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German Romantic Tradition in John Ashbery’s "Where Shall I Wander"

100%

Marcinkiewicz P. , Pietrek D.

Anglica Wratislaviensia

2019

nr 57

75-88

In popular critical and readerly reception, the New York School of poetry was shaped mostly by what Marjorie Perloff calls the tradition of indeterminacy. This was started by Arthur Rimbaud and, a few decades later, developed by Dadaists and Surrealists. Therefore, the tradition of French modernism seems to have been vital for John Ashbery, Frank O’Hara, James Schuler, and Barbara Guest, and the poets themselves appeared to confirm this fact. They often visited France privately and as scholars, and lived there for extended periods of time. In the case of John Ashbery, his year-long Fulbright fellowship was prolonged to a decade. Moreover, the New York School poets contributed to the propagation of French literature, being translators, critics and editors of French authors. However, as John Ashbery’s late works prove, literary genealogies are far more complex. German Romantic tradition always exerted an important influence on John Ashbery, and it inspired the New York experimenter to contribute two major poems to the twenty-first century American literature: “Where Shall I Wander” and “Hölderlin Marginalia”.

The Rules of How Reality Works Through the Prism of Post-Postmodern Prose

100%

Zymomria M.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

2020

nr 9

347-354

The reviewer analyses the monograph Problematic-Thematic Units and Philosophical-Esthetical Parameters of the British Post-Postmodern Novel (Kyiv, 2020) written by Dmytro Drozdovskyi, a Ukrainian scholar from Taras Shevchenko Institute of Literature of the National Academy of Sciences of Ukraine, member of The European Society for the Study of English (Bulgarian branch). In the monograph, the author has outlined the theory of the post-postmodern novel based on the analysis of the key novels of contemporary British fiction (David Mitchell, Ian McEwan, Sarah waters, Mark Haddon, etc.). The review states that the Ukrainian scholar has developed the theory proposed by Fredric Jameson regarding the post-postmodern features of Cloud Atlas and also discusses the concept of meta-modernity as one of the sections in the post-postmodern literary paradigm in the UK. Drozdovskyi argues that meta-modernism cannot be the only term that explains all the peculiarities of contemporary British fiction, which also cannot be outlined as meta-modern but as post-postmodern. The scholar provides a new theory of the novel based on the exploitation of real and unreal historical facts and imagined alternative histories and multifaceted realities. Furthermore, the reviewer pays attention to the contribution this monograph has for world literary studies spotlighting the theory of literary meta-genre patterns, as Drozdovskyi provides a theory according to which literary periods can be divided into those in which the carnival is the dominant meta-genre pattern (like postmodernism) and those that exploit the mystery as the meta-genre pattern (post-postmodernism). The reviewer analyses the key thematic units explained by Drozdovskyi as the key ones that determine the semiosphere of the contemporary British novel (post-metaphysical and post-positivist thinking of the characters, medicalisation of the humanitarian discourse, and the representation of the temporal unity of different realities). The scholar also states that the post-postmodern British novel exploits the findings of German Romanticism and Kant’s philosophy.

Między wizją a praktyką. Początki niemieckiej opery romantycznej w ujęciu E.T.A. Hoffmanna

67%

Kornatowska B.

nr 1

401-413

This article is devoted to the theory of new German opera created by E.T.A Hoffmann and the first attempt to putting it into practice. His short story entitled The Poet and the Composer (1813) and released in the Leipzig “Allgemeine Musikalische Zeitung” is a romantic opera, written in two voices, which draws inspiration from the supernatural world and aims at a coherent poetic vision. E.T.A Hoffmann realised in Undine (1816) some of the postulates articulated in the analysed short story and in the correspondence from that time, using Friedrich de la Motte Fouqué’s libretto based on the fairy tale novella bearing the same title, thereby showing the way to further development of the genre.

Artykuł poświęcony jest stworzonej przez E.T.A. Hoffmanna teorii nowej opery niemieckiej oraz pierwszej próbie przełożenia jej na praktykę. Jego opowiadanie Poeta i kompozytor (1813), które ukazało się na łamach lipskiej „Allgemeine Musikalische Zeitung”, to rozpisany na dwa głosy program opery romantycznej, która ma czerpać inspirację ze świata nadprzyrodzonego, a także dążyć do spójnej poetyckiej wizji. Część postulatów wyartykułowanych w analizowanym opowiadaniu oraz w korespondencji z tamtego czasu E.T.A. Hoffmann zrealizował w Ondynie (1816) do libretta Friedricha de la Motte Fouquégo na podstawie baśni literackiej pod tym samym tytułem, wytyczając tym samym kierunek dalszego rozwoju gatunku.

Mechanika hrůzy: K hororovým příběhům německého romantismu

67%

Novotný P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

2018

tom 58

85-99

Mechanics of awe: The horror tales of German romanticism