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Abstract

Stefan Grabiński, a famous Polish author of weird fiction, who is known especially for his collection of short stories Demon ruchu (The Motion Demon, 1919), lived and worked in a period marked by a new artistic style – expressionism. Although Grabiński came from Lviv, often regarded as a province in Poland after the Great War, he could have a contact with the latest ideas concerning art and philosophy. Indeed, both in his short stories and in his novels may be found some traits typical for the expressionist poetics as, for example, a subjective perspective, a color sensitivity or a tendency to violent and dynamic use of formal elements. Grabiński was fascinated by a German literature – he read Gustav Meyrink, E.T.A. Hoffmann and an expressionist magazine “Der Orchideengarten”. Moreover, he liked going to the cinema where he could watch, for example, a famous German expressionist film – The Cabinet of Dr. Caligari. The only text by Grabiński which was adapted into film in his life was a short story Kochanka Szamoty (Szamota’s Mistress, 1922). Although this seemed to be a great material for an expressionist film, the director – Leon Trystan – decided to realize it in an impressionist poetics.

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Authors and Affiliations

Joanna Majewska
ORCID: ORCID
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Abstract

This article deals with the function of proper names in Olga Tokarczuk's novel Anna In w grobowcach świata [ Anna In in the Tombs of the World] and the short story collection Opowiadania bizarne [ Bizarre Stories]. In either case we are confronted with a stunning diversity of imaginary worlds described with erudite care and, by implication, a high level of strategic control. While drawing on a vast pool of well attested names from both Western cultural history and non-European mythologies, she also creates apellatives based on attributes highlighted in the storytelling (the stories themselves are often the product of her magical imagination). Invented or real, all proper names in Tokarczuk's narratives are handled in such a way as to display to the full their semantic, pragmatic and aesthetic qualities. Also, it seems, their placement in the text and their effect on the reader's reactions during the process of reading are carefully planned. what this article tries to demonstrate is that in Tokarczuk's art of fiction the creative transformation of proper names, their reinterpretation and contextualization functions as a complement to the imaginary worlds, rooted in bizarre, meta/genre creativity.
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Authors and Affiliations

Artur Rejter
1
ORCID: ORCID

  1. Uniwersytet Śląski w Katowicach

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