Roczniki Humanistyczne https://ojs.tnkul.pl/index.php/rh <p><strong><em>Roczniki Humanistyczne </em></strong><strong>(Annals of Arts)<em>&nbsp;</em></strong>is an academic journal of the humanities published by the Learned Society of the John Paul II Catholic University of Lublin and the Faculty of Humanities of the John Paul II Catholic University of Lublin. It has appeared without interruption since 1949.<br><em>Roczniki Humanistyczne </em>is a platform of exchange of ideas in four areas of the humanities – literary studies, linguistics, history, and art history – as well as across these disciplines.<br><em>Roczniki Humanistyczne </em>publishes research articles, review articles, reviews, and short communications. Contributions are accepted in Polish, English, German, Dutch, French, Spanish, Portuguese, Italian, Russian, and&nbsp;Ukrainian. The language of contribution may vary depending on fascicle.</p> en-US monyd@interia.pl (Monika Sidor) marek.ciesluk@tnkul.pl (Marek Cieśluk) Thu, 03 Sep 2020 11:13:41 +0000 OJS 3.1.2.0 http://blogs.law.harvard.edu/tech/rss 60 Reminiscence Has Been Forgotten: Paradigms, Problems and Paradoxes of the Literary Memory of the Shoah https://ojs.tnkul.pl/index.php/rh/article/view/12835 <p><strong><em>Gedenken ist vergessen</em></strong><strong>: Paradigmen, Probleme und Paradoxien literarischer Erinnerung an die Shoah</strong></p> <p>Der vorliegende Beitrag präsentiert die literatur-und erinnerungsgeschichtlichen Entwicklungen, die seit dem Ende des Zweiten Weltkrieges für die literarische und literarhistorische Auseinandersetzung mit der Problematik der Shoah bestimmend wurden und an denen sich eine junge Generation von Autorinnen und Autoren in Polen und Deutschland inzwischen kritisch abarbeitet. Der Beitrag geht zuerst den dominierenden Paradigmen des literarischen Shoah-Diskurses, d.h. dem Darstellungsverbot und dem Topos der Unsagbarkeit nach, um dann die methodischen Probleme, die sich aus dem Gebot des Schweigens und dem individuellen und moralischen Zeugnisbedürfnis ergeben, zu erörtern. Die Paradoxien in der literarischen Erinnerungsgeschichte werden im abschließenden Teil an der essayistischen Erzählung von Doron Rabinovici <em>Gedenken ist vergessen</em> (2008) exemplifiziert.</p> Imelda von der Lühe Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12835 Wed, 12 Aug 2020 12:45:49 +0000 “…Inconspicuousness and a Lot of Memories”: Mediums of Memory in Bettina Spoerri’s Novel Konzert für die Unerschrockenen (2013) https://ojs.tnkul.pl/index.php/rh/article/view/12836 <p>In this article, the reconstruction of the family history in Bettina Spoerri’s novel <em>Konzert für die Unerschrockenen</em> [Concert for the Fearless] is analysed. The narration contains different mediums of memory. The central medium of memory is music: for the narrator, this archive of the memory mainly consists of old recordings, but also of reminiscences about the concerts and private performances of Leah, the main protagonist of the novel. Photographs, by means of ekphrasis, serve as another essential medium of memory, opening up “the windows of time” (Overath). In this article, these mediums are considered in the context of the ideas of Sontag and Barthes. The widely understood concept of art (paintings by Rothko, installations by Horn, plays by Chekhov) is yet another medium of memory, connecting the present with a past that does not exist any more. This reconstructed story is part of the genealogy of the writer, who belongs to the third post-Shoah generation.</p> Małgorzata Dubrowska Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12836 Wed, 12 Aug 2020 12:46:16 +0000 The Search for Memories: Concepts of Memory in Eine Art Liebe by Katharina Hacker https://ojs.tnkul.pl/index.php/rh/article/view/12837 <p>This article analyses Katharina Hacker’s novel <em>Eine Art Liebe</em> [A Kind of Love] from the perspective of postmemory, as postulated by Marianne Hirsch. Although the interpreted work does not deal with traditional family relationships, in which the descendants have to deal with the traumas of their parents, certain narrative techniques refer to the attempts of future generations to face up to the trauma of the Holocaust. The protagonist of the novel is a young German woman who meets Moshe Fein in Israel and attempts to write down his story. Upon listening to the story of her Jewish friend, who survived the Holocaust in a French boarding school, she tries to lend credence to her narrative by quoting Moshe Fein’s notes and describing his family memorabilia and photographs.</p> Jolanta Pacyniak Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12837 Wed, 12 Aug 2020 12:46:43 +0000 Postfigurations of the Shoah in Contemporary Refugee Discourse in Novel by Jenny Erpenbeck Gehen, ging, gegangen (2015) https://ojs.tnkul.pl/index.php/rh/article/view/12838 <p><strong>Postfigurationen der Shoah im gegenwärtigen Flüchtlingsdiskurs anhand von Jenny Erpenbecks Roman <em>Gehen, ging, gegangen</em> (2015)<br></strong>Jenny Erpenbecks Flüchtlingsroman erschließt durch die prozesshafte Konstruktion des Protagonisten und seine engagierte Begegnung mit den Flüchtlingen im gegenwärtigen Deutschland die grundlegende Komplementarität des Shoah-Narrativs und des aktuellen Asyl- und Flüchtlingsdiskurses in Europa. Die vom pensionierten Professor für Altphilologie internalisierte Anklage des Verfalls der Menschenrechte verleitet ihn dazu, in den Referenzen zur Shoah und zum Kolonialismus ‚Zuflucht‘ zu suchen. Das Paradoxe dieser Transfiguration besteht darin, dass die <em>Unsagbarkeit</em> des Judenmordes im Roman dazu genutzt wird, die gesellschaftliche Gegenwart zu beleuchten und die Pervertierung der europäischen Gesetzgebung, welche auf die Shoah als Initialzündung der modernen Menschenrechte gründet, anzuklagen.</p> Anna Rutka Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12838 Wed, 12 Aug 2020 12:47:14 +0000 Benjamin Stein’s Novel The Canvas: The Return of Jewish Religiosity under the Shadow of the Uncertain Memory of the Shoah https://ojs.tnkul.pl/index.php/rh/article/view/12839 <p>Benjamin Stein’s novel <em>The Canvas</em> fictionalises the literary scandal around Binjamin Wilkomirski, whose supposed testimony of the Shoah proved to be fiction. <em>The Canvas</em> thereby provocatively questions the reliability of memories, as well as the differences between autobiographies and fiction in general. This paper argues that those aesthetic strategies have to be interpreted in the context of the passing of the last witnesses and thus of the necessary medialisation of the memory of the Shoah. In the light of those transformations, it is the religious aspect of Jewish identity which is foregrounded in the novel. <em>The Canvas</em>’s critical view of the cultural memory discourse is based in particular on a literary reflection of postmodern theorising.</p> Fabian Sader Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12839 Wed, 12 Aug 2020 12:47:45 +0000 The Other Shoah: The Genocide on the ‘Gypsies’ in Literature after 1989 https://ojs.tnkul.pl/index.php/rh/article/view/12840 <p>Prejudices against the Romani people, who are still often discriminatorily called Zigeuner, gypsies, gitanes or gitanos, still have an influence on the cultural memory discourse of the Shoah. The genocide of the Romani is either denied or trivialised. The fact that there are hardly any autobiographies of Romani survivors results from an inability to process extreme trauma, while the conventions of the people concerned prohibits them from speaking out about their trauma in the language of the perpetrators. It is thanks to the committed work of civil rights movements that Romani victims could collaborate with writers and publishers to finally tell the majority cultures of their suffering and of the genocide of the Romani people.</p> Hans Richard Brittnacher Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12840 Wed, 12 Aug 2020 12:48:12 +0000 “The Doctor Stays!”: Janusz Korczak as a Literary Figure https://ojs.tnkul.pl/index.php/rh/article/view/12841 <p>This paper analyses the literary representation of Janusz Korczak in children’s literature of the past 40 years. The characteristics of children’s literature as a truly multimedia means of remembrance play a role when both words and pictures commemorate the Shoah. The many stories about Janusz Korczak can also point us towards the transnational character of children’s literature. Through translation, these stories become part of multiple (national) literatures, so that we can actually speak of a world literature that is not only part of a national or bi-national memory, but of a global, cultural one.</p> Gabriele von Glasenapp Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12841 Wed, 12 Aug 2020 12:49:01 +0000 “Places that Have Lost Their Memory”: Landscapes of Postmemory in the Pepper Forgers. A Family History by Monika Sznajderman https://ojs.tnkul.pl/index.php/rh/article/view/12842 <p>Monika Sznajderman reconstructs the experiences of her Jewish family from her father’s side in her commemorative prose. From the postmemory perspective of the future generations, she deals with the traumatic effects of past experiences, pre-war life and extermination during the war. This article analyses the way of experiencing the landscape, and its literary depiction, after the Holocaust, stressing the transgenerational transmission of experiences and the double perception of places. The landscapes of post-memory are contaminated by a dominant feeling of emptiness, the absence of their former residents and the memories (or silence) of the survivors. The specific places of family history visited by the author are suspended between the past and the present. The simultaneous presence and lack of any traces of former Jewish life marks them with an aura of incredibleness. In this article, the role of the family’s photographs that survived the Holocaust is also highlighted, testifying to the existence and everyday life of their Jewish ancestors and showing the “places that have lost their memory”.</p> Anna Pastuszka Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12842 Wed, 12 Aug 2020 12:52:22 +0000 Gendering the Holocaust: Robert McLiam Wilson’s Manfred’s Pain and Marek Soból’s Mojry https://ojs.tnkul.pl/index.php/rh/article/view/12843 <p>This article analyses two Holocaust novels, <em>Manfred’s </em><em>Pain</em> (1992) by the Northern Irish novelist Robert McLiam Wilson and <em>Mojry</em> (2005) by the Polish writer Marek Soból, as texts which foreground the female body, female sensibility and the female version of (his)story. Both novels link this theme to sexual violence and emphasise the specificity of the female experience of the Holocaust. This article argues that the gendering of the Holocaust and the focus on its female side constitutes a fundamental difference setting the two novels apart from other, chiefly ‘male’, Holocaust novels, both by Polish authors and by Wilson. The male experience, usually naturalised as the universal human one, is dislocated in these two novels to also include the female perspective. In the case of <em>Manfred’s Pain</em>, this dislocation operates by a change of proportions: although the novel has a male protagonist and narrator, with the female figure seemingly occupying the background, the latter gradually emerges as an equally important protagonist and the female experience becomes as central as the male one. In Soból’s novel, the roles are already reversed: it is the women who come to the fore both as protagonists and narrators, and the text presents both their experience and their points of view, with the male characters reduced to the status of witnesses. Focusing on the fate of women, the novels ‘gender’ the seemingly universal experience of the Holocaust, and draw attention to its gender specificity.</p> Barbara Klonowska Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12843 Wed, 12 Aug 2020 12:52:54 +0000 Henryk Halkowski (1951–2009): The ‘Guardian of Jewish Memory’ in Krakow https://ojs.tnkul.pl/index.php/rh/article/view/12844 <p>The paper considers, as an example of second generation Shoah survivors, the life and work of Henryk Halkowski (1951-2009) who lived in Kraków and was a philosopher, architect and, primarily, ‘a guardian of Jewish memory’. I discuss his essays and journalism on Jewish subjects and the subject of Polish-Jewish relations, as well as his translations and editions of Judaic texts. Halkowski emphasised that it would be wrong to study the history of the Jews in Poland only in the context of their extermination, because there had existed in Poland, and especially in Kraków and its Jewish quarter Kazimierz, a thriving Jewish life and culture for seven centuries previously. The late scholar was deeply connected to Kraków, both biographically and emotionally, and used to stress the fact that the history of the Jews and the history of Kraków are inseparable.</p> Maria Kłańska Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12844 Wed, 12 Aug 2020 12:53:30 +0000 Telling of Childhood Today: Berceau by Éric Laurrent https://ojs.tnkul.pl/index.php/rh/article/view/12845 <p>More associated with ludic fiction and known for his mannerist style, Éric Laurrent enters, with <em>Berceau</em>, the realm of intimate literature whilst transcending the usual assumptions of the genre. This autobiographical text in the form of a diary presents the experience of adoption from the father’s perspective, which is rare in literature. He focuses especially on the question of childhood in order to show the way in which it contributes to the generation of emotional ties, and gives two contrasting images of this period in life: everyday childhood – ordinary, but happy – and the childhood of abandoned children, desperately lonely and without any prospects for the future. This article seeks to analyse the thematic and stylistic multidimensionality of Laurrent’s text, whose main aim is not so much to document personal experiences as to draw attention to the fate of orphans by showing the crucial role of the family in the lives of both children and adults.</p> Anna Maziarczyk Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12845 Wed, 12 Aug 2020 12:54:00 +0000 Analysis of Expressions with Movement Verbs in Function of Lexical Economy and Redundancy: English-Spanish Contrastive Study https://ojs.tnkul.pl/index.php/rh/article/view/12846 <p>This text constitutes a contrastive analysis of lexical economy and redundancy in verbal expressions. For this purpose, a bilateral study of the diacritical examples is carried out in two selected languages: English and Spanish. The analysis is based on a manual parallel corpus, which consists of verbal expressions collected in two versions of the same narrative literature text:<em> A&nbsp;moveable feast</em> / <em>París era una fiesta </em>by Ernest Hemingway. Our task is, above all, to compare the numerical data obtained after the census with the theories elaborated by the typological tradition. Taking into account the defining parameters of the phenomenon of economy, we establish its scale based on the empirical analysis of expressions with movement verb — one of the fundamental verb classes. These references lead us to the conclusion which language of the two listed above is more economic and which is more redundant in the lexical perspective.</p> Katarzyna Gołębiowska Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12846 Wed, 12 Aug 2020 12:54:34 +0000 Perturbation of the Time and Participation Framework of the Interaction on Online Discussion Forums https://ojs.tnkul.pl/index.php/rh/article/view/12847 <p>The aim of this paper is to describe some disturbances of the traditional model of verbal in interactions developed on online discussion forums. The analysis focuses on the description of topics raised on French forums, where the interaction, once completed, is continued after a long period. The discussion can be restarted since the topic is open indefinitely, which allows to refer to any post at any time. From a theoretical point of view, this affects the basic parameters of the traditionally understood verbal interaction, namely its time frame (extension of the duration of the discussion), its structure (lack of closing formulas), as well as its participation framework. This practice, although unusual in face-to-face interactions, is quite natural and frequent in discussions on online forums.</p> Katarzyna Wołowska Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12847 Wed, 12 Aug 2020 12:55:11 +0000 The Effect of Subtitling on Vocabulary Comprehension and Acquisition by Polish Students of Spanish as a Foreign Language https://ojs.tnkul.pl/index.php/rh/article/view/12848 <p>Watching media with subtitles at this time when streaming platforms have gone into our lives, have become a habit for a lot of people’s daily live. We consider this as an opportunity for students of Spanish to continue practicing the language once they are not in the classroom. These platforms provide subtitles in many languages and this tool might be helpful when studying a new one. Given that there is scarce data in this line of research, this study seeks to contribute to it by demonstrating that viewing media may improve de vocabulary acquisition (apart from other skills) and proving that subtitles may help in this process.</p> Leticia López Martínez Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12848 Wed, 12 Aug 2020 12:55:46 +0000 Readings and Rewritings of Hechos de Bernardo del Carpio https://ojs.tnkul.pl/index.php/rh/article/view/12849 <p>Throughout the Golden Age the rewriting of dramatic works becomes a common form of literary creation. Few are the playwrights who did not feel the need to return to the works of their predecessors with the intention of improving or updating texts against the changing tastes of the public. This general phenomenon is exemplified in this paper through the rewriting in two different printed versions carried out by Álvaro Cubillo de Aragón of a play dedicated to the historical-legendary matter related to the figure of Bernardo del Carpio: <em>El conde de Saldaña y hechos de Bernardo del Carpio</em>.</p> Rebeca Lázaro Niso Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12849 Wed, 12 Aug 2020 12:56:23 +0000 Temporal and Aspectual Properties of the Category Perfecto / Perfect in Spanish and English: A Didactic Perspective https://ojs.tnkul.pl/index.php/rh/article/view/12850 <p>The purpose of the present article is to describe the temporal and aspectual characteristics of the category <em>perfecto</em> / <em>perfect</em> in Spanish and English from a didactic perspective. A contrastive study will be presented, which will compare the verbal forms of Spanish <em>pretérito perfecto compuesto</em> tense with verbal forms of English <em>present perfect</em> tense. The present article is motivated by the need to reflect on the didactic use of the comparative study for Polish students learning Spanish as a foreign language, for whom the only reference point may be English, given that there is no temporal opposition in Polish such as <em>pretérito perfecto compuesto</em> / <em>pretérito perfecto simple</em>.</p> Tomasz Niestorowicz Copyright (c) 2020 Roczniki Humanistyczne https://creativecommons.org/licenses/by-nc-nd/4.0 https://ojs.tnkul.pl/index.php/rh/article/view/12850 Wed, 12 Aug 2020 12:57:07 +0000