Dissertations / Theses on the topic 'Polish literature'

The aim of this dissertation is to study urban domesticity in Polish film and literature against the background of the political and social transformations that have taken place in recent decades. The study begins with the so-called belle époque of the Polish People’s Republic and the decade of Edward Gierek, continues through the political upheavals, the period of martial law, and the system transformation of 1989 and the two following decades, which have been marked by the introduction of democracy, global capitalism, consumerism etc. The primary sources consist of almost thirty literary and cinematic works from various genres covering a period of forty years – twenty before the system change, and twenty after. Their common denominator is their setting in the socialist housing projects (blokowisko).  The dissertation places itself in the field of geocriticism and literary/cinematic spatiality. The object of the study is the ̒social space’ (Henri Lefebvre) of the urban home, and the main analytical frames are spatial representations and narrative space, which are viewed as important in shaping both character and plot. The analysis also draws from cultural theory by Michel Foucault, Marc Augé, Mikhail Bakhtin, Mircea Eliade, and Loïc Wacquant. The dissertation detects a shift in the representations of the urban home that indicates that the home has become more private and secluded after 1989, also suggesting that a spatial and social marginalization of the socialist housing projects has occurred. These findings are interpreted as consistent with theories in human geography on changes in the perception and experience of space due to global paradigm shifts and changes in the production system.

The thesis seeks to account for the development of the Party's views of the contemporary novel and its expectations of the form after Socialist Realism (1949-1955). The course of development of Party requirements of the form is traced from 1959, when the Party announced its new operative ideology at the Third Congress, to its last major statement of demands at the Party Writers' Conference of February 1985. One of the salient features of the thesis is the attempt to reconstruct Party thinking on the novel through access to hitherto unknown materials for the period from the Party and Censorship Office archives. This enables the lack of specificity inherent in the Party's formulations after the demise of Socialist Realism to be countered, and a more definite account of the progression of Party thinking to be delineated. Chapter 1 defines, firstly, the administrative structures within which writers were required to operate - the Writers' Union, Ministry of Culture, the Central Committee's Cultural Department and, finally, the Censorship Office. Secondly, it considers the positive mechanisms devised by the state to encourage novel-writing on favoured topics, and thirdly, the aims of the Party's cultural programme. Chapter 2 provides a general cultural background of the period, describing the development of the term 'committed literature', which was most frequently used by writers and politicians in their deliberations on the nature and direction literature was to take. This development was influenced by the increasing restrictions which the authorities placed upon writers' freedom of interpretation. These concerned, above all, the problem of alienation in socialist society. Chapter 3-5 discuss six works in relation to the administrative structures and the major political issues of the period. In Chapter 3, the question of the Party's initial definition of the extent of freedoms is considered in relation to Roman Bratny's Szczes lwi, torturowani (1959) and Jerzy Putrament's Pasierbowie (1963).

The present thesis offers a comparative analysis of the theme of feminine doubling, which has not yet been taken into academic consideration. It examines the strategies of construction of relationships bonding mother-figures, daughter-figures, and father-figures in the various texts selected for inclusion in this dissertation from British and Polish literature. The key argument is that the tie between feminine doubles can be positive. A mother-figure (or the first wife) is capable of sharing her experiences with her daughter-figure (or the second wife). The second pivot of this exploration is the figure of a sexual mother. The dissertation comprises three parts. The aim of the first section of the thesis is to provide an introduction to the broad cultural context of the mid-nineteenth- to early twentieth-century Polish literature. The second, pivotal part is an exploration of the themes of feminine doubling and feminine sexuality as manifested in the Polish texts, including Narcyza Żmichowska’s The Heathen, Maria Konopnicka’s “Miss Florentine”, Maria Komornicka’s “On Father and his Daughter” and Zofia Nałkowska’s “Green Shore”. It also consists of an interrogation of the shifts occurring in the plot of Charlotte Brontë’s Jane Eyre and Daphne du Maurier’s Rebecca: these shifts concern the protagonists and the nature of their relationships with the sexual mother-figures. The present analysis stems from the conviction that a comparative reinterpretation of the two novels has been largely overlooked so far. The aim of the thesis is to apply various theoretical approaches that enable the reader to bring together the Freudo-Lacanian psychoanalysis and écriture féminine. The broad psychoanalytical context, including the works of the forgotten Freudian scholar Sabina Spielrein, provides a basis for the comparison. It also enables a profound, intertextual, and inspiring analysis. The thesis is meant to provide a much-needed new reading of Polish women's literature in a comparative structure, so that these texts may be afforded their appropriate position within the British and Polish critique. The innovative features of the research include its comparative character, and the implementation of various psychoanalytical approaches to the Polish works. Additionally, the thesis focuses on literary analysis. It incorporates the findings of various scholars interested in issues associated with “femininity”: it emphasises the importance of gender and feminist issues to the literary (re)interpretation of women’s texts. The present investigation is not conclusive and should be viewed as a stepping stone for further comparative exploration of Polish novels penned by women.

The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.

Space constitutes one of the main leitmotifs of Czeslaw Milosz's work, both theoretical and poetic. Central in this respect is the notion of imagination as a faculty organizing space, the faculty which, from the times of the Scientific Revolution, has been subject to erosion, especially as far as the religious imagination is concerned. The abolition of the anthropocentric, hierarchical vision of space, threw human beings into a state of alienation, conceptual nowhere. Religion was replaced by the dogmatism of scientific reductionism, the reality of Ulro. Milosz shows the way out of Ulro, the way out of nowhere to the somewhere. This thesis aims to illustrate the conceptual map of the way out of Ulro as portrayed in four selected volumes of poetry and the novel Dolina Issy, anchored in different points of Milosz's biography. The Land of Ulro, the collection of essays which encapsulate Milosz's ideas on space, constitutes a canopy work for the interpretation of the practical realization of those ideas in Milosz's poetic work. Trzy zimy (1936), Swiat, poema naiwne (1943), Miasto bez imienia (1969), and Druga przestrzen (2002) provide the material for the analysis of different aspects of Milosz's conception of space. Subject to analysis is the relationship between object and human subject as regards the formative, childhood experience of the space of the house (manor) and surrounding landscape, the act of building space on the basis of memory and retrospection in the context of distance and exile, and the workings of religious imagination in the context of the realm of second space. Through his conception of space, Milosz defends human existence in its completeness. He shows the way out of Ulro. This thesis aims to retrace Milosz's map out of the land of alienation on the basis of the poet's selected works.

This thesis addresses the traumata associated with Poland’s frontier changes in 1945, within a collective memory paradigm. These events include expulsions from German territories incorporated into Poland, and population transfers between Poland and the USSR. The thesis addresses two components: a central trauma complex, and the resulting collective memory discourse. Being a matter of historical record, the statistical details and chronology of these events are seldom contested, although they have often been instrumentalised by various stakeholders. Instead, the relevant collective memory discourse has focused on the production of broad, often exculpatory, narrative frameworks designed to explain a set of largely accepted facts. Accordingly, my thesis is primarily focused on this collective memory discourse. As an active phase, dominated by stakeholders with a high level of emotional investment in the narration and memorialisation of the relevant events, this collective memory discourse is currently undergoing a transition to the domain of History as a scholarly pursuit. This transition is best symbolised by the fact that, as of 2016, for the first time since 1945, all restrictions on the acquisition of agricultural land and forests in Poland’s former German territories, by Germans, will be lifted. Thus, for surviving expellees, the right of return, in conjunction with the potential to purchase any formerly held real estate and landholdings, will become a de jure reality, marking the end of the region’s long postwar period. Arguably, therefore, one can now engage, at a retrospective, analytical level, with the relevant collective memory discourse without being drawn into it. In order to navigate this complex discourse, I have developed a number of analytical and conceptual tools, which I hope may prove useful beyond this project. In this sense, this thesis can be viewed as a proof of concept. Chief among these tools are a novel working definition of collective memory as a discrete phase in the historification and mythologizing of traumatic events, and a three-level model designed for the consistent analysis of narrative texts, artefacts and cultural productions. By tracing the relevant collective memory discourse through a number of 4 disparate fields, including political myth-making, historiography, toponymic practice, cartography and literature, I have been able to test these analytical and conceptual tools to breaking point, often benefiting from the resulting heuristic gain wherever lived complexity defies simplistic analytic idealisation. To ensure a focused exposition of the theoretical framework and the sources analysed, this thesis is primarily centred upon Lower Silesia and the following broad research questions: what geo-socio-political power dynamics resulted in Poland’s postwar frontier changes and the associated traumata, and how were they justified at the time? How have historians reacted over time to Poland’s postwar frontier changes, and the humanitarian consequences, as well as to contemporary framework narratives relating to these events? How has the toponymic re-inscription of Poland’s former German territories influenced the relevant collective memory discourse, and to what extent have cartographic representations of postwar Poland been influenced by changing geo-political configurations? How have the prevailing socio-political conditions in postwar Germany and Poland constrained literary contributions to the relevant collective memory discourse? And, finally, in what ways, has literature contributed in turn, to the relevant collective memory discourse and the establishment of hegemonic historical narratives? This thesis presents a number of specific findings, the most significant of which is that political contingencies can result in a surprising deflection of collective memory discourse into seemingly unrelated fields, and can trigger a ripple effect, which has the ability to globalise collective memory discourse under certain circumstances. Similarly, my analysis of shared topoi in the works of German and Polish historians and literary authors demonstrates that, far from generating its own framework of reference based on specific traumatic events, collective memory discourse is exquisitely sensitive to broader socio-political narratives. In addition, I contend that mainstream historical narratives tend to simplify, for example, through the imposition of a chronology on multidirectional memories, and by focusing on homogenizing accounts of the collective at the expense of 5 individual narratives. In contrast, literature and local cultural performances often resist such simplification, thus preserving complexity. Viewed in this light, the pursuit of Cultural and Literary Studies addresses a clear problem within, and usefully augments, traditional historical scholarship. By carefully analysing a subset of Polish and German literature, historiography and cultural artefacts produced in response to the traumatic events in question, my thesis seeks to trace the transition from highly localised stakeholder-led collective memory discourses to hegemonic historical narratives developed and maintained in the service of broader geo-political agendas.

Communication between politicians and the public is rarely direct and first-hand, but almost always mediated by journalist opinions and values. Consequently, the way in which the media reports on State matters has a profound impact on people’s understanding of political processes and their attitudes towards the governing figures. The aim of this research project is to investigate the role that the Polish Press assumes in mediating women’s involvement in contemporary politics. Stemming from the perspective of feminist critical linguistics, the thesis empirically examines a wide array of media publications derived from leading Polish socio-political magazines (‘Polityka’, ‘Wprost’, ‘Newsweek Polska’) and electronic press. By engaging with the journalist discourse, it focuses on the importance of language in generating epistemological claims about women and femininity. It demonstrates not only how female subjectivities are produced in the Polish public domain, but also how history and culture impinge on these constructions in a dialectical-relational manner. The intention is to draw up an ‘inventory’ of signifying practices through which female MPs emerge as gendered subjects in the hope that this will inspire closer scrutiny of media content, leading to its informed critique and transformation.

The purpose of my research is to investigate the processes and mechanisms of semantic change in two basic colour terms: green in English and zielony in Polish. My research methodology focuses on existing English and Polish corpora, namely the British National Corpus, the Corpus of Contemporary American English and the National Corpus of Polish. I analyze my data both synchronically and diachronically (comparing two periods of time: 1985-1994, 2001-2010). My study also evaluates the use of corpus evidence for the purpose of investigating the processes of semantic change. Various factors have caused the Basic Colour Terms (BCTs) green and zielony to form metaphorical and metonymical meanings that have been conventionalised in English and Polish respectively. These processes have long played an important role in our understanding of the surrounding world. Investigating semantic changes in these two colour terms and two periods of time is key to my cross-cultural research, and this entails answering the questions: Why do green and zielony develop different senses? What are the similarities and differences between these two colour terms? How have these two terms developed and might they develop new senses in future? Are metonymy and metaphor the only mechanisms of semantic change in green and zielony? The semantic change of each colour term is shown through a network of meanings, where all the different meanings of green and zielony are presented together with their stages of development in the form of codes. Additionally each stage is a separate prototype. The aim of the network is to show the etymological prototype and various senses (new prototypes) developing from this original sense. Moreover the number of occurrences of each prototype might indicate which meaning or meanings are most common or even central in a given language at a certain point in time. The network of meanings is a visual representation of semantic change and processes involved in it. A very detailed analysis of corpus examples provides an insight into the uses of green and zielony in English and Polish respectively. The data are analyzed both qualitatively and quantitatively. Such an approach offers a thorough analysis of the two terms in question.

Celem rozprawy magisterskiej pod tytułem „Lalka” B. Prusa w kontekscie literatury młodopolskiej jest wprowadzenie poetyki tego utworu w kontekst literatury Młodej Polski i wyznaczenie relacji semantycznych, łączących dane arcydzieło z estetyką przełomu XIX i XX w. Osiągnięcie danego umożliwia się przy rozwiązaniu dwuch zadań, które polegają na odnalezieniu pola semantycznego Lalki wśród „izmów” literatury polskiej końca XIX w. i wyznaczeniu formuły arcydzieła literackiego w odniesieniu do danego utworu w ujęciu ogólnoteoretycznego. Wynikiem badań jest stwierdzenie, że powieść B. Prusa ma charakter prekursorski wobec utworów pisarzy młodopolskich, tak jak wprowadził kompozucję otwartą, nowy egzystencjalny modus bohatera, stworzył powieść polifoniczną i nowoczesny realizm, który łączy się na zasadzie syntezy.
Magistrinio darbo B. Pruso „Lėlė” Jaunosios Lenkijos literatūros kontekste tikslas yra to kūrinio poetikos nagrinėjimas Jaunosios Lenkijos literatūros kontekste ir semantinių ryšių,jungančių tą iškilų veikalą su XIX ir XX a. sankirtos estetika, nustatymas. Pasieki šį tikslą įmanoma išsprendus dvi užduotis – ateadus Lelek semantinį lauką tarp Lenkijos XIX a. pabaigos literatūros „izmų” ir nustačius literatūros veikalo formulę šio iškilaus kūrinio atžvilgiu pagaj bendrosios teorijos sampratą. Tyrimų rezultatas yra konstatavimas, kad B. Pruso romanas palyginti su Jaunosios Lenkijos rašytojų kūriniais buvo pirmtakas, nes jame plėtojama atvira kompozicija, naujas egzistencinis herojaus vaizdavimo būdas, kuriamas polifoninis Nauru laikų realizmas, jungiamas sintezės principu.
The purpose of the Master’s thesis B. Prus’ „The Doll” in the Contex of the Young Polish Literature is the analysis of the poetics of this work in the context of Young Polish Literature and determination of the semantic connections, connecting this prominent work with the aesthetics of the transition of the 19th and 20th centuries. This goal may be achieved by solving the following two tasks – having discovered the semantic field of The Doll between the Polish literature „isms” of the end of the 19th century and having determined the formula of the piece of literature in respect of this prominent work according to the general theoretical conception. The result of the research is the statement that B. Prus’ novel as compared with the works of the Young Polish writers was a predecessor, as an open composition, a new existential way of depiction of the hero is developed therein, a polyphonic realism of modern times is created, as well as connected in the principle of synthesis.

This doctoral thesis analyzes the reception of the literary works of Polish novelist and playwright Witold Gombrowicz in Spain. The period of analysis begins with the first edition in Spain of a work by Gombrowicz, Pornography (The seduction) in the translation of Gabriel Ferrater, and finishes in 2014 when the intimate diary Kronos, the last work of Gombrowicz, is published. Based on Reception Theory and Polysystem Theory and thanks to the reading and analysis of the correspondence of Witold Gombrowicz with his family, the translators of his works, the editors and collaborators, of the censorship reports of the works of Gombrowicz, documentation of public and private archives, articles of academic character, press articles and other materials and with the help of personal interviews with Rita Gombrowicz and Salvador Clotas, it was possible to describe the process of introduction and subsequent reception of the works of Gombrowicz in the Spanish and Catalan literary system
Aquesta tesi doctoral analitza la recepció de les obres literàries del novel·lista i dramaturg polonès Witold Gombrowicz a Espanya. El període d’anàlisi abraça des de la primera edició a Espanya d’una obra de Gombrowicz, Pornografia (La seducción) en la traducció de Gabriel Ferrater, fins l’any 2014, quan s’edita el diari íntim Kronos, l’última obra de Gombrowicz. Basant-se en la teoria de la recepció i la teoria de polisistemes, i gràcies a la lectura i l’anàlisi de la correspondència de Witold Gombrowicz amb la seva família, els traductors de les seves obres, els editors i col·laboradors, dels informes de censura de les obres de Gombrowicz, de la documentació d’arxius públics i privats, d’articles de caràcter acadèmic, articles de premsa i altres materials, i amb l’ajuda de les entrevistes personals amb Rita Gombrowicz i Salvador Clotas, s’ha pogut descriure el procés d’introducció i la posterior recepció de les obres de Gombrowicz en el sistema literari espanyol i català

Notre travail se penche sur la réécriture de quelques mythes du point de vue féminin afin de proposer une (re)construction de la généalogie des femmes. Quelles sont les figures représentatives du couple mère/fille, et comment se construisent-elles ? Dans quels mouvements s’inscrivent les reprises des mythes classiques ? Faut-il détourner les mythes créés par les hommes afin de parvenir à une nouvelle généalogie féminine ? Ce travail relève d’une double approche comparatiste, il propose tout d’abord l’analyse des figures archétypales mères-filles dans une perspective mythocritique, puis sur un plan culturel et linguistique, rapprochant des textes de la littérature française et polonaise. Ainsi, les figures bibliques d’Ève et Marie s’unissent aux représentations des mythologies païennes, telles Déméter et Perséphone, Iphigénie et Clytemnestre, ou enfin Médée. Ces figures anciennes de la maternité reviennent en force, revisitées par des écrivaines françaises et polonaises contemporaines, et ce pour redéfinir la perception du couple mère/fille. Les œuvres analysées sont nombreuses, d’Hélène Cixous à Christine Angot pour le corpus français. Quant aux textes polonais, c’est pour le lecteur français toute une littérature à découvrir qui est présentée, explorée et analysée. Nous nous intéressons à des auteures polonaises qui ont contribué à la naissance d’une écriture féminine plus intime après 1989. Nous attribuons une place considérable à la traduction des extraits des textes étudiés, ceci dans l’optique d’une traduction complète ultérieurement. Malgré les contextes socio-culturels différents dans lesquels évoluent les deux littératures, un véritable dialogue s’établit au niveau des paradigmes mythiques exploités. Ce rapprochement permet d’envisager une certaine universalité inscrite dans les mythes anciens évoquant les figures de la maternité. Il s’agit in fine d’une quête commune des femmes à la recherche d’une histoire pour la refondation d’une nouvelle généalogie
This dissertation examines the rewriting of some myths from the female point of view in order to propose a (re)construction of women's genealogy. What are the representative figures of the mother/daughter relationship, and how are they constructed? In which movements do the rewritings of classical myths fit? Should the myths created by men be diverted in order to achieve a new female genealogy? This work is based on a double comparative approach ; first, it proposes an analysis of archetypal mother-daughter figures in a mythocritical perspective ; second, it brings together texts from French and Polish literature on cultural and linguistic levels. Thus, the biblical figures of Eve and Mary are compared with representations of pagan mythologies, such as Demeter and Persephone, Iphigenia and Clytemnestra, or finally Medea. These ancient figures of maternity return in force, revisited by contemporary French and Polish writers, to redefine the perception of the mother/daughter relationship. The works analyzed are numerous; for the French corpus, they range from Hélène Cixous to Christine Angot, and for the Polish texts, this dissertation focuses on women’s literature after 1989, when a more intimate literature emerged. These texts will be presented and analyzed so that the French reader can usefully discover them in tandem with the French texts. Considerable importance is given to the translation of extracts from these texts, in view of a complete translation later on. Despite the different socio-cultural contexts in which the two literatures have evolved, a real dialogue is established at the level of mythical paradigms. This rapprochement makes possible to imagine a universality inscribed in the ancient myths evoking the figures of motherhood. It is ultimately a common quest of women searching for a history in order to find foundations for a new genealogy

My aim with this essay was to write about bordercrossing and border changing in Olga Tokarczuk’s literary work with the main focus on her novel Drive Your Plow over the Bones of the Dead. While writing I came to the conclusion that there are very many different sorts of border changing in the novel, for example borders between countries, borders between fiction and reality, indistinct borders, borders between identities and borders in time and space. However, one distinct bordercrossing, that I had not anticipated, emerged very clearly: the border changing when it comes to genre. Drive Your Plow over the Bones of the Dead characterizes as a detective story, but the more you read the novel, the more you realize, that other themes might be more important than the puzzle. This book holds above all eco fiction and posthumanism. By crossing different borders Olga Tokarczuk has transformed an illusory detective story to a nuanced novel about human life on various levels and in different spaces, about human view on animals and about hunters’ disrespect for animals.

La presente tesis es un estudio de carácter histórico-literario que arranca con los incidentes acaecidos en Polonia a partir del 30 de enero de 1968, a raíz de que las autoridades polacas decidieran suspender la representación teatral de Dziady (Los antepasados), del poeta y dramaturgo Adam Mickiewicz (1798-1855). La obra, en opinión de las autoridades, atentaba contra la amistad entre polacos y rusos. Los altercados prosiguieron durante semanas y se saldaron con el despido de numerosos profesores universitarios, la expulsión de estudiantes y el exilio forzoso de más de quince miI personas de ascendencia judía. Los incidentes de marzo de 1968 son decisivos en tanto que determinan el inicio de la ruptura entre el gobierno comunista, visto hasta entonces por un amplio sector de la población como una figura paternalista y protectora, y la sociedad civiI polaca. Estas divergencias ideológicas no solo afectarán al ámbito social y político del país, sino que influirán de manera decisiva sobre el desarrollo de las artes, y en especial de la poesía, la cual, a partir de este momento, además de ocuparse de cuestiones estrictamente literarias, se convertirá en la voz de la resistencia contra el poder. La nueva generación de poetas adoptará la palabra, el imperativo de "hablar claro" (mówie wprost), como un arma arrojadiza contra el gobierno comunista y una manera de entrar en el curso de las cuestiones sociales. Esta generación recibirá el nombre de Nowa Fal a (Nueva Ola). Este punto de inflexión en las relaciones entre el gobierno de la nación y la sociedad ci vi I polaca nos acerca a la tesis que defendemos durante el presente trabajo de investigación. Podríamos enunciarla de la siguiente manera A partir de los incidentes acaecidos en marzo de 1968, la política, la filosofía y la ética se convierten en el verdadero motor de la poesía polaca. Esta influencia decisiva sobre las artes polacas, que nosotros limitamos al estudio de la lírica, comienza con dichos sucesos y se prolonga en el tiempo hasta el fin del gobierno comunista y la llegada de la democracia en 1989. Cuando Polonia se libera finalmente del comunismo, entendido por un amplio sector de la sociedad civil polaca como la imposición de una potencia extranjera, la poesía polaca va progresivamente desligándose de esas obligaciones políticas y éticas hasta llegar a unos niveles similares a los de otros países. A partir de finales de la década de los noventa, con un proceso de transición democrática ya plenamente concluido, la poesía polaca alcanza un estado de “normalidad”, que en líneas generales se ha mantenido hasta principios del siglo XXI, fin del período descrito para este trabajo. Por lo tanto, podemos describir la evolución de la poesía polaca durante el período descrito como el paso de la ética a la estética. Para demostrar esta transformación, hemos dividido este trabajo de investigación en ocho capítulos y un anexo. A lo largo de ellos nos ocupamos de manera pormenorizada de todas las generaciones poéticas surgidas durante el período descrito, así como del estudio de sus principales voces poéticas. En ese sentido es destacable la inclusión de un anexo en forma de antología poética. La razón para incluir dicho anexo es doble. En primer lugar, trata de brindar un corpus poético suficiente para valorar y extraer conclusiones sobre los movimientos poéticos referidos en este estudio; y en segundo, se propone contribuir al número de traducciones existentes de poesía polaca contemporánea en lengua española.
This work begins with the political and social disturbances, which took place in Poland in March 1968. The cause for these disturbances was the cancelIation of Dziady (Forefathers' Eve), a play by the romantic Polish writer Adam Mickiewicz (1798-1855). The play was cancelled, because the communist authorities interpreted it as an attack to the friendship between the Soviet Union and its ally, Poland. This provoked a wave of protests and demonstrations in the streets. This historical moment was significant, because it stated the beginning of discrepancies between the communist rule in Poland, no longer seen as a patriarchal figure, and Polish society. Nevertheless, apart from the social breaking-off, this moment is particularly relevant for the research, because it shows how Polish poetry became the voice of those against the communist rule. The new generation of poets, the so-called Nowa Fala (the New Wave), would take the word as a weapon against power and would adopt the ethical imperative mowic wprost (Tell the truth) as its basic principle. In this research, we defend the thesis that, as long as disturbances and demonstrations took place in the streets, politics, philosophy and ethics became the real engine for Polish poetry and the Arts, as a whole. When the end of the communist rule and democracy came to Poland, that importance began to fade until it reached similar levels to other countries. In this work, we comment on the main poets of this period, not only focusing on the New Wave, but also taking into account the following generation, Nowa Prywatnoie (New Privacy). At the beginning of the 1980's, the state of war declaration brought Poland again to the romantic tradition of sacrifice and patriotism. It was a time for hymns, Christmas carols and patriotic songs. It was not until the end of the decade, when Polish poetry recovered part of its lost independence and followed the path of a new poetic diction. With the arrival of democracy in 1989, Polish poetry experimented a great diversity, which continued until the end of the 20th century and the beginning of the 21st . In this work, we offer a complete analysis of those poetic movements and we highlight the most important voices of each generation. Moreover, at the end of this work, we attach an appendix (an anthology), with some of the most representative works of the period translated into Spanish language.

La réception de la littérature française en Pologne dans les années 1944-1956 est placée sous le signe de l'idéologie et de la politique provenant du fait du changement de régime politique à l'issue de la guerre, suite à la mainmise de Staline sur l'Europe Centrale et Orientale. L'installation progressive du régime communiste régit l'introduction dans la culture du dispositif politique à forte composante idéologique visant à créer les conditions de gestion de la culture directement par le parti communiste polonais. Cela s'est traduit, d'une part, par le contrôle de la production du papier, des imprimeries, la disparition progressive des éditeurs privés, et la mise en place de la gestion centralisée et de la planification, et, d'autre part, par la politique culturelle annonçant la démocratisation de la culture. La réception de la littérature française des siècles passés s'inscrit dans le processus de la création du nouveau canon littéraire marxiste, pour l'inclure dans le projet de "démocratiser" la culture. D'où les rééditions, dès 1946, de grands réalistes français du XIXe s., dans la première période de réception (1944-48), marquée par le débat sur le réalisme dans la littérature dans la nouvelle presse littéraire. La présence de la littérature française du XVIIIe et du XIXe dans ce vaste débat sert à illustrer la théorie marxiste de la littérature, dans un premier temps basée sur le concept du grand réalisme de G. Lukacs, ensuite, dans la deuxième période de réception (1949-56), faisant directement référence à la critique soviétique. Les deux périodes de réception ont donc été marquées par les rééditions à grande échelle des "classiques progressistes" français, suivant le modèle soviétique, servant directement à réaliser l'objectif de former la nouvelle intelligentsia issue des classes sociales privées auparavant d'accès à la culture. En parallèle, la réception importante des oeuvres des écrivains communistes français et des compagnons de route, et la critique virulente des existentialistes, confirme la thèse de dominante idéologique et politique de cette réception
The precise study of the reception of French literature in Poland in the years 1944-1956 will show us that it is biased towards ideology and politic due to the nature of the change of the political regime after the war, following Stalin's grip on Central and Eastern Europe. The gradual installation of a communist regime strain the introduction of the politic with a strong ideological component, in culture, in order to create the conditions for culture management directly by the Polish communist party. The consequences, on one hand were the control of paper production and printing houses, the gradual blurring of private publishers, and the establishment of centralised management and planning, on the other hand was the installation of a precise cultural policy brandishing the democratisation of culture. The reception of French literature of past centuries is in the process of creating the new Marxist literary rule, to be the literary "progressive" canon and to include it in the project of "Popularization" of culture, hence the reissues in 1946 of great French realists of the nineteenth century, in the first reception period (1944-48), marked by the debate on realism in literature in the new literary press. The presence of French literature of the 18th and 19th centuries in this broad debate, serves to illustrate the Marxist theory of literature, initially based on the concept of great realism developed by G. Lukacs, and then, in the second reception period (1949-56), makes direct reference to Soviet criticism. Both periods have been emphasised by the large-scale editions of "progressive classical" French, following the Soviet model, being used directly to achieve the goal of training, and influencing the new intelligentsia coming from the popular classes who did not have access to culture before. In parallel, reception of a large quantity of works of French Communist writers and from fellows travellers, and the virulent criticism of the existentialists, confirms the thesis of ideological and political dominance of such receipt

La tesis objeto del presente resumen gira en torno, como indica su título, al legado del reportero polaco Ryszard Kapuściński, estudiado desde el punto de vista culturológico. El detallado análisis de su obra desemboca en la inscripción de la misma en el ámbito de las ciencias humanísticas y Cultural Studies.. Dividido en tres partes (clasificación, construcción y recepción), en el trabajo se abordan, respectivamente, los tres temas foco de atención: la obra, el autor y el lector. En “Clasificación” se estudian las obras publicadas por el autor. Al analizarlas una por una, se presta atención a cómo están construidas, cuál es su historia, cuáles son sus rasgos característicos, qué recepción tuvieron y qué crítica suscitaron. Partiendo de la perspectiva de la sociología del texto, se analiza qué cambios se produjeron en sus reediciones y por qué. “Construcción” aborda la cuestión de la construcción creativa. El estudio se centra en la faceta de reportero de Ryszard Kapuściński, para más adelante ahondar en la génesis del reportaje polaco y compararla con su equivalente en la tradición occidental. Se continúa con un repaso de la actividad del Kapuściński autor: desde poesía y periodismo hasta filosofía y antropología pasando por historia e incluso fotografía. Se aborda asimismo su método de trabajo, estudio que lleva a la conclusión de que, más que periodista, es escritor o antropólogo, con lo que se evidencia su faceta de creador. Todo ello lleva a considerarlo el inventor del «reportaje integrador», expresión que se propone para definir su obra. “Recepción”, como indica su título, está dedicada a la recepción de su obra en los territorios donde adquirió un mayor reconocimiento (teniendo en cuenta: el número de títulos traducidos y publicados, el de premios otorgados, la presencia de críticas de su obra en la prensa nacional, el número de ejemplares impresos vendidos, la participación en acontecimientos culturales –inauguraciones, festivales literarios, talleres, conferencias, etc. –: España, América Latina e Italia. El estudio de la recepción de la obra por parte de lectores y críticos está basado en la documentación existente (dossiers de prensa, artículos, reseñas, críticas, actas de jurados de premios, libros publicados al respecto “et similia”), en la información obtenida de primera mano de expertos capaces de explicar el fenómeno de su popularidad (personas que conocen su obra y/o que tuvieron un trato directo con el autor, sus editores, traductores, profesores de periodismo y colegas periodistas). Finalmente, se examina los rasgos que comparten España, América Latina e Italia para responder a la pregunta de «¿por qué allí y no en otra parte Kapuściński ha cosechado los mayores éxitos?». La clave para ofrecer una argumentación satisfactoria se halla en la teoría postcolonial. La tesis es un intento de contestar a la pregunta ¿quién es Ryszard Kapuściński? Asimismo, tras analizar su obra, su biografía artística y su recepción, se acuña la definición de un nuevo subgénero para inscribir su obra. Al tratar y analizar esta, se resaltan las etapas de su vida (con todos los condicionamientos de un polaco nacido en 1932: educación, formación, cultura) y de su trayectoria artística (cómo se fue forjando su escritura, cómo él mismo creció como autor y cómo pasó de ser un periodista, un corresponsal de una agencia de prensa, a convertirse en escritor de libros y traductor de culturas).
This dissertation: Ryszard Kapuściński: Integrating View of a Reporter. Classification, Construction and Reception of His Works, examines the complete work of Ryszard Kapuściński, one of the leading figures in Polish reportage, writer of book-length reportage works, one of the most translated polish writer with worldwide recognition. It presents his work from the culturological point of view and through detailed analysis of his work, it proposes to include Kapuściński’s legacy within field of humanities and Cultural Studies. The dissertation is divided into three parts (classification, construction and reception), which addresses, respectively, three different focus of attention, i.e.: the work, the author and the reader. The first part, Classification, discuss 14 titles published by the author, i.e. (in chronological order): The Polish Bush, Black Stars, The Kirghiz Dismounts, If All Africa..., Why Karl von Spreti Died, Christ With a Rifle on His Shoulder, Another Day of Life, The Soccer War, The Emperor: Downfall of an Autocrat, Shah of Shahs, Imperium, The Shadow of the Sun, Travels with Herodotus and his cycle Lapidarium. By analysing them one by one, we pay attention to how they are constructed, what is the history of every edition, what are particular and common features of every book, how they were received by critics and readers and what critics and opinions they raised. By adopting Sociology of Texts perspective, we reveal some changes, we can observe while comparing different re-editions and we ask why. Second part, Construction, addresses the issue of creative construction and artistic creation. We first focus on Ryszard Kapuściński as a reporter, therefore, on the origins of the Polish reportage and we compare it with Western tradition of reportage. Moreover, we pay attention to Kapuściński’s activity as the author: analyzing his different inspirations, the study shifts from journalism, through history and even photography, to poetry, philosophy and anthropology. We also demonstrate his method of work, which leads us to the conclusion that, rather than a journalist, his method seems more proper of writer and/or anthropologist. Finally, we consider the author the inventor of the "Integrating Reportage," a term we propose to define his work. Third part, Reception is dedicated to the reception of Kapuściński’s works in the territories where he was most popular (taking into account: the number of translated and published titles, awarded prizes, reviews of his work in the national press, the number of printed copies sold, his participation in cultural events, openings, literary festivals, workshops, conferences, etc.), i.e., in Spain, Latin America and Italy. The reception study of his work is based on the existing documentation (such as press dossiers, articles, opinions, reviews, critics, jury final acts from numerous awards, published books etc.), and the information obtained directly from firsthand experts, able to explain the phenomenon of his popularity (people who know his work and/or had direct relationship with the author, such as his editors, translators, journalism professors and fellow journalists). Finally, similarities between his recognition in Spain, Latin America and Italy leads us to ask: "why there and not elsewhere Kapuściński has reched the biggest success?". The key to provide a satisfactory answer seems to derive from Postcolonial Theory. This thesis is an attempt to answer the question: who is Ryszard Kapuściński? Also, after analyzing his work, his artistic biography and its reception, we propose the definition of a new sub genre, which could define his entire work.

Cette thèse analyse les rapports culturels complexes entre le monde juif et le monde polonais en Pologne dans les années 1885-1939 à la lumière des traductions du polonais vers le yiddish et du yiddish vers le polonais. Les acteurs culturels concernés sont les Juifs polonais face à la société majoritaire, donc d’un point de vue linguistique les yiddishophones face aux polonophones, ainsi que les milieux juifs d’expression polonaise et yiddish. La thèse aborde divers aspects des contacts culturels : les représentations des Juifs dans la littérature polonaise et celle des Polonais dans la littérature yiddish, la traduction de la littérature mondiale en yiddish, ainsi que l’attitude envers cette langue en Pologne. Elle traite aussi, dans un large contexte socioculturel, de la traduction littéraire dans les deux sens, y compris dans la création théâtrale et l’édition pour enfants. Ce que l’on peut en conclure, c’est le grand intérêt du public yiddishophone pour la culture polonaise. Les traductions du yiddish en polonais attirent peu d’attention de la part des non-Juifs, mais constituent un important facteur identitaire pour des Juifs polonisés
This thesis analyzes the complex cultural relations between the Jewish world and the Polish world in Poland in the years 1885-1939 as seen through translations from Polish to Yiddish and from Yiddish to Polish. The persons concerned in this process are the Polish Jews as opposed to the majority population or, from a linguistic point of view, Yiddish speakers in contrast with the Polish-speaking majority, as well Jewish circles in which Yiddish and Polish were spoken. The thesis touches on various aspects of these cultural contacts: the representation of Jews in Polish literature and of Poles in Yiddish literature, the translation of world literature into Yiddish, and the attitude toward the Yiddish language in Poland. It also deals with literary translation in both directions viewed in a broad socio-cultural context, including theatrical creation and children’s literature. The conclusion that can be drawn is that of a great interest in Polish culture on the part of the Yiddish-speaking public. As for translations from Yiddish to Polish, they attract little attention from non-Jews but constitute an important factor in the identity of assimilated Jews

Can music be made with words alone, artistically arranged? Can music be part of a novel or a short story? Can a novella realize a musical form, and does it mean it is a musical piece? Is being a piece of literature incompatible with being a piece of music as well? If so – in what way or ways? If not, for what reason? These simple questions are the conceptual starting point of the research developed in the present dissertation. It investigates the essential interrelation between music and artistic prose in cases of imitation of music within the latter. Musica textualis, its central concept, is introduced in the first part as a meeting point of two distinct traditions of study, namely Philosophy of Music, on one hand, and the Word and Music Studies, on the other. It is an aporetic field emerging organically in the course of the historical development and dissolution of the system of the arts. Mutual intermedial imitations on the level of artistic creation and appreciation are continuously counterpointed by parallel processes within the history of aesthetic thought, metaphysics of art and musico-literary criticism, influencing greatly ways of perceiving and understanding distinct artforms and the aesthetic experiences they elicit. One of the main aims of the present research was to establish the actual status of the literary incarnations of music in artistic prose. The initial hypothesis was that there are some special cases, where music is not only represented in words by means of description, evocation, allusion and other standard literary techniques, but is actually there in the text, strictly speaking. Such local cases are possible and instantiated: the paradigm example is (Mann, 1967) with its model interpretation in (Scher, 1967), but there are also antecedent cases such as (Woolf, 1921) interpreted in (Harmat, 2008) or very recent artistically outstanding realizations as (Libera, 2013), interpreted here. What emerges as a positive theory from this research is the category of musica textualis. It denotes a mixed form which unites word-made-music with literary prose in a compound whole sui generis. It is conceptually symmetrical to programme music, where the real presence of music and literature in a compound structure perceptually made solely of musical sounds without words is not contested. Through its complex nature and fragile statute, it functions as a regulative ideal for the above-mentioned eponymous aporetic field. The explanatory force, methodological and interpretative implications of this theory are significant. Especially, the very process of its historical emergence through the aesthetics of Romanticism, the development of programme music and R. Wagner’s musical drama technique and the “intermedia turn” characterizing Modernism, unveil its necessary place in the conceptual map of the complex interrelation of these two temporal allographic arts: epics and music. The dissertation takes into account the vast and problematic discussion internal to the Word and Music studies and similar branches of intermodal/interart/transdisciplinary studies in their classical Anglophone version cf. (Scher, 1970; Wolf, 1999; Petermann, 2014), as well as in their Polish counterpart, anticipated critically in the work of Tadeusz Szulc (1937), and recently developed in, e.g. (Balbus, 2004; Hejmej, 2008, 2012). Also French and other studies are taken into consideration, cf. e.g. (Pautrot, 2004; Picard, 2008, 2010). It can potentially contribute to some significant clarifications in these controversial fields, but it is methodologically autonomous. It combines some elements of conceptual analysis and argumentation typical of analytic Philosophy of Art with a broader “continental” contextual horizon and interpretative ambitions. The main source of its insight comes from the immediate aesthetic experience of prose containing crucial instantiations of what can be interpreted as musica textualis. These insights are confronted with the achievements of the classical Philosophy of Music on one hand and the Word and Music practice on the other. As far as it is known, this is a novel approach within Philosophy. This method, intended as facilitating future mutual dialogue between the disciplines, is potentially beneficial for both (and open for further dialogue with musicology, which today is keen on borrowing research tools from Literary Theory). For the philosophers of music it discovers a neglected area of study, through a meticulous polemics with the conceptualizations of music at hand in the analytic tradition. It shows that works of musica textualis are, at least in part (like operas or Lieder, for that matter) works of music, and that there are no substantial grounds for excluding them from philosophical scrutiny of music. It shows that only the most anti-essentialist, accidentalist philosopher could find a coherent reason to reject a work of musica textualis from the realm of music on contingent grounds of the communis opinio; even his reasoning, though, is ultimately proven fallacious. Other philosophers are invited to rethink the way they localize essential features of the phenomenon in question. For the literary scholars interested in the practices described as musicalization of fiction, intermedial transposition / translation / transfer, the musical novel, music in the words within the venerated tradition of the comparison of the arts on the axis Music – Literature and especially in the 20th Century born Word and Music Studies – musica textualis can become a helpful tool in the on-going methodological dispute. It helps to distinguish genuine problems of method within the Word and Music Studies from what emerges as the vital aporetical core of interart phenomena such as Mann’s Doctor Faustus. This core confronts us with questions which cannot be resolved through some consensus within the scholarly community, but are better accepted and cherished as fertile sources of artistic and intellectual inspiration. The dissertation is divided into three parts. The first part introduces the concept of musica textualis, and places it within the contemporary philosophical discussion on music, explaining in detail its Boethian pedigree as well as its relation to the state of the art within Word and Music studies, as discussed in the Introduction. In the chapter Music Beyond the Senses it offers some novel arguments against definitions of music that would exclude musica textualis a priori; it defends a slight modification of the definition of music advanced by (Kania, 2011). Problematic cases of silent music are discussed extensively and the notion of intentional calibration – inspired by stances taken by Husserl, Ingarden, Iser, Wittgenstein, Wollheim, Scruton and others – is introduced. The second part consists of three chapters consecrated to three Polish authors (Iwaszkiewicz, Libera, Bartnicki) whose work is interpreted as displaying three radically different modes of musica textualis. This choice, by no means exhaustive, is intended to illustrate the introduced concept at work in dissimilar cases, sharing though one property: all have been paid little or no attention by the international musico-literary scholarship (not to mention the philosophers of music). The third and conclusive part shows musica textualis as a genuine aporetic field.
Al centro della ricerca presenata nella dissertazione si pone la domanda se la musica possa essere parte di un romanzo o un racconto breve o, in altri termini, se il fatto che un’opera sia letteraria sia (in)compatibile con il suo essere anche un’opera musicale. Si può far musica con le parole? E se sì, in che modo? Se invece la risposta è “no”, per quali ragioni? La dissertazione indaga le relazioni tra musica e prosa artistica nei casi in cui all’interno di quest’ultima vi sia un’imitazione della musica. Il lavoro è articolato in tre parti. Nella prima parte introduco il concetto di musica textualis, lo colloco nella contemporanea discussione filosofica sulla musica e ne spiego la discendenza Boeziana. Si tratta del concetto centrale della ricerca, il punto d’incontro di due diverse tradizioni di studio, vale a dire, da un lato la filosofia della musica e, dall’altro, i cosiddetti Word and Music Studies, offrendo lo stato dell’arte. Sempre in questa parte, nel capitolo intitolato Music Beyond the Senses, offro alcuni argomenti nuovi contro le definizioni della musica che escluderebbero a priori la musica textualis. Inoltre, vengono discussi estensivamente casi di silent music. Nel capitolo successivo viene sviluppata la riflessione sul carattere intenzionale di ogni proprieta musicale, ispirata a posizioni di Husserl, Ingarden, Iser, Wittgenstein, Wollheim, Scruton e altri. Una definizione di musica ispirata a Kania (2011) viene proposta per accomodare musica textualis. Il mio lavoro prende in considerazione l’ampia discussone interna ai Word and Music studies e agli analoghi filoni di studio sull’intermodalità sia nella classica versione anglofona (Scher, 1970; Wolf, 1999; Prieto, 2002; Shockley, 2009; Petermann, 2014), sia nella controparte di lingua polacca, anticipata nei lavori di Tadeusz Szulc (1937) e sviluppata in anni più recenti ad esempio (Hejmej e Głowiński). Anche contributi provenienti dall’area linguistica francese sono presi in considerazione (Pautrot, Picard). Nei tre capitoli della seconda parte del lavoro mi rivolgo a tre autori polacchi (Iwaszkiewicz, Libera, Bartnicki), interpretandone le opere come esempi di tre modi radicalmente diversi di musica textualis. La scelta di questi autori, in nessun modo esaustiva, è volta a illustrare come i concetti precedentemente introdotti operino in casi diversi che, tuttavia, condividono una proprietà: tutti hanno prestato poca o nessuna attenzione alla scholarship musico-letteraria internazionale (per non menzionare la filosofia della musica). Nella terza e ultima parte della dissertazione offro ulteriori riflessioni sulla musica textualis in quanto nozione che fa sorgere un genuino campo aporetico. La dissertazione mostra come il complesso campo d’indagine della musica textualis emerga dallo sviluppo e dalla dissoluzione del sistema delle arti. Reciproche imitazioni intermediali a livello della creazione e dell’apprezzamento artistico trovano riscontro in processi paralleli nell’estetica, nella metafisica dell’arte e sul piano della critica musicale e letteraria, influenzando il modo di percepire e comprendere forme d’arte diverse e l’esperienza estetica che occasionano. Uno degli scopi principali della ricerca è stato di stabilire lo status attuale dell’incarnazione della musica nella prosa artistica. L’ipotesi iniziale è stata quella di una presenza della musica nel testo, inteso come spartito per un’interpretazione musicale, e non tanto in descrizioni, evocazioni e attraverso altre tecniche letterarie. Al riguardo l’esempio paradigmatico è il Doktor Faustus di Thomas Mann, ma vi sono anche antecedenti come Monday or Tuesday di Virginia Woolf ed esempi più recenti come lo straordinatio Toccata in do maggiore di Antoni Libera (trad. it. 2015), di cui la dissertazione offre un’interpretazione. Alla luce dell’analisi di questi casi, un risultato della ricerca è di mostrare che la categoria di musica textualis denota una forma mista che unisce musica-fatta-con-le-parole e prosa letteraria in un tutto sui generis. Si tratta di una realizzazione concettualmente simmetrica alla musica a programma, nella quale la presenza reale di musica e letteratura in una struttura composta, percettivamente costituita solo da suoni musicali senza parole, pur essendo contestabile da parte dei formalisti estremi, rimane pur sempre chiaramente concettualizzata. Nel mio lavoro metto in luce la forza esplicativa e le implicazioni metodologiche e interpretative di questa prospettiva teorica, il cui luogo nella mappa concettuale delle relazioni complesse delle due arti allografiche temporali – l’epica e la musica – è del resto rivelato già dal processo della sua emergenza storica nell’estetica romantica, nello sviluppo della musica a programma, nel dramma musicale wagneriano e nell’“intermedia turn” modernista. La dissertazione combina elementi di analisi concettuale tipici della filosofia analitica con le più ampie ambizioni interpretative “continentali”. La fonte principale delle sue intuizioni deriva comunque dall’esperienza (estetica) di una prosa contenente esemplificazioni cruciali di ciò che può essere interpretato come musica textualis. Tali intuizioni sono confrontate da un lato con i risultati della classica filosofia della musica, dall’altro, con la pratica della Word and Music. Si tratta di un approccio filosofico che apre, per la filosofia della musica, un campo di studio trascurato dalle teorie sulla musica presenti nella tradizione analitica. Mostro che le opere di musica textualis sono, almeno in parte, opere musicali, e che non vi sono ragioni sostanziali per escluderle dall’indagine filosofica della musica. La ricerca mostra inoltre come, per gli studiosi di letteratura interessati alla pratica descritta come musicalization of fiction, trasposizone intermediale o music in the words, all’interno della tradizione del paragone fra le arti lungo l’asse musica-letteratura, l’ipotesi musica textualis possa essere uno strumento utile nella continua disputa metodologica. Essa aiuta a distinguere i genuini problemi di metodo interni ai Word and Music Studies da quanto emerge come il vitale nucleo aporetico di fenomeni inter-artistici come il Doktor Faustus di Mann. Questo nucleo presenta questioni che, secondo me, vanno accettate e coltivate come fertili fonti di ispirazione artistica e intellettuale.

O Diário escrito por Isaak Bábel, durante sua participação na guerra russo-polonesa de 1920, serviu de base para a sua obra mais importante Konármia ou O Exército de Cavalaria. A existência desse material permite entrever os bastidores da técnica criativa de um dos grandes mestres do conto russo do século XX, conforme foi visto na análise de alguns trechos do Diário, comparados com os de Konármia. No entanto, o Diário de 1920, de per si, não deixa de representar, hoje, uma obra com marcantes características literárias. Assim, o nosso objetivo foi, inicialmente, fazer uma tradução direta do Diário de Bábel, do russo para o português. A seguir, ao lado de sua breve biografia, uma análise e uma discussão de sua maneira de construir o que hoje é considerada uma obra literária.
The Diary written by Isaak Babel, during his participation in the Russian-Polish war of 1920, was the basis for his most important work Konarmia also called The Red Cavalry. The existence of this material allows us to foresee the backstage of the creative technique of one of the great Russian short story masters of the XX century, as we saw analysing some parts of the Diary and comparing them to the short stories of Konarmia. However, the 1920 Diary, is considered today by itself a literary work, with relevant artistic characteristics. Therefore, our goal was initially the direct translation of the Diary from Russian into Portuguese. Afterwords, beside his short biography, an analysis and discussion of his method of constructing the Diary as a literary piece.

La recherche se focalise sur l’étude comparative de l’érotisme dans deux romans : La Marge d’André Pieyre de Mandiargues et La Pornographie de Witold Gombrowicz. Conformément à la nouvelle approche comparative (Apter, Casanova, Moretti) et dans une perspective culturelle et littéraire, le projet explore la façon dont l’érotisme peut être entendu (ou malentendu) dans l’histoire des idées, dans la critique littéraire et dans les œuvres littéraires. À partir d’une enquête épistémologique, de l’histoire contrastive du contexte littéraire franco-polonais et des enjeux critiques développés par Bataille, Foucault, Barthes et Deleuze, le projet montre les différences culturelles dans la représentation de l’érotisme littéraire. En outre, il compare la façon dont Mandiargues et Gombrowicz défendent la nécessité et le danger de l’érotisme dans la littérature, à travers leur écriture critique. Enfin, grâce à l’analyse des deux romans, l’étude tend à expliquer la dynamique de l’érotisme littéraire compris comme un thème tantôt descriptif tantôt narratif. Les deux romans montrent comment le rêve érotique peut être exploré à travers la temporalité narrative ou à travers l’espace et, par conséquent, comment ils peuvent conduire à des interprétations photographiques ou cinématographiques. Cette recherche vise à mettre en évidence le rôle de ces écrivains dans une discussion sur l’ars erotica contemporain dans la littérature mondiale et cherche à encourager l’étude de l’érotisme dans la littérature comparée
The research focuses on the comparative study of eroticism in two novels: The Margin by André Pieyre de Mandiargues and Pornografia by Witold Gombrowicz. Following the new comparative approach (Apter, Casanova, Moretti) from a cultural and literary perspective, the project explores the ways in which eroticism can be understood (or misunderstood) in the history of ideas, in literary criticism and finally in literary works. Starting from an epistemological inquiry, the contrasting literary histories of Poland and France and theoretical approaches developed by Bataille, Foucault, Barthes and Deleuze, the project shows the cultural differences in representing eroticism in literature. Furthermore it compares how Mandiargues and Gombrowicz defend the necessity and the danger of eroticism in literature through their critical writing. Finally, thanks to a deep textual analysis of the two novels, the study seeks to explain the dynamics of literary eroticism understood as a theme that is either descriptive or narrative. The two novels show how the erotic dream can be explored through narrative temporality or space and consequently lead to photographical or cinematographical interpretations. This research intends to highlight the role of these writers in the discussion of contemporary ars erotica in global literature and to encourage the study of eroticism in comparative literature

Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 15, 2008) Includes bibliographical references.

O presente trabalho é um estudo da poética do escritor, jornalista e militante argentino Rodolfo Jorge Walsh. Tradutor, editor e autor de relatos policiais, soube fazer da atividade literária um ato de reflexão sobre a história do seu país e da própria ação militante. Os procedimentos de escrita utilizados dentro da sua obra procuravam a eficiência persuasiva, mas também a eficiência na representação dos problemas que estavam colocados para o escritor na sua ação política. São objeto de estudo deste trabalho: a passagem do policial de enigma para o hard-boiled e o posterior abandono do subgênero; a opção pela forma breve do conto e não do romance; o abandono da escrita estritamente literária que seria retomada só nos últimos meses da sua vida -processos que coincidiram com o desenvolvimento de investigações sobre crimes de Estado e seu ingresso na militância- e a retomada da autoria, pouco antes de morrer, para a produção de uma série de cartas pessoais no contexto da ditadura que se iniciou em 1976 e da polêmica do autor com a direção da organização Montoneros, na qual militava.
The present work is a study of Rodolfo Jorge Walsh\'s poetry. He was an author, a journalist and an activist. Also a translator, editor an author of police short stories. He knew how to transform the literary activity into an act of reflexion about the history of his country and the activist action itself. The writing procedures used inside his works searched not only for a persuasive efficiency, but also the efficiency in representing the problems faced by the author in his political action. They are object of study: the passage from police enigma to hard-boiled and the following desertion of the sub gender; the option for the brief form of the short story and not the novel; desertion of the writing strictly literary that would be taken up again in the last months of his life - processes that coincided with the development of State crime investigations and his participation in an activist life - and getting back the authorship, shortly before his death, into a production of personal letters in a dictatorship context that began in 1976 and the controversy of the author in relation to the direction of the Montoneros organization, for which he was an activist.

This thesis proposes that the systemic differential treatment of aboriginal and racial minority peoples in the criminal justice system is at least partly attributed to police racism. Discrimination, which refers to the negative treatment toward out-groups (Elliot and Fleras, 1992:330), is systemic in policing and not isolated to racial minorities. The lower class and others considered deviant are also routinely discriminated against. However, the visibility of racial minorities and aboriginal peoples makes them particularly susceptible to police actions. Because the role of policing necessitates the identification of not only criminals but also potential criminals, this identification must have visible characteristics, or cues. Consequently, the police officer comes to develop these visible characteristics to identify criminals. It is thus the visibility of racial minorities which results in their being categorized as criminal and subsequently the focus of police suspicion. Chapter one reviews the literature in other democratic countries to determine the role of police decision-making in the over-representation of aboriginals and racial minorities in the criminal justice system. Establishing the over-representation of aboriginal peoples and visible minorities in Canada, chapter two examines various explanations for this. Chapter three presents the allegations of police racism by visible minority and aboriginal peoples. (Abstract shortened by UMI.)

Using as example twelve novels by Robert Bober, Michel Houellebecq and Yasmina Khadra, the dissertation discusses the aesthetic and pragmatic implications of integrating didactically historical reference in fictional narrative and personal theme. Rather than reducing the works of Bober, Houellebecq and Khadra to tendency novels sculptured to pass on a predetermined message, the study discusses the aesthetic values created by didactical play. Not only does historical reference form the setting of the novels but the feelings and ideas expressed by the characters also point outwards, challenging journalistic discourse and historical fact. After underlining the obvious heritage from social realism, littérature engagée and Tendenzliteratur, the study points to the possibility of a reading mode that uncannily marries self forgetting imaginary and historical learning. Finding no comprehensive description within existing theories of genre, the thesis proposes the neologism “didafiction” for a subcategory to the novel that, by systematic interdiscursive play, call for engagement without subscribing to pre-existent doctrines. The lessons given by this literature, rather than operating through a traditionally pedagogic rhetoric, work through sophisticated artistic procedures that integrate encyclopaedia and ethics in a personal theme structure.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE DOUTORADO NO PAÍS COM ESTÁGIO NO EXTERIOR
A literatura policial nasceu em um ambiente de revolução técnica que modificou profundamente o cotidiano na cidade. Essa transformação afetou a relação entre sociedade e arte, além de criar condições para o desenvolvimento da imprensa, primeiro suporte em que as narrativas do gênero foram publicadas. Ao longo de quase dois séculos, a literatura policial sofreu alterações ideológicas que a presente pesquisa retoma para traçar paralelos entre a sensibilidade contemporânea e o contexto cultural que, conforme a tese nietzschiana, possibilitou o nascimento da tragédia. Ao comparar os efeitos poéticos da tragédia e da literatura policial contemporânea, a partir da relação que têm com o racionalismo, propõe-se uma aproximação entre os dois gêneros. Nessa perspectiva, estuda-se ainda a narrativa policial como suporte da ficção contemporânea.
Police literature was born in an environment of technical revolution that changed the everyday city life profoundly. The modification affected the relation between society and art, and it also created conditions for the development of the press - the first place the police genre was to be published. During these almost two centuries, the ideology in police literature has modified. This research examines those changes so as to demonstrate similitudes between contemporary sensibility and the cultural context that allowed the birth of the tragedy, according to Nietzsche s thesis. By comparing the poetic effect in tragedy to that in police literature, and by considering their relations with rationalism, this study proposes that there is a close proximity between the two genres. Within this perspective, the police narrative is analyzed as a supporting prop in contemporary fiction.

The present paper is a literature study of stressors and the responses in police officers to occupational stressors. It endeavors to identify and assess common stressors in policing. It further aims to provide an answer to the question of whether police administrative tasks and situations, or the dangerous and traumatic events and situations inherent in policing, are perceived as equally or more stressful by surveyed police officers. The question is relevant as there seems to be disagreement among researchers on police stress about which elements (administrative or dangerous and/or traumatic) of the police occupation is more stressful. Much attention has been given to the treatment of post-traumatic stress in police officers while efforts to prevent administrative or organizational stressors have been largerly ignored. If administrative stressors in policing are equally important as dangerous and traumatic situations and events, more attention should be given to the prevention of such largerly preventable stressful events. The theoretical framework used in the study is that of the transactional concept of stress. In trying to assess what parts of policing are more stressful, a number of empirical studies were examined and compared. Most studies applied a "checklist" approach to identify and rank the heaviest stressors in police work. The methodological quality of available studies was varied, influencing their comparability and generalizability. In spite of these inequalities, the results from the assessment indicates that dangerous and traumatic situations are somewhat more often perceived as the largest stressors than administrative stressors in police work.

Memoria (licenciado en ciencias jurídicas y sociales)
No autorizada por el autor para ser publicada a texto completo
La intención de este trabajo consiste en mostrar al Derecho, no como aquél ordenamiento por el cual se rigen las relaciones humanas en el ámbito jurídico, sino que ambiciona plantear una tesis por la cual, se presente una reflexión sobre el mismo de una manera transversal. Esto es, evadir las normas interpretativas propias de esta ciencia con que los hombres han decido regularse, haciendo suyas también aquéllas que iluminan cualquier fenómeno interpretativo en otras ciencias humanas, incluso aquellas que permiten el conocimiento de los fenómenos exactos que se dan en el universo. En otras palabras, utilizar planteamientos de hermenéutica generales y universales, con la intención de demostrar su aplicación a todo tipo de disciplinas, incluido el Derecho. Para ello, se plantea el análisis de los tres conceptos, que a juicio de la autora, conforman el sistema de las relaciones entre los hombres y que han dado nacimiento al nombre de este escrito. En primer término, el logos, como esencia propia del hombre, que le hace ser lo que es y lo distingue de las demás criaturas; en segundo término, la polis, como forma en que los hombres se han agrupado, teniendo como base fundamental y común la palabra, puesto que ésta ha permitido los acuerdos y convenciones con los cuales se regulan sus relaciones interpersonales; y finalmente, la justicia, puesto que ésta es la virtud propia de la vida en comunidad, incluyendo de esa manera al Derecho, manifestación formal de dicha virtud. Asimismo, y con el afán de demostrar la viabilidad de esta tesis, la autora ha decidido intentar unir sus mayores intereses, el Derecho y la Literatura, siendo ésta última a su entender, una de las manifestaciones por las cuales mejor se refleja esta unión natural entre el hombre como ser racional que utiliza la palabra para entender y conocer, la comunidad como el sitio donde confluye cada individuo con la intención de entenderse y conocerse a sí mismo, a los demás y al mundo que lo rodea, y la justicia, como forma de implantar el equilibrio necesario en las relaciones que se producen entre los pares y los desiguales. El método utilizado obedece a dicha intención, haciendo en primer lugar un análisis aislado de cada uno de los elementos citados, para finalmente, y a la luz de tres obras literarias que han perdurado en el tiempo, obtener las conclusiones que se indican al final de la obra, donde finalmente se ve reflejada la conexión que une a los casos que han sido tomados en préstamo de la literatura con ciertos casos que ocurren a diario en el ámbito jurídico

The citizens of utopian Renaissance cities have in common the confidence in the power of reason and moral virtues. The purpose of the thesis is to prove that, in spite of the imaginative and unreal aspects of these utopian societies, they contain the prodroms of the modern societies.
The utopias of the Renaissance are projects of a new commonwealth, based on justice and education. The Italian peninsula of the XVI and early XVII century spawned several works belonging to this literary genre, inspired by Plato's Republic and initiated in England with Thomas More's Utopia (1516). Those considered in this thesis, besides Utopia, are: Francesco Doni's Il mondo savio e pazzo (1552), Francesco Patrizi's La Citta felice (1553), Ludovico Agostini's La Repubblica immaginaria (1580), Tommaso Campanella's La Citta del Sole (The City of the Sun) (1602) and Lodovico Zuccolo's Il Belluzzi (1621).
The thesis examines these six main literary works according to the concept of uchronie and escapism, the definitions of utopia by Karl Mannheim, J.C. Davis and Mikhail Bakhtin, the religious and Arcadian elements and the relationship between utopia and satire. The thesis analyzes three essential aspects of the utopian tales: city planning, relationship between man and woman, and education. The utopias of the Renaissance also reveal two different visions: one innovative if compared to the society of the time, and another, post-tridentina, oriented towards a return to more traditional values. The thesis examines the influence of More's work on the utopias of the Renaissance by analyzing and comparing a series of topics, like the title of the work, the narrator, fantastical names and ideas, the role of Plato, property and inequity, the choice of woman and the concept of beauty, daily labor, the function of God, and the concept of law.
The utopias of the Renaissance have various modern aspects: a utilitarian justice, a better place of woman in the society, the laicity of the government, the "rationality" of war, secularism, education, health, social justice, assistance to elderly. They also contain myopias, like an unrealistic economic model and a static society.

CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A dissertação aborda a literatura estadunidense sobre a política externa chinesa durante a década de 1980. Seis autores são analisados no debate sobre as variáveis explicativas do comportamento internacional de Pequim através da categorização em três diferentes grupos: os especialista que trabalham com o nível de análise do Estado- nação;os que lidam com o nível de análise do sistema internacional e aqueles que incorporam os dois níveis anteriores.
The thesis works on the American literature regarding the Chinese foreign policy during the 1980s. Six authors are analyzed in a debate about the explicative variables of Peking-s international behavior. They are categorized according to three different groups: the ones focusing on the nation-state level of analysis; those who concentrate on the international system level of analysis, and finally, those who incorporate both levels.

Thesis (MA)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: Since feminist approaches to international relations (IR) first made their appearance in the late 1980s, efforts to explain the 'gender gap' have proliferated. Gender studies within IR in particular have been focused on foreign policy opinion, seeking to discover whether men and women have different views on foreign policy simply due to the fact that they are of different genders. The correlate of this is that if women believe differently than men, in which way do they believe differently and if this were then taken to its logical end, what would happen if they were more equally responsible for foreign policy decision-making? As an illustration of the varying approaches to feminist IR, this research project undertakes a brief overview of the history of feminist IR, showing how the tools and language of traditional IR do not encompass the needs of feminist IR study. The research article then reviews the literature of gender, feminism and foreign policy beliefs and behavior, examining its research core and evolution to date. Three research questions are covered. Firstly, is gender a relevant variable in foreign policy analysis? Secondly, if yes, does it make a difference to the foreign policy beliefs of women? Thirdly, where women play a significant role in foreign policy decisionmaking, are countries more pacific on the international level? Dealt with separately, foreign policy beliefs are found to have a clear gender-based breakdown. Foreign policy behavior is less simple to approach since the dataset of countries led by women during international disputes is limited. The research project and literature review also looks forward, pointing toward the future, not only of gender and foreign policy studies but also to the implications that future developments in feminist IR may have for the study of IR.
AFRIKAANSE OPSOMMING: Pogings om die geslagsgaping te verduidelik het vermenigvuldig sedert die feministiese benadering tot Internasionale Verhoudinge die eerste keer in die laat 1980's sy verskyning gemaak het. Geslagstudies binne Internasionale Verhoudinge het veral gefokus op opinies oor buitelandse beleid om sodoende vas te stelof mans en vroue verskillende sienings oor buitelandse beleid huldig bloot as gevolg van die feit dat hulle verskillende geslagte is. Die keersy hiervan is dat indien vroue anders glo as mans, op watter manier hulle anders glo, en - indien dit dan tot 'n logiese uiteinde gevoer word - wat sou gebeur indien daar meer gelyke verantwoordelikheid vir buitelandse beleidsbesluite sou wees. As 'n illustrasie van die verskillende benaderings tot feministiese Internasionale Verhoudinge, onderneem hierdie navorsingsprojek 'n oorsig van die geskiedenis van feministiese Internasionale Verhoudinge om sodoende te toon dat die gereedskap en taal van tradisionele Internasionale Verhoudinge nie aan die behoeftes van feministiese Internasionale Verhoudingstudies voldoen nie. Hierdie navorsingsartikel gee dan 'n oorsig oor geslagsliteratuur, feminisme en buitelandse beleidsopinies en -gedrag deur sy navorsingskern en evolusie tot datum te ondersoek. Drie navorsingsvrae word behandel. Eerstens, is geslag 'n relevante veranderlike in buitelandse beleidsanalise? Tweedends, indien ja, veranderdit die buitelandse beleidsopinies van vroue? Derdens, is lande meer passief op internasionale vlak waar vroue 'n wesentlike rol in buitelandse beleidsbesluitneming speel? Afsonderlik beskou, is daar gevind dat daar 'n duidelike geslagsonderskeid in buitelandse beleidsopinies is. Dis egter minder eenvoudig om buitelandse beleidsgedrag te bestudeer, aangesien slegs beperkte inligting oor lande wat gedurende internasionale dispute deur vroue beheer is beskikbaar is. Die navorsingsprojek en literatuuroorsig kyk ook vorentoe met spesifieke verwysing na die toekoms van nie net geslag en buitelandse beleidstudies nie, maar ook na die implikasies wat toekomstige verwikkelinge In feministiese Internasionale Verhoudinge 'n vir die studie van tradisionele Internasionale Verhoudinge kan hê.

Thesis (M. S.)--City and Regional Planning, Georgia Institute of Technology, 2009.
Committee Chair: Sawicki, David; Committee Co-Chair: Clark, Jennifer; Committee Member: Baker, Paul M.A.; Committee Member: Mitchell, Helena

This dissertation focuses on the cultural representations of the one-child policy ever since 1978. The artistic discourses about the one-child policy provide a fantastic space to explore China’s post-socialist society and contending ideologies. It also sheds light on the intricate relation between aesthetics and politics and these among the state, family and individual. Moreover, as discourses, artistic narratives and images also participate in the redefining of reproduction/one-child policy. Therefore, inquiries into the interaction between aesthetics and politics enrich our understanding of how reproductive ideals are constructed, negotiated and transformed. This dissertation can be divided into five parts. In the introduction part, I introduce issues related to the one-child policy, materials which I use and my main approaches to interpret them. Chapter Two explores how post-1978 family planning films and novel envision the ideal reproductive lives of peasants through the construction of ideal reproductive subjects, especially ideal female models. These artistic works also show changed representations of the ideal role models. Chapter Three looks into the patriarchal reproductive subject in Mo Yan’s Frog which centers on the conflict between state power and traditional male-centric reproductive culture. Although there are ambiguities, the novel demonstrates that the state has failed to transform peasants’ traditional reproductive ideas. Chapter Four deals with women’s exploration of reproduction from the 1980s on. The writings of some female authors demonstrate a consciousness of independent female reproductive desire. In some works, we can even see the emergence of a new kind of female reproductive privacy. In these works, reproduction becomes the female protagonists’ personal, private matter and women’s subjectivity is seen in their ability to make reproductive decisions according to their own interests. In the Coda, I talk about my future research plans. Overall, in this dissertation, I trace the political, economic, cultural, and technical factors that contribute to the gradual emergence of pluralism in reproductive ideas and practices. My dissertation demonstrates the dynamic interaction among different forces affecting reproduction, one of the most strictly controlled realms in Chinese life. Although reproduction is still mainly dictated by the state current two-child policy, a push towards greater individual autonomy is starting to gain momentum.
10000-01-01

Le parallèle entre Król-Duch de Juliusz Słowacki et Aurélia de Gérard de Nerval est une comparaison narratologique des deux œuvres (en dehors de l’étude d'influences réciproques, comme de l’étude de sources). Le rapprochement des deux auteurs (enrichi par l’apparition, en arrière-fond, de Novalis - toujours dans la perspective d'un parallèle) se construit autour du thème de l’écriture de la révélation onirique. Elle laisse apparaître une rupture fondamentale entre le contenu de la révélation – une existence continue du moi - et la forme discontinue et inachevée sous laquelle elle s’exprime. L’autobiographie onirique qui raconte l’expérience indicible d’une « seconde vie » infinie, entrevue en rêve, apparaît ainsi comme un seuil narratif qui s’interpose entre le fragment et la totalité. Dans les trois parties de l’étude comparée, consacrées respectivement aux modèles de composition, aux modalités de l’inachèvement et aux profils narratifs des deux textes, est posée la question de la limite entre les images mentales d’une extrême subjectivité et leur avatar textuel. Le rapport entre l’invisible et sa représentation y apparaît au travers du rapport entre le rêve du moi infini et le récit de ce rêve, qui se construit comme une perpétuelle réincarnation du « je » en tant que sujet
« Dream is a second life », Gérard de Nerval writes. « I have never been able to cross through those gates of ivory or horn which separate us from the invisible world without a sense of dread ». He sees dream and real life as asunder though parallel compartments, while Juliusz Słowacki sees them a continuum, without precise boundary where one ends and the other begins. But they do agree on one point: poetry and dream are intimately united.Juliusz Słowacki’s Król-Duch and Nerval’s Aurélia have in common to be oneiric biographies, i.e. written from naked truth as revealed in dreams, where « life is free of space and time ». The outcome is well-nigh as disconnected and incoherent as dream itself. Words cannot represent adequately heavens opened. It is somewhat uncanny that, in both cases, the fragments of the « infeasible book » look like an initiation into sacred mysteries

La présente thèse étudie le développement historico-esthétique du conte littéraire polonais au XXe siècle sur la base d’un corpus qui s’étend de la Jeune Pologne à 1989, en se limitant à la littérature pour adultes. Cette étude se combine avec une réflexion théorique sur la nature du conte en tant que forme littéraire et propose l’outil de la convention pour cerner sa dynamique et sa polymorphie. Dans le conte, nous distinguons quatre niveaux de convention :le monde représenté, les motifs, la narration et le style. Les modèles conventionnels de ces quatre catégories, exposés dans le premier chapitre, servent de repères pour évaluer l’apport des écrivains à la convention du conte dans les deuxième et troisième chapitres. Le deuxième chapitre met en évidence le dynamisme historique qui anime le conte au XXe siècle dans la littérature polonaise, tandis que la troisième partie dégage de façon transversale les principales tendances esthétiques dans l’écriture féerique. Ainsi, le fil de la convention permet de tracer un panorama historique ainsi que de dégager les tendances esthétiques majeures du conte dans la littérature polonaise du XXe siècle, se révélant par là un outil pertinent dans l’étude du conte littéraire. Notons enfin que cette étude du conte littéraire offre un nouveau regard sur quelques uns des écrivains majeurs de la littérature polonaise du XXe siècle :B. Lesmian, W. Gombrowicz, St. I. Witkiewicz, Br. Schulz, T. Konwicki, St. Lem, Sl. Mrozek, Cz. Milosz et bien d’autres. /

Based on a wide corpus of adult literature, the present doctoral thesis is devoted to the historical and esthetical development of Polish literary fairy tale in the twentieth century from the Young Poland to the year 1989. It proposes at the same time a theoretical reflection on the literary form of fairy tale. Accordingly the convention is used as the main tool to apprehend its dynamics and its polymorphism. In the fairy tale, four conventional levels can be distinguished: represented world, motives, narration and style. Presented in the first chapter, the conventional models of theses four categories are used as reference points to gauge writers’ contribution to the fairy-tale convention in the second and the third chapters. The second chapter highlights historical dynamism of the fairy tale in Polish literature of the twentieth century, while the third part draws transversally the main esthetical tendencies in fairy-tale writing. Therefore the convention allows to outline an historical panorama and to define the main esthetical tendencies in Polish literature of the twentieth century, which proves its relevance in the study of literary fairy tale. Moreover this study of literary fairy tale takes a fresh look at some of the most important Polish writers of the twentieth century: B. Lesmian, W. Gombrowicz, St. I. Witkiewicz, Br. Schulz, T. Konwicki, St. Lem, Sl. Mrożek, Cz. Milosz.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

This thesis traces the development of British satellite broadcasting policy, from the early proposals drawn up by the Home Office following the UK's allocation of five direct broadcast by satellite (DBS) frequencies at the 1977 World Administrative Radio Conference (WARC), through the successive, abortive DBS initiatives of the BBC and the "Club of 21", to the short-lived service provided by British Satellite Broadcasting (BSB). It also details at length the history of Sky Television, an organisation that operated beyond the parameters of existing legislation, which successfully competed (and merged) with BSB, and which shaped the way in which policy was developed. It contends that throughout the 1980s satellite broadcasting policy ceased to drive and became driven, and that the failure of policy-making in this time can be ascribed to conflict on ideological, governmental and organisational levels. Finally, it considers the impact that satellite broadcasting has had upon the British broadcasting structure as a whole.

The present thesis provides an analysis of language policy and language contact in present-day Barcelona. On the one hand, the effectiveness of the implementation of Catalan-medium education in Catalonia will be critically evaluated. On the other hand, Catalan-Castilian bilinguals' awareness of non-normative instances of language contact will be assessed. This thesis brings these two strands together, in order to paint an accurate picture of the current Catalan sociolinguistic situation. The 1983 Llei de Normalització Lingüística had numerous consequences, including the introduction of Catalan as the chief medium of education in Catalonia. Such legislation had many aims, not least to 'ensure Catalan language competence'. But to what extent has this been successful? Furthermore, the varieties of Catalan and Castilian in Barcelona are characterised by centuries of language contact, which has resulted in the incursion of numerous, non-normative linguistic items and constructions in both languages. To what extent are speakers aware of such non-normative language? Moreover, how do these questions concerning language policy and language contact bear upon one another? This thesis is therefore looking at the consequences of language policy and of language contact. With the aid of an innovative, three-dimensional model of sociolinguistic phenomena, it will be shown that these are maximally differentiated, yet clearly related. These will be termed top-down phenomena and bottom-up phenomena respectively. This is to be tested using a unique fieldwork experiment whereby fifty bilingual Catalan-Castilian Barcelonians of two different generations (one educated in Catalan, the other in Castilian, due to different linguistic policies) are asked to identify instances of non-normative language contact in two prepared texts. This work will allow conclusions to be drawn regarding the effectiveness of Catalan medium education, as well as offering insight into the nature of how we examine issues of language policy and language contact.

Focusing on transborder travel narratives by two German authors and one Polish author, “Cold War Crossings” investigates how their writing responds to the postwar demarcation of separate Eastern and Western spheres of influences. Central to each of their oeuvres is the topos of the border broadly conceived, from the material, ideological, and psychic boundaries of the Iron Curtain to the Saussurean bar of the linguistic sign. By presenting border-crossing as an act of both political and aesthetic transgression, these writers advance uniquely literary alternatives to the rigid geopolitical divisions of their age. This dissertation analyzes the way in which each author’s poetics of the border informs, among other things, their manipulation of narrative structure, their unique employment of figurative language, and their shared proclivity for intertextuality, all of which address and reorient different kinds of textual boundaries. In this way, it is a contribution to the ever-expanding field of border studies and other scholarly investigations of the discursive production of mental maps. At the same time, however, the dissertation argues by way of its three case studies for a closer examination of the formal elements of literary texts that often go overlooked in such analyses. Conceived as an interdisciplinary and comparative study, “Cold War Crossings” seeks to overstep barriers between national literatures as well as disciplines by combining cultural studies, literary criticism, and historical analysis. Furthermore, the dissertation’s joint study of German and Polish literatures also contributes to recent debates on Europe as it counteracts traditional Eurocentric approaches that disregard Eastern Europe.