its original English and in an open air setting helped Braun discover what he calls new Shakespearean horizons: the blank verse which is “actional” and totally integrates the actor’s words and deeds, controlling the actor not unlike a horse bridle, and at the same time guiding the actor’s actions, energizing him/her and imposing a rhythm on speech and movement; and secondly, replicating in the open-air theatre the potentially three-dimensional space of Elizabethan theatre, allowing a smooth and expressive structuring of the action.

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4.50 €

Shakespeare, the Polish Director’s Contemporary

Author(s): Kathleen Cioffi / Language(s): English,Polish Publication Year: 0

“Shakespeare, the Polish Director’s Contemporary” considers two Polish productions of Shakespeare plays in the National Audiovisual Institute’s “Polish Contemporary Shakespeare” series. The author discusses the Polish tradition of “Shakespeare mania” and then analyzes Jan Klata’s production H. (an adaptation of Hamlet) and Krzysztof Warlikowski’s production Burza. Both directors apply Jan Kott’s idea that Shakespeare can be our contemporary to their productions, but they do so in different ways. The directors’ ability to achieve contemporaneity in their productions depends not only on stylistic directorial choices, but also on the changing nature of contemporary reality itself in the post-1989 era. Klata’s production seems to be almost an illustration of Kott’s discussion of Hamlet in Szkice o Szekspirze, yet at the same time, it has a curiously old-fashioned, Cold War–era feeling. H. enlists Shakespeare in the argument over European Union accession, an argument that was au courant in 2004 when the production was first staged but now seems dated. Warlikowski’s production appears less immediately contemporary in Kott’s sense than H., yet it illustrates Kott’s notion that Burza is “a passionate reckoning with the real world” as it was influenced by the controversy over Jedwabne, an issue that remains resonant to this day.

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4.50 €

Poznańska dyrekcja Janusza Wiśniewskiego albo Czas na klasyków

Author(s): Tomasz Milkowski / Language(s): English,Polish Publication Year: 0

Janusz Wiśniewski’s auteur theatre project was born in Poznań in the early 1980s, catalysed by the production of Balladyna by Juliusz Słowacki in Teatr Nowy and followed by several more productions of original plays (including Koniec Europy [The End of Europe]). From the outset, Wiśniewski’s project provoked extreme reactions, enthusiastic or otherwise, with Andrzej Żurowski acting as a major advocate. Following the collapse of communism in the early 1990s, Wiśniewski tried to start a theatre company in Warsaw. When the project foundered after two premieres, he spent several years in Germany before coming back to Poznań, first as a director in Teatr Nowy, and later as theatre principal in 2003–2011. Wiśniewski successfully combined the roles of director and auteur. His Teatr Nowy tackled a number of dramatic forms ranging from traditional dramatic theatre (Romeo and Juliet) to metaphysical comedy (Richard III) and visual narrative theatre (The Tempest). Notably, Wiśniewski explored Polish and world classics at the time. This basic outline attempts to recreate Janusz Wiśniewski’s years at the helm in Poznań, and looks at his auteur productions which enjoyed good critical reception in Europe.

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4.50 €

The Face as a Stage: Roberto Bacci’s Hamlet

Author(s): Jerzy Limon / Language(s): English,Polish Publication Year: 0

This article touches upon theoretical issues of the theatre, and the basic source used to exemplify the thesis is Roberto Bacci’s Hamlet. In this production, the actors wear fencing masks and costumes, and when they uncover their faces, they become particular fictional figures. However, after they have played their role in a given scene, and put the masks back on, the meaning they carried evaporates or is reset. This means that when they uncover their face again, they can assume the role of someone else. The essay analyses the rules of the theatre that enable transformations of this kind.

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4.50 €

Hamlet spod znaku globalizacji

Author(s): Patrice Pavis / Language(s): English,Polish Publication Year: 0

Peter Brook’s 2000 Hamlet (filmed in 2001) is an example of a globalised production where great pains are taken to make sure that the diverse backgrounds of its international cast can gel homogeneously. The interpretation is a sort of net force far removed from a critical reengagement of the text. The production seems to be guided by the impulse to try and come up with a versatile production fit for viewing and appraisal in a wide range of contexts. Is this shortage of vision and interpretive ambition a sign of humility, or is it a symptom of slick directing which fails to rise to the task of achieving critical engagement with the text?

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4.50 €

Mirrored Image and the Dislocation of Culture in Ninagawa’s Shakespeare

Author(s): Manabu Noda / Language(s): English,Polish Publication Year: 0

Yukio Ninagawa (b. 1935) is one of the most internationally known Japanese theatre directors for his productions of Western classics. However, he often seems defensive about directing them. My essay tries to argue that his defensiveness can be interpreted as a form of self-imposed Orientalism which consigns the mind to the West, the body to the East. For instance, in his praise of Tatsumi Hijikata’s 1972 butō piece Shiki-no tameno Nijūichi-ban [Twenty-seven Nights for the Four Seasons], Ninagawa showed his strong sympathy with the way Hijikata mixed the intellect of the West with the physicality of the East. Hijikata’s dances were broadly regarded as an unsightly form of parading and grotesque physicality, but as Ninagawa saw it, Japan’s origins were in this dark deformity. The dark origins of the indigenously Japanese was to Hijikata what the archetypal populace is to Ninagawa. The volatility of the crowd which Ninagawa loves to stage reflects the ambivalent modernity of post-World War II Japan. Ninagawa looked back on some imagined past for the origin or archetype of their nationality which he hoped might serve as an alternative to the kind of modernity of their undeniably westernized country. My paper examines ambivalent modernity in the way Ninagawa stages Shakespeare and other plays as mirroring the populace of the post-World War II political milieu of Japan.

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4.50 €

Metafory i praktyki teatru

Author(s): Georges Banu / Language(s): English,Polish Publication Year: 0

The attempts at describing theatre inform all works of Shakespeare though he never offers a consistent and homogeneous declaration of principles. The article is a brief survey of the multiplicity of references to the theatre and various practices known by men of the stage such as Shakespeare himself along with the metaphorical, or even symbolic use of these theatrical patterns, stage sets, actors and manners of characterization. If for Shakespeare all the world’s a stage, it is reasonable to explore the distribution of patterns underneath the plentitude of theatrical allusions scattered over his whole work.

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4.50 €

“My dreams presage too true”: Dreams as a Dramatic Device in Elizabethan Drama

Author(s): Pavel Drábek / Language(s): English,Polish Publication Year: 0

Throughout the entire period of Elizabethan drama dreams were used as a powerful dramatic device. They served as a means of character development (an early type of psychology), popular metaphysics as well as techniques of drama construction. This paper discusses dreams and their role in several plays by Shakespeare, The First Part of the Contention (also known as King Henry VI, Part II), King Richard III, Romeo and Juliet, and in the apocryphal Arden of Faversham and Sir Thomas More. These plays – although not a full list of Elizabethan plays that have dreams in them – may be read and understood within a single context, historically, that of the years 1590–93, in which they were all written and performed. As the dramatic function of the dream is analogical in those plays, the group may be referred to as forming a subgenre of the Elizabethan dream play.

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4.50 €

Conflict and Rhetoric. On the Structuring of Roles in Conflict in Shakespeare’s (Non)dramatic Poetry

Author(s): Jacek Fabiszak / Language(s): English,Polish Publication Year: 0

It appears that conflict, so fundamental in drama and theatre, assumes a theatrical vest in Shakespeare’s dramatic and non-dramatic poetry. It does not matter what the nature of the conflict is: be it military, moral, ethic, etc. It does not matter either whether there are at least two conflicted characters, as the conflicted parties, especially in the case of poetry, can be contained within a single lyrical I. The key issue in the structuring of roles in conflict is of course the omnipresent rhetoric, which was an obligatory subject in the English Renaissance education system. For this reason, neither Shakespeare (who probably did go to King’s New School in Stratford) or his contemporaries (e.g. Christopher Marlowe) were well versed in it and purposefully or inadvertently employed it in their works, especially in the situation of VERBAL conflict when one party tried to argue with another. In such a conflict, characters, or their alter egos, posed as if they were actors on stage. The scrutiny centres on two examples of Shakespeare’s poetry: a sonnet (nondramatic verse) and a monologue from Macbeth (dramatic poetry). I will try to show how in each case, with the help of rhetorical rules, the speaker constructs his interlocutor in the process of solving a conflict.

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4.50 €

Shakespeare’s Unhistorical Inventions and Deviations from Holinshed, and Their Dramatic Functions in Richard II

Author(s): Yun-Cheol Kim / Language(s): English,Polish Publication Year: 0

Much of the dramaturgical genius of Shakespeare’s later master tragedies is already to be found in Richard II, especially in his treatment of the main source: Holinshed’s Chronicles. This essay aims to explore Shakespeare’s departures from Holinshed in terms of characters and structure, and to see how they function in the drama. Shakespeare has changed Holinshed’s self-seeking Gaunt into an aged patriot to emphasize Richard’s weaknesses as King. He has matured Queen Isabel from a historical seven-year-old child to a fully grown woman, and facilitated Richard’s journey into self-discovery. In the garden scene that Shakespeare has invented, he even lets her, as Richard’s proxy, eavesdrop on the gardener’s admonitions on royal governance, in which Richard has failed. Most importantly, in terms of structure, Shakespeare puts the deposition scene before a large assembly in Westminster Hall, unlike historic Richard whose resignation was tendered by letter in the Tower of London. This invention, or deviation, enhances Richard as a tragic hero who has finally achieved self-knowledge, reconciliation to his fate, and victory in defeat. Shakespeare’s inventions and deviations from Holinshed in Richard II have foreshadowed some dramaturgical principles of his later great tragedies and surely put the play into a drama of truly tragic stature.

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0.00 €

The Figurativeness of the Language of Mystical Experience: Particularities and Interpretations

Author(s): / Language(s): English

The scientific and technical achievements of the last decades have enabled man to achieve an unquestionable life comfort. Paradoxically, however, they also stand behind his existential struggles, where the need to slow down the pace and restore one’s own emotional and cognitive resources, revive communication models based on immediate contact, be authentic, creative, stronger, and so on breaks through the surface. One way of looking for a personal way of life and its meaning is through a religious, more precisely, spiritual experience. We consider the mystical experience to be the modality of the spiritual expression or, more precisely, its autonomous part. We see it as a descent of man into his own interior, so called the centre, in which he acquires a pouring knowledge of the nature of God. Although it is an individual and spontaneous experience, it is characterized by some universal features: imagery as a means of conveying the inexpressible content and as an archetypal basis of spiritual tradition. The publication focuses on the literary-artistic forms of the mystical experience as well as the literary forms of mystagogy, that is the interpretation of the mystical experience of the mystic. Through individual analytical-interpretative contributions based on the works of the mystics of the Western Christian tradition, we will try to enter into a specific image of ineffability modelled (the language of mystical unification) and reflexively stimulated (the language of mystagogy) by mystical experience. This is a complex subject confirmed by its basic attribute (inexpressibility at the language level) and by its thought-initiated tensions (for example, interior vs. exterior, authentic vs. ritual, profane vs. sacred, natural vs. supernatural).

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XV. studentská vědecká konference Katedry českého jazyka a literatury: 23. března 2023

Author(s): / Language(s): Czech

These collection of the XV. student scientific conference of the Department of Czech Language and literature from March 23, 2023, contains 15 articles by 15 researchers on linguistic and literary topics. It contains studies by Kristýna Zuzaňáková (The metaphors of everyday life), Iveta Dokoupilová (Carrying children in linguistics), Tereza Švandová (Czech Language as the basis of success or the Role of Czech for foreign language speakers), Radim Ošmera (Interlanguage theory in second language acquisition), Zuzana Procházková (Textbooks for pupils with different mother tongue at the second level of primary school), Aneta Čermáková (Strengths and limitations of corpus analysis of bilingual material), Petra Fojtíková (Literacy and literacy in literary education classes), Miroslav Jindra (Conclusion to the research on children’s identification with literary works and theatre performances), Marie Pavelková (The figure of the child-stranger in Alena Ježková’s Dragon soup), Magdalena Lípová (The dog hero as a guide on the way to identity formation and interpersonal relationships in selected stories for children and youth), Klára Březinová (Marian mirroring), Dominika Papíková (Internal subjects in Petra Soukupová’s books To the sea and The best for all), Ondřej Zabloudil Pechník (The thematization of natural nations in Czech literature after 2000 in retrospect), Tereza Homolová (The theme of music in the poetry of Vít Slíva) and Tereza Pořízková (Above aspects of the novel by E. M. Forster).

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Polskie przekłady Shakespeare'a w XX i XXI wieku. Zasoby, strategie, recepcja

Author(s): Anna Cetera-Włodarczyk,Mateusz Godlewski,Przemysław Pożar / Language(s): Polish

The book offers a comprehensive account of Polish Shakespeare translations in the 20th and 21st century with particular attention to the analysis of translation strategies, biographical contexts and critical reception. The study centers on broadly understood assimilation processes of foreign literature in translation, their complexity and dynamics, and elucidates their historical, literary and theatrical dimension. The publication offers updates on Polish reception of Shakespeare and invites advanced comparative studies. This refers in particular to the relation of Shakespeare criticism and translation, the impact of aesthetics and theatrical conventions on translation policies, and the mechanisms governing retranslation of canonical works.

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