The article attempts to analyze the reaction to the debut of the Danish poet of Palestinian descent Yahya Hassan (Yahya Hassan. Digte, 2013) among literary reviewers as well as in the Danish society. The impulse to write on this topic came after the nomination of Yahya Hassan for the Polish literary prize European Poet of Freedom 2016. The main aim is to explain the extraordinary fame as a writer and as a public person he gained already in the month of his literary debut (100.000 sold books in two months). The analyze will be focused on two fields of interest: the reception of the poetry itself and the writer’s personae.
Dutch, a West-Germanic language, is spoken by approximately 23 million people worldwide. In Europe, it is the language of all of the Netherlands and the northern part of Belgium, called Flanders. It is often said that since the Dutch and the Flemish speak Dutch differently, they in fact speak two different languages - Netherlandic Dutch and Belgian Dutch (Flemish). Linguists, however, argue they are not necessarily two separate languages but rather two varieties - a Netherlandic and a Belgian variety - of the same language, Dutch. Since there are a substantial number of grammatical, lexical, phonetic and even spelling differences between Belgian and Netherlandic Dutch, the question is whether Dutch is a pluricentric language with two centres of standardization or not. By explaining the socio-historical background of the Dutch language and giving a comprehensive overview of the differences between Netherlandic and Belgian Dutch, this article attempts to answer the aforementioned (research) question.
Lyrikkens rolle hos Czesław Miłosz og i hans norske gjendiktning ved Paal Brekke
The purpose of the paper is to compare the original verse by Czesław Miłosz and its translated version by Paal Brekke. To discuss the images of the poetry and the poet in Campo di Fiori and Tilegnelse the comparative translation theory is applied and the poets' literary background brought into focus. In the next step such issues as the translator's figure and his influence on the target text are addressed. The paper presents that Brekke's literary work alters Miłosz's original poetics.
The article A narrative portrait of Marie Grubbe in Lone Hørslev’s novel Dyrets år (The Year of the Beast) discusses the latest biographical novel on the controversial Danish aristocrat from the 17th century. In order to address the issue in closer detail, a brief biography of Marie Grubbe is given in the article’s introduction which is followed by a presentation of all the Danish works of fiction on the person that have been published so far. The analysis shows that the authors’ approach to their protagonist varies from disgust to fascination, depending on the period that the work originates from. Lone Hørslev’s Dyrets år may not be a genuine masterpiece, but it definitely adds new, contemporary aspects to the overall understanding of Marie Grubbe’s conduct and enriches her portrait with some traits which have not yet been discussed.
The article is a presentation of partial research on litanic verse in Swedish literature carried out within the project “Litanic Verse in the Culture of European Regions”. Starting from the origins of the litanic genre, described by Witold Sadowski, the author analyses Karin Boye’s poem “Bön till solen” („Prayer to the Sun”), paying special attention to the presence of the three litanic genes: the ektenial, the polyonymic and the chairetismic. As the typical stylistic figures and structural solutions occur in the poem, a conclusion can be drawn that “Bön till solen” is an example of preservation of litanic patterns in the Swedish literary tradition.
Rewriting Pre-Existing Narratives in Sofi Oksanen’s Purge
Anna Estera Mrozewicz
The article offers a discussion of Sofi Oksanen’s novel Purge, focusing on the book’s strategy of evoking stereotypical narratives about Eastern Europe, such as the (postcommunist) fallen woman and (Russian) return home narratives, as well as related intertexts, primarily Lukas Moodysson’s film Lilya 4-ever. I argue that Oksanen constructs the plot around clichés in order to challenge them in a subversive fashion, first and foremost, in the name of recuperating the notion of Home. Related to locality and the feeling of being at-home, where the wholeness of the (national) subject is possible, ‘home’ is staged as an alternative to stereotypes, associated with transnational travel and the apparatus of colonization. A significant counter-narrative embedded in the novel - and hitherto rarely discussed - is the exilic perspective with its idealization of the lost and imagined home(land). In Purge, this is mediated through the main character’s postmemory. By means of a postexilic narrative, home is reconfigured as a ‘third space’ - neither fully ideal and (ethnically) pure nor adhering to the aforementioned stereotypical narratives. The positive valorisation of home, despised by some critics as simplistic and conservative, does not prevent movement and dislocation from being included in the new experience of home(land) emerging from the post-Soviet condition.
One of the masterpieces of Polish cinema is the debut film by Witold Leszczyński The Days of Matthew (1967, Żywot Mateusza). It is an adaptation of the novel Fuglane by Tarjei Vesaas, which appeared in translation into Polish in 1964. Leszczyński’s awarded film work has become an object of numerous analyses. However, there has been no particular research on the origins of The Days of Matthew. This article aims at presenting and interpreting the genesis of the film, viewed from three different perspectives: the existential, the ethical and the technical one. The study is largely based on previously unknown information or rarely cited sources.
Institutional theatres in Sapmi have a relatively brief history but they are based upon traditional cultural heritage (the yoik, the art of storytelling, shamanistic seances). At the same time they are open to impulses from other cultures and theatrical traditions (European and non-European) that contribute to the distinct features of Samic theatrical performance when it comes to texts, the aesthetics of performance, and acting traditions. The article outlines the Samic theatre landscape in general and then proceeds to focus on the multicultural aspects of "Ridn'oaivi ja nieguid oaidni", a performance by the Beaivváš Sami Teáhter. The article also calls attention to the problematic nature of the concept "cultural dialogue" in a situation when the borderlines between individual cultures are no longer obvious, and when it is no longer easy to identify the partners in a dialogue unequivocally.