Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.3
Eleonora Shestakova
Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people.
{"title":"Юзовка – Сталино – Донецк: политизация национального вопроса в прозе о Донбассе советских писателей 1930–1980-х гг.","authors":"Eleonora Shestakova","doi":"10.14746/strp.2024.49.1.3","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.3","url":null,"abstract":"Donetsk is a young industrial city. This is captured in the history of its naming, reflective of the transformations of the politics of the two empires: Yuzovka – Stalino – Donetsk. There are few fictional works devoted to Donetsk in Soviet literature. It is local, regional literature, created by natives of the region from the 1930s to the 1980s. Donetsk’s art-journalistic metatext was formed along with the city transforming itself from a worker’s settlement into the capital of industrial Donbass. After October 1917 the city and metatext of Donetsk consistently “did not remember”, “did not see” its origins – Yuzovka – but was concentrated on the Soviet present of the region. The historically conditioned multinational of Yuzovka, under the pressure of Soviet policy and ideology, was transformed into an internationality based on the dominance of the Soviet (essentially Russian) man and his local kind: the Donbasovets. The aspirations to level out the national diversity of the region, to obscure the role of people with Ukrainian roots, and to replace it with the politicised internationalization in the fabric of the works have found their semantic and ideological limit. This limit intensified when the depersonalisation of national-cultural features of the city, region was artificially imposed and it manifested in speech, everyday realities, and the memorial culture of the common people.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"49 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141358722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.2
A. Antonova
In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective.
{"title":"Ландшафт меняющихся идентичностей на фоне военного вторжения: роман Тамары Дуды Доця сквозь призму перевода","authors":"A. Antonova","doi":"10.14746/strp.2024.49.1.2","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.2","url":null,"abstract":"In the environment of Russia’s ongoing war against Ukraine, literary translation acquires critical significance as a way to get Ukraine’s narratives of destruction and urbicide across cultural and political borders. This article will focus on Daisy Gibbons’s 2021 translation of Tamara Duda’s 2019 novel Daughter, set in the Eastern Ukrainian city of Donetsk, to examine the translator’s project of reconstructing the complex interplay of Eastern and Western Ukrainian identities embroiled in the narrative of crawling occupation. Daughter tells the story of Russia’s 2014 invasion of Donetsk, dissecting the city’s fragmented identity along cultural and linguistic divides and exploring internal tensions and propaganda-fueled conflicts leading to its eventual downfall. The storyline adopts the female protagonist’s insider/outsider perspective, tracing her gradual evolution from an invisible observer to a fearless insurgent fighting for the survival of her unravelling home. The analysis will centre on the translator’s approach, which combines textual and paratextual techniques to highlight the processes of division and destruction – with their transformative impact on the urban space – and to enter into a visible dialogue with the narrator/protagonist’s voice to amplify and reinforce its distinctly pro-Ukrainian perspective.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"57 25","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141358437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.6
Svetlana Pavlenko
Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels.
{"title":"Diabelskie koło historii. Poetyki miejskie w powieści Aleksieja Iwanowa Cienie Teutonów","authors":"Svetlana Pavlenko","doi":"10.14746/strp.2024.49.1.6","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.6","url":null,"abstract":"Shadows of the Teutons, a novel by the contemporary Russian writer Aleksei Ivanov, was published in 2021. The story unfolds across two different time periods. Some events take place in 1457 during the siege of Marienburg, the capital of the Teutonic Order’s State, and the Polish-Teutonic conflict serves as a starting point for the depiction of later battles, in 1945, within the former East Prussia, now known as the Kaliningrad Oblast. This article examines the means used to create the urban spaces depicted in the novel and their transformation as a result of armed conflicts. It focuses on the urban landscapes of Baltiysk (Pillau) and Malbork (Marienburg), which exhibit a complex identity and strong interconnections at various levels of the narrative structure. The analysis explores somatopoetics and thanatopoetics, two categories the author employs to describe places, as well as the auditory and olfactory dimensions of everyday wartime experiences, memoryscapes, Teutonic castles and underground settings such as cellars, bunkers, catacombs, secret passages and tunnels.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"19 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141356635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.8
Daria Khrushcheva
Memorial plaques are one of the most common forms of commemorative practices. Organically fitting into the geographical and socio-cultural landscape and having several functions, memorial plaques not only become a kind of marker of a “site of memory” (lieu de mémoire), play an important role in preserving names, transmitting historical memory, but also contribute to the construction and consolidation in the mass consciousness of ideologically verified representations of historical political events. Various “initiatives from below” and projects of independent activists (for example, the “Last Address” (“Poslednij adres”) project with memorial tablets to victims of state terror or the anonymous “questions about repressions” action discussed in this article) become vivid examples of how today’s Russian civil society reacts to a unilateral submission historical facts by power structures. The organizers of such actions become new actors in the politics of memory. They seek not only to expand the space of specific “places of memory” – memorial plaques and their contents – but also to change the perception of certain historical events and attitudes towards them. On the example of memorial plaques as a form of commemoration, the article examines the communicative strategies of different groups of memory subjects in modern Russia.
纪念牌匾是最常见的纪念形式之一。纪念牌匾与地理和社会文化景观有机地结合在一起，具有多种功能，不仅成为 "记忆场所"（lieu de mémoire）的一种标志，在保存姓名、传播历史记忆方面发挥着重要作用，而且有助于在大众意识中构建和巩固经过意识形态验证的历史政治事件表述。各种 "自下而上的倡议 "和独立活动家的项目（例如，"最后的地址"（"Poslednij adres"）项目中的国家恐怖受害者纪念碑或本文讨论的匿名 "关于镇压的问题 "行动）成为当今俄罗斯民间社会如何对权力机构单方面提交历史事实做出反应的生动例子。这些行动的组织者成为记忆政治的新参与者。他们不仅寻求扩大特定 "记忆场所"--纪念牌匾及其内容--的空间，还寻求改变人们对某些历史事件的看法和态度。文章以纪念牌匾这种纪念形式为例，探讨了现代俄罗斯不同记忆主体群体的交流策略。
{"title":"Last Addresses: Commemorative plaques as lieux de mémoire and a form of communication","authors":"Daria Khrushcheva","doi":"10.14746/strp.2024.49.1.8","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.8","url":null,"abstract":"Memorial plaques are one of the most common forms of commemorative practices. Organically fitting into the geographical and socio-cultural landscape and having several functions, memorial plaques not only become a kind of marker of a “site of memory” (lieu de mémoire), play an important role in preserving names, transmitting historical memory, but also contribute to the construction and consolidation in the mass consciousness of ideologically verified representations of historical political events. Various “initiatives from below” and projects of independent activists (for example, the “Last Address” (“Poslednij adres”) project with memorial tablets to victims of state terror or the anonymous “questions about repressions” action discussed in this article) become vivid examples of how today’s Russian civil society reacts to a unilateral submission historical facts by power structures. The organizers of such actions become new actors in the politics of memory. They seek not only to expand the space of specific “places of memory” – memorial plaques and their contents – but also to change the perception of certain historical events and attitudes towards them. On the example of memorial plaques as a form of commemoration, the article examines the communicative strategies of different groups of memory subjects in modern Russia. ","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"80 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141359721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.11
Jolanta Brzykcy
The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).
{"title":"Soviet savage, stinking cod and Muse – Vladislav Khodasevich’s vision of Saint Petersburg","authors":"Jolanta Brzykcy","doi":"10.14746/strp.2024.49.1.11","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.11","url":null,"abstract":"The aim of this article is to analyze and interpret Vladislav Khodasevich’s poem Petersburg (Петербург, 1925), in which the poet evokes the image of the city during the war communism period from the distance of emigration. The poet presents the city in many dimensions: as a place of struggle for physical survival in an era of crisis caused by the Russian Civil War; as a space where high culture clashed with the barbarism of Bolshevism; and in an autobiographical key – as a time in which his own creative forces flourished. The cityscape is based on a series of antinomies: past – present, tradition – innovation, spirituality – materiality, sacrum – profanum, the real world – the surreal world, the culture of old Russia – the primitivism of new times. This allows us to look at the poem simultaneously from several perspectives: historical-literary (cultural life in St. Petersburg during the Civil War), biographical (the poet’s stay in the city in the years 1920–1922), intertextual (assignment of the poem to the Petersburg text) and metatextual/self-referential (Khodasevich’s aesthetic views).","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"3 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141356305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.7
Kiun Hwang
This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how these plaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.
{"title":"Claiming the wall: How memorial plaques reshape urban landscapes in Russia","authors":"Kiun Hwang","doi":"10.14746/strp.2024.49.1.7","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.7","url":null,"abstract":"This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how these plaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"18 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141356793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.17
Claudia Fiorito
The release of the television series Chernobyl (HBO, Sky Atlantic 2019) drew renewed attention to the tragedy, its locations, and the affected population, generating new productions in Russia, such as the film Chernobyl: Abyss (Danila Kozlovskij, 2021), explicitly made in response to the Western series, signalling a desire to re-appropriate the narrative of the disaster and its territories. Indeed, a recurrent characteristic of the film and television productions of the countries most affected by the 1986 nuclear disaster (Ukraine, Belarus, and Russia) has been the representation of the land and the inhabitants’ relationship with it (Lindbladh 2019). This is also a central theme in Svetlana Alexievich’s renowned 1997 work Voices from Chernobyl: Chronicle of the future, whose stories inspired some episodes of the Anglo-American series. This article analyzes the representation of the relationship between the inhabitants of the Chornobyl/Chernobyl Exclusion Zone and their homeland in film and television productions dedicated to the nuclear disaster, beginning with Eastern European films made in the early 1990s, moving on to the representation in the Western series, and culminating with an analysis of Kozlovskij’s Chernobyl: Abyss. Features considered include the development of romantic narratives within the contaminated zone, the visual representation of radiation, and the depiction of the local institutions’ response to the disaster.
{"title":"Попавшие в „мышеловку”: анализ отношения местного населения к Чернобыльской Зоне Отчуждения в кино- и телепродукции (1990–2021 гг.)","authors":"Claudia Fiorito","doi":"10.14746/strp.2024.49.1.17","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.17","url":null,"abstract":"The release of the television series Chernobyl (HBO, Sky Atlantic 2019) drew renewed attention to the tragedy, its locations, and the affected population, generating new productions in Russia, such as the film Chernobyl: Abyss (Danila Kozlovskij, 2021), explicitly made in response to the Western series, signalling a desire to re-appropriate the narrative of the disaster and its territories. Indeed, a recurrent characteristic of the film and television productions of the countries most affected by the 1986 nuclear disaster (Ukraine, Belarus, and Russia) has been the representation of the land and the inhabitants’ relationship with it (Lindbladh 2019). This is also a central theme in Svetlana Alexievich’s renowned 1997 work Voices from Chernobyl: Chronicle of the future, whose stories inspired some episodes of the Anglo-American series. This article analyzes the representation of the relationship between the inhabitants of the Chornobyl/Chernobyl Exclusion Zone and their homeland in film and television productions dedicated to the nuclear disaster, beginning with Eastern European films made in the early 1990s, moving on to the representation in the Western series, and culminating with an analysis of Kozlovskij’s Chernobyl: Abyss. Features considered include the development of romantic narratives within the contaminated zone, the visual representation of radiation, and the depiction of the local institutions’ response to the disaster.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"74 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141358009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.16
Estera Głuszko-Boczoń
One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant.
{"title":"„Miasto nigdy się nie kończy…”. Mroczne oblicze miasta w prozie Herty Müller","authors":"Estera Głuszko-Boczoń","doi":"10.14746/strp.2024.49.1.16","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.16","url":null,"abstract":"One of the recurring motifs in Herta Müllerʼs work is the experience of the city, which often becomes a space of threat, violence, uncertainty, and finally repression and death. The German Nobel Prize laureate describes urban spaces, where the fate of the city is intertwined with the fate of the protagonists, depicting a world of people who are downtrodden, lost, defeated, and yet not without hope. This article discusses selected works by Herta Müller, in which the multidimensional image of the city opens up new fields for reflection and allows us to gain insight into how a totalitarian state functions. The cities the author describes are reflective of all Romanian cities under the dictatorship of Nicolae Ceaușescu; they are places of depravity and terror. This article also explores the aesthetics of ugliness which affects the understanding of the role of cities in Herta Müllerʼs prose, and analyzes important urban symbols such as asphalt, apartment blocks, parks and the flora and fauna characteristic of communist cities. In many of Müllerʼs texts, cities form a dramatic backdrop for acts of violence and repression against ‘the Stranger’ – for instance, the German minority,the Roma community, and women. Thus, the experience of an individual becomes the experience of the whole community, which makes Herta Müllerʼs work enduringly relevant.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"35 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141355688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.4
Kristina Vorontsova
This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience.
{"title":"Польские города как пространство истории в Семейном архиве Бориса Херсонского","authors":"Kristina Vorontsova","doi":"10.14746/strp.2024.49.1.4","DOIUrl":"https://doi.org/10.14746/strp.2024.49.1.4","url":null,"abstract":"This article is focused on the so-called urban texts related to Poland with a special emphasis on the historical and geographical region of Galicia, which covers the territories of Red Ruthenia in Ukraine and Lesser Poland, and on their historical connotations as presented in Boris Khersonsky’s book of poetry Family archive (2006). Khersonsky is a Russian-speaking Ukrainian poet from Odesa, who has been awarded prestigious prizes for his literary work both in Ukraine and abroad. Family archive can be described as a sort of novel in verse about the tragic history of the 20th century told through the family history of the author himself. The main goal of this article is to analyze the specific spatial structure of the book in the context of geopoetics and places of memory with a special accent on Polish cities and towns. This territory is the quintessential locus of historical events connected to Eastern European Jewish heritage and the tragedy of the Holocaust. This paper seeks to reconstruct the image of Poland with all the connotations and cultural myths associated with its multicultural experience.","PeriodicalId":34286,"journal":{"name":"Studia Rossica Posnaniensia","volume":"53 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141358260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-11DOI: 10.14746/strp.2024.49.1.13
Audinga Peluritytė-Tikuišienė
The myth of the founding of the city of Vilnius became particularly important in Lithuanian art in the decade of the restoration of independence. After a long period of occupation, the capital of Lithuania became not only a catalyst for new formulations of national and civic identity, but also a symbol of freedom. The landscape and architecture of the Old Town of Vilnius embody the archaic Baltic imagination, which is not upstaged but, on the contrary, complemented by the Christian world of Vilnius. The restoration of independence activated the archaic Baltic imagination in Lithuanian art and literature as this kind of imagination had nurtured Lithuanians’ national self-awareness over centuries. This article focuses on two modern Lithuanian prose writers, Antanas Ramonas (1947–1993) and Ričardas Gavelis (1950–2002), whose works evoke the two most striking and different images of the same mythical Vilnius – divine and demonic, hopeful and hopeless. These two opposing images of mythical Vilnius reveal two different viewpoints on the world, on history and on the human being in modern Lithuanian literature.
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