Poznań Slavic Studies https://pressto.amu.edu.pl/index.php/pss <p><strong>ABOUT THE JOURNAL</strong></p> <p>„Poznańskie Studia Slawistyczne” (“Poznań Slavic Studies”) is a six-monthly journal co-published by the Adam Mickiewicz University in Poznań and the Poznań Society of Friends of Learning (previously published by the Wydawnictwo Naukowe UAM Academic Publishing House). The journal was established at the Faculty of Polish and Classical Philology of Adam Mickiewicz University by the Institute of Slavonic Philology, where research is carried out in the area of southern Slavic languages, Slavic Balkans in their non-Slavic context and bohemistics. The first issue was published in 2011. The journal publishes original and previously unpublished works concerning the whole Slavonic culture: its southern, western and eastern varieties. Each issue of the journal is devoted to a different subject matter and run by a different thematic editor. Main themes of each issue aim to answer current challenges of humanities. The journal's leading discipline is literature studies, but monographic issues also embrace linguistics, culture, history, art history, religion or sociology. Therefore, we present intercultural and interdisciplinary research, representing various methodologies and research perspectives. The journal is open to scientific dialogue and polemics. We publish peer-reviewed articles and scientific essays, as well as review articles (which are also addressed to peer-reviewers). The journal is co-created by an international team of experts (the Scientific Council), an international group of authors (usually more than half of the authors are affiliated in foreign centres) and international reviewers (mainly foreign experts). The editorial board consists of researchers from renowned scientific centres in Slavic and non-Slavic countries (Bosnia and Herzegovina, Bulgaria, China, Croatia, Montenegro, Czech Republic, France, Macedonia, Germany, Russia and Serbia). We publish in all Slavic languages as well as in English, German and Italian. The editing of papers in each language is supervised by a separate editor - a native speaker of a given language. Each article is accompanied by an abstract and keywords in English, while latest issues also include a note about the authors. Editing and dissemination of articles published in the journal is done by employees affiliated with the Institute of Slavic Philology of Adam Mickiewicz University (editor-in-chief, deputy editor-in-chief, secretary, database administrator, language editors).</p> <ul class="oczasopismie"> <li class="show"><a href="/index.php/pss/about">ABOUT THE JOURNAL</a></li> <li class="show"><a href="/index.php/pss/issue/current">CURRENT ISSUE</a></li> <li class="show"><a href="/index.php/pss/issue/archive">ARCHIWUM</a></li> </ul> <div class="oczasopismie"><strong>ARCHIVE:</strong> <p>CEEOL, ERIH PLUS, ARIANTA, CEJSH, PKP Index,&nbsp;Google Scholar, WorldCat</p> </div> <div class="oczasopismie"><strong>JOURNAL METRICS: </strong> <p><strong>Ministry of Science and Higher Education: 20</strong></p> <p><strong>ICV 2018 = 89.71 </strong></p> <p><strong>ICV 2019 = 100<br></strong></p> <p><img src="/public/piotr/ikonki/gs_3.png" alt=""></p> </div> <div class="oczasopismie"><strong>DOI: </strong>10.14746/pss</div> <div class="oczasopismie"><strong>ISSN (Print)</strong> 2084-3011&nbsp; <strong>ISSN (Online)</strong> 2450-2731</div> <div class="oczasopismie"><strong>PUBLISHED WORK ARE LICENSED UNDER A CREATIVE COMMONS &nbsp;</strong></div> <div class="oczasopismie"><strong>(2015-10.2020):</strong></div> <div class="oczasopismie"><a href="http://creativecommons.org/licenses/by-nd/4.0/"><img src="/public/piotr/cc/cc_4_by_nd.png" alt="CC_by-nd/4.0" border="0"> </a><strong><a href="https://creativecommons.org/licenses/by-nd/4.0/" rel="license">Attribution-NoDerivatives 4.0 International License</a><a href="http://creativecommons.org/licenses/by-nd/4.0/">.</a></strong></div> <div class="oczasopismie"> <div class="oczasopismie"><strong>(10.2020 -):</strong></div> <div class="oczasopismie"><a href="https://creativecommons.org/licenses/by/4.0/" rel="license"><img style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" alt="Creative Commons License"></a><br><strong><a href="https://creativecommons.org/licenses/by/4.0/" rel="license">&nbsp;Attribution 4.0 International License</a>.</strong></div> </div> Adam Mickiewicz University Poznan en-US Poznań Slavic Studies 2084-3011 <p><strong>Authors</strong></p> <p>The authors of the articles accepted for publication in the journal <em>Poznańskie Studia Slawistyczne </em>are obliged to fill up the <a href="https://pressto.amu.edu.pl/ojs_3/pliki/pss/umowa_EN.doc">contract for providing the journal free licence (along with sub-licence CC) to works</a>. The contract should be also signed by the authors and sent back to the <a href="https://pressto.amu.edu.pl/index.php/pss/about/contact">editorial board of the journal</a>.</p> <p>Under the terms of the contract, the authors of the texts published in the journal <em>Poznańskie Studia Slawistyczne </em>provide the University of Adam Mickiewicz in Poznań with a non-exclusive free licence and allow the aforementioned institution to use the sub-licence Creative Commons &nbsp;<a href="https://creativecommons.org/licenses/by/4.0/" rel="license"> Attribution 4.0 International License (CC BY)</a>.&nbsp; (under 10.2020:&nbsp; <a style="color: #113241;" href="https://creativecommons.org/licenses/by-nd/4.0/">Attribution-NoDerivatives 4.0 International CC BY-ND 4.0)</a>.</p> <div class="oczasopismie"> <div class="oczasopismie">The authors hold the copyright for their texts.</div> </div> <p><strong>Users</strong></p> <p>The Internet users are eligible for using the works published in <em>Poznańskie Studia Slawistyczne </em>from 2015 under the following conditions:</p> <ul> <li class="show">recognition of the authorship: the popularized work must contain information about the author, title, source (references to the original work, DOI) and licence.</li> </ul> <p>The copyright to the texts published before 2015 is reserved.</p> <p><strong>Other</strong></p> <p>The University of Adam Mickiewicz in Poznań holds the right for the entire journal (its segmentation, graphical form, title, cover design, logo, etc.).</p> The Rearguard of the Avant-garde (Editor’s Note) https://pressto.amu.edu.pl/index.php/pss/article/view/22697 Krystyna Pieniążek-Marković Copyright (c) 2020 Krystyna Pieniążek-Marković https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 9 13 The Rearguard of the Avant-garde (Editor’s Note) https://pressto.amu.edu.pl/index.php/pss/article/view/22701 Krystyna Pieniążek-Marković Copyright (c) 2020 Krystyna Pieniążek-Marković https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 15 19 Wandering Idea of the Avant-garde. Centre for Cultural Decontamination and Serbian Resistance Culture https://pressto.amu.edu.pl/index.php/pss/article/view/22702 <p>The article addresses the presence of the avant-garde in the discourse and the practice of social resistance in Serbia at the turn of the 20th and 21st centuries. The focal point of the text is the thesis that nowadays the avant-garde resonates not so much as an artistic formation, but as an ideological complex. The author investigates the manners of contemporary transposition of ideas and avant- garde imagination through the analysis of the activities of the Centre for Cultural Decontamination in Belgrade. Using the examples of two programmes: Modernism, Serbian National Identity in 20th Century and En Garde – Avant-Garde 20/21, the author shows how the local experience of the interwar avant-garde and the neo-avant-garde formed within the movement of ʼ68 protests, creates a specific ideological current, a model of self-organization and a pattern of activities bordering between art and socio-political reality. In the 1990s, in Serbia, it becomes the reference system for artivism (an approach consisting in influencing social and political reality through art), and today still remains an inspiration for independent intellectual and artistic environments and for critical institutions that create an alternative and polemic cultural space to the official policies of the Serbian authorities.</p> Magdalena Bogusławska Copyright (c) 2020 Magdalena Bogusławska https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 23 36 10.14746/pss.2020.18.1 The Slav Avant-garde in Australian Art https://pressto.amu.edu.pl/index.php/pss/article/view/22704 <p>Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.</p> Zoja Bojić Copyright (c) 2020 Zoja Bojić https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 37 48 10.14746/pss.2020.18.2 Decentred Geographies: Poetics and Politics of the Avant-garde https://pressto.amu.edu.pl/index.php/pss/article/view/22708 <p>Thanks to the work of Pascale Casanova, Franco Moretti, David Damrosch and many others, over the past two decades, the concept of world literature has once again become the subject of thorough examination within the field of literary studies, especially in relation to cosmopolitanism and globalization. When it comes to the study of individual national literatures and specific regional contexts, as well as to the definition of comparative literature as a discipline, debates regarding its background, its reach and limitations could not be ignored. World literature thus appears as a heterogenous entity – always manifesting in different contexts in different forms – consistently in dialogical exchange with specificities of a particular literature and culture. Instead of discussing the problematic relation between centre and periphery or criticizing the idea of global literary and cultural canon, the avant-garde as an international and global phenomenon that appears even more radically on the so-called periphery is what is of primary interest to me. Therefore, the purpose of this paper is to demonstrate that avant-garde (in its various forms and radical expressions) simultaneously challenges art as an institution and introduces the idea of a decentred geography of world literature.</p> Zrinka Božić Blanuša Copyright (c) 2020 Zrinka Božić Blanuša https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 49 66 10.14746/pss.2020.18.3 Futurist Suggestions in the War Poems by Josip (Sibe) Miličić https://pressto.amu.edu.pl/index.php/pss/article/view/22709 <p>With the opening of the twentieth century, the beneficial river of the avant-gardes seemed to flood the entire European continent in a happy contamination of national cultures, giving life to an authentic supranational koine of artists: it was sometimes fusion of forms, styles, environments, cultures, a salutary effort to rejuvenate languages. The particular attention of the Italian Futurists to the new national realities was among the factors of particular attraction to the movement for South Slavs whose representative was Josip (Sibe) Miličić, who called for cultural and political renewal of his country. His direct encounter with Marinetti and Boccioni seems to leave its mark on his poetry both structurally and thematically: in the collection from 1914, Miličić reveals a new sensibility and a new rhythm: in one of his war lyrics, the futurist suggestions materialize in his first onomatopoeic attempt, suitable to undermine the lyricism of the verse by intensifying the link between the phonic aspect and the meaning. Despite their common interventionism, the Great War found the Croat and the Italian Futurists on opposite political positions concerning the Dalmatian islands and the Italian expansionism on the Adriatic. The poet’s war experience lead him to a “mature” phase starting in the twenties with his first article-manifesto. At this time he was able to reprocess his own critical identity: affirming his deeply anti-materialist and anti-industrial spiritualism, his standpoints by then had become very distant from Marinetti’s insights.</p> Nicoletta Cabassi Copyright (c) 2020 Nicoletta Cabassi https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 67 82 10.14746/pss.2020.18.4 Transgressions. Penetrations. Synchronicity. Comments on the Imagination in the Croatian and Serbian Literary Avant-garde https://pressto.amu.edu.pl/index.php/pss/article/view/22710 <p>The article discusses selected problems of the image, imagination and the ideological-aesthetic consciousness of the avant-garde in Croatian and Serbian literatures. Inspired by the ideas of modern Europe and opened to experiment, transgressions and mental function of the artistic language, it created an autonomous world of imagination. Utopian theories of reality evaluated from expressionistic conceptions of penetration of the world if matter and spirit, Earth and universe to surrealistic conceptions of over-reality.</p> Barbara Czapik-Lityńska Copyright (c) 2020 Barbara Czapik-Lityńska https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 83 101 10.14746/pss.2020.18.5 Flâneur of the Surreality. Vítězslav Nezval’s Surreal Walks around Prague https://pressto.amu.edu.pl/index.php/pss/article/view/22711 <p>In the surrealistic period of his literary work Vítězslav Nezval, following the French formula of presenting Paris as an archetypical modern city, published textual passage Pražský chodec (1938) which title is taken from the famous Apollinaire’s story but its narrative schema resembles the Louis Aragon’s Paris Peasant. In opposition to avant-garde ideas of the perfect urbanization projects connected with the technological progress and futurological utopias Nezval tries to show Prague (more mysterious and surreal in his eyes than the capital of France) as a space of living literary tradition, full of lieux de mémoire and traces of long past events. Walking around urban streets, alleys or bridges often regarded as the typical surrealistic activity, becomes here an instrument of evoking these memories and it is also treated as a metaphor of poetic creation.</p> Anna Gawarecka Copyright (c) 2020 Anna Gawarecka https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 103 123 10.14746/pss.2020.18.6 ‟In Search of New Dynamic Forms of Speech” “The Twelve” as an Avant-garde Phenomenon of 1930s Ukrainian Literature https://pressto.amu.edu.pl/index.php/pss/article/view/22712 <p>“The Twelve” was the name of a group of Ukrainian littérateurs, active during the period of 1934 to 1939 in Lviv. The phenomenon of “Lviv’s youngest literary bohemians of the 1930s” (W. Gabor) was discovered relatively recently, which explains why despite a growing interest of researchers it remains obscure and undervalued in Ukrainian literary studies. Worthy of mention is the innovativeness of “The Twelve”, always avant-garde in their search for new forms of speech, both when it comes to urban prose (Anatol Kurdydyk, Zenon Tarnavsky, Bohdan Nyzhankivsky) and the prose about the villages (Vasil Tkachuk) as well as to the bohemianist style that the group exhibited. This paper is therefore an attempt to determine the extent of innovativeness (the avant- -garde solutions in both the functioning and literary legacy) of “The Twelve”.</p> Anna Horniatko-Szumiłowicz Copyright (c) 2020 Anna Horniatko-Szumiłowicz https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 125 144 10.14746/pss.2020.18.7 Augustin Tin Ujević’s Experience of the Belgrade https://pressto.amu.edu.pl/index.php/pss/article/view/22714 <p>The subject of the analysis in this article are the texts of Augustin Tin Ujević created during his stay in Belgrade. The way of experiencing this city by the poet is reflected through the relationship between the subject and the urban space, through the language of the lyrical expression and through poetics. The interpretive key to its reading is the flaneur figure, treated not as a prototype, but as a reference point.</p> Sylwia Nowak-Bajcar Copyright (c) 2020 Sylwia Nowak-Bajcar 2020-04-28 2020-04-28 18 145 157 10.14746/pss.2020.18.8 Avant-garde After the Avant-garde in Croatian Poetry https://pressto.amu.edu.pl/index.php/pss/article/view/22715 <p>The article discusses the problem of the avant-garde in Croatian poetry during the second half of 20th century. It supports the thesis about the continuity of the avant-garde before and after World War II, and perceives the artistic and literary experiments of the neo and post-avant-garde as a part of a long avant-garde tradition. The analysis brings forward the different perceptions of avant-garde in the works of Radovan Ivšić and Josip Sever, and post-avant-garde poets of 1970s and 80s.</p> Branislav Oblučar Copyright (c) 2020 Branislav Oblučar https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 159 173 10.14746/pss.2020.18.9 A [Non]realistic Portrait of the Half-deaf Tonka by August Cesarec https://pressto.amu.edu.pl/index.php/pss/article/view/22716 <p>In the centre of the article’s interest, there are the expressionist ideas present in the work by Croatian writer from the inter-war period (1893–1941). The mini-novel/novella in question entitled Tonkina jedina ljubav (1931) is considered the work belonging to the epoch of the new/social realism which dominated in the 1930s, however, the author, as is shown on the basis of the article’s research, did not managed to free himself from influence of expressionism that shaped the most Croatian consciousness as for the avant-garde historical time (1910–1930). Focusing attention on a disabled woman along with her small-town environment of Zagreb before the World War I, the author draws her exaggerated, cartoonish portrait which has little to do with the realistic and mimetic reflection of reality. The work is a kind of aesthetic and ethical provocation, and serves as unmasking the idyllic image of Zagreb which turns out to be a city inhabited by intolerant and narrow-minded society convinced, however, of its civilisation superiority. The titular character is a victim of this society, and at the same time she remains its part. The aesthetic and ethical provocation concerns the disabled woman together with „inefficient” society living in the terrifying city.</p> Krystyna Pieniążek-Marković Copyright (c) 2020 Krystyna Pieniążek-Marković https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 173 193 10.14746/pss.2020.18.10 The Mask of the ‟Odessa Beaumond”: Poetry of Borys Necherda https://pressto.amu.edu.pl/index.php/pss/article/view/22718 <p>There are analysed in the article writings of the Ukrainian poet Borys Necherda (1939-1998). He was the original writer of the generation of 1960th and made brave experiments with the artistic word. Necherda as an author balanced between the official literature and the literature of the underground. There are a lot of unconventional features in his poems such as colloquial vocabulary, elements of slang, journalism, mixing of discourses and various means of rhetoric. That was a reason that Necherda’s writings were not appreciated during his life. Only nowadays after the poet’s death we have the possibility to re-read it from new points of view. This writings evidence a process of vanguard experimenting. In an original way they present a local peculiarity of a place: the poet become the voice of the „Odessa beaumond”, choosing masks for his lyrical subject.</p> Yaroslav, Polishchuk Copyright (c) 2020 Yaroslav Polishchuk https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 195 208 10.14746/pss.2020.18.11 On the Guestion of the “Native Art” [Rodno izkustvo] Style in the Aspect of Bulgarian Avant-garde in the 1920s https://pressto.amu.edu.pl/index.php/pss/article/view/22719 <p>The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgarian expressionism along with its artistic forms of rhythm and motion had a special significance. The analysis focuses on the theoretical writings by the most important representatives of Bulgarian avant-garde, namely, Čavdar Mutafov, Geo Milev, Nikolai Rainov, Sirak Skitnik and others whose attitude towards the problems of the style highlighted the process of it arising from individual acts to artistic syntheses. In the article, there are also references to the works of the contemporary art historian Dimitâr Avramov. The interdisciplinary research perspective of the article allows the author to indicate the distinctive properties of the avant-garde style of the Native Art, but also to illuminate the intellectual turn in Bulgarian art at the beginning of the 20th century.</p> Galia Simeonova-Konach Copyright (c) 2020 Galia Simeonova-Konach https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 209 222 10.14746/pss.2020.18.12 About Italian Futurism in Rijeka on 1919 https://pressto.amu.edu.pl/index.php/pss/article/view/22720 <p>The article discusses the short-lived emergence of Italian futurism in Rijeka, just after the end of World War I, in the context of the political adventure of Gabrielle DʼAnnunzio, who, with the help of his supporters, an ardite, tried to annex the city to the Kingdom of Italy. At that moment, the avant-garde spirit of Italian futurism could manifest itself here in all its main features: activism, antagonism, nizilism and agonism. In addition to the founder of Italian futurism, Filippo Tommas Marinetti, Mario Carli, Guido Keller and Giovanni Comisso stayed and worked in Rijeka during 1919. The article seeks to describe their actions on the basis of newspaper reports in the Rijeka daily La Vedetta dʼItalia.</p> Irvin Lukežić Copyright (c) 2020 Irvin Lukežić https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 225 233 10.14746/pss.2020.18.13 “Nothing but Disgust” – Ladislav Klíma’s Connections with Gothicism https://pressto.amu.edu.pl/index.php/pss/article/view/22721 <p>Few interpretations of the work of Ladislav Klíma, by both Polish and Czech researchers, most often emphasize the philosophical aspect of his writing. They point to the connections of his work with the philosophy of Schopenhauer, Nietzsche, Berkeley. The article suggests taking a different lead related to connections with the Gothic Convention and the aesthetics of shock and disgust inscribed in it. The author used this convention, among others, to formulate his philosophy of Will. The article focuses on the mini-novel The Suffering of Prince Sternenhoch. The process of interpretation was facilitated by the use of findings of Jindřich Chalupecký, whereas the theories of Julia Kristeva proved useful in the methodological aspect.</p> Joanna Goszczyńska Copyright (c) 2020 Joanna Goszczyńska https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 237 250 10.14746/pss.2020.18.14 Body Language in Polish and Russian Phraseology https://pressto.amu.edu.pl/index.php/pss/article/view/22722 <p>The article addresses the issue of a body language as a semiotic code and its reflection in systems of natural languages, in their phraseological resources. The material for analysis is phraseological units of contemporary Polish and Russian languages. The basis for comparison is the phraseological concept by Weronika N. Telia (В.Н. Телия) and linguistic works by Grigorij E. Krejdlin (Г.Е. Крейдлин). First and foremost, three types of signs of the body language are verbalised in subsystems under analysis: bodily symptoms, symptomatic and communicative gestures and a body position.</p> Mirosława Hordy Copyright (c) 2020 Mirosława Hordy https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 253 271 10.14746/pss.2020.18.15 The Polish Interwar Period in the Mirror of Collective Reception https://pressto.amu.edu.pl/index.php/pss/article/view/22723 <p>The subject of this review is the reception of Polish interwar literature in Bulgaria, and particularly the anthology Polish Poetry between the Two World Wars (2019), by Panayot Karagyozov and the special issue of Literaturen vestnik (2018), devoted to Polish culture from that period. The focus of the review is on the simultaneous reception of both translated poetry and literarycritical articles.</p> Elena Daradanova Copyright (c) 2020 Elena Daradanova https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 275 281 10.14746/pss.2020.18.16 Political Poster in the Croatian Iconosphere https://pressto.amu.edu.pl/index.php/pss/article/view/22724 <p>The titular problem of Croatian political poster, regarded as an art of margins, is treated by the author, according to the order of chapters, in four main aspects: historical, aesthetic, socio-political, and cultural one. The development of poster art, correlated with national history in 19th and 20th century Croatia, is presented in the chapter “In the vapour of history”. In the next chapters some particular sections of the searching field are described. These sections are as follows: technique of montage of the pictures, modern iconoclastic practices, chaos vs. order, and the place (“From margin to centre”).</p> Zdzisław Darasz Copyright (c) 2020 Zdzisław Darasz https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 283 289 10.14746/pss.2020.18.17 Holy and Worldly... Body, Somatic Dimension of Narration https://pressto.amu.edu.pl/index.php/pss/article/view/22725 <p>The article briefly presents a series of problems discussed in the dissertation entitled Свето и пропадљиво. Тело у српској хагиографској књижевности (Holy and Worldly. Body in Serbian Hagiographic Literature) by Smilja Marjanović-Dušanić. Dedicated to a wide professional and non-professional audience, the book in question is a significant scientific work since it refers not only to the historical, but also to the anthropological and culturological description related to the activity of decoding of such essential socio-cultural category like body. Considered as a highly complex phenomenon, body is a sign generated by the realm of various traditions and discourses which render different cultural modes or primary and secondary contexts; it might be also conceived as a distinctive signature of given time-space, community and cultural system. It will not be an exaggeration to say that the dissertation is an extremely interesting and indeed outstanding study of the subject which impresses with its high cognitive value and research rank. What is more, it offers a serious and objective view of the convoluted and multidimensional cultural phenomenon and identity construct.</p> Izabela Lis-Wielgosz Copyright (c) 2020 Izabela Lis-Wielgosz https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 291 303 10.14746/pss.2020.18.18 Avant-garde in Panoramic View https://pressto.amu.edu.pl/index.php/pss/article/view/22726 <p>The Seeing Avant-garde [Widzenie awangardy] volume edited by Agata Stankowska, Marcin<br>Telicki and Agata Lewandowska is a collection of the articles about the avant-garde update.<br>Written by many researchers, the articles show a wide scale of research on the contemporary<br>avant-garde manifested in literature, art, music, theatre and cybernetics. As an extremely valuable<br>publication, the book in question concentrates on the new and original methods of comparative<br>research, marks new reading directions, and presents contemporary problems of aesthetics.</p> Daria Nowicka Copyright (c) Daria Nowicka https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 305 317 10.14746/pss.2020.18.19 Literature and Revolution as an Avant-garde Heritage. Round Table on the Faculty of Humanities and Social Sciences in Zagreb https://pressto.amu.edu.pl/index.php/pss/article/view/22727 <p>The text summarizes and reviews the round table organized on the 19th September 2019 at the Faculty of Humanities and Social Sciences in Zagreb with the main goal to investigate the methodological and thematic approaches to the avant-garde related to the concept of revolution. The scientists from Zagreb and Belgrade, Tatjana Jukić, Predrag Brebanović, Danijela Lugarić and Branislav Oblučar, presented their contributions to debate around the above-mentioned themes. Literature as well as revolution were examined in the theoretical and historical context of the avant-garde. Public debate showed that these issues have been still sparking vivid interest in the academic, artistic and intellectual world. The round table was organized as part of the project Literary Revolutions established by the Croatian science foundation 2018-017020.</p> Marina Protrka Štimec Copyright (c) 2020 Marina Protrka Štimec https://creativecommons.org/licenses/by-nd/4.0 2020-04-28 2020-04-28 18 321 326 10.14746/pss.2020.18.20