„Białe plamy w schulzologii” pod redakcją Małgorzaty Kitowskiej-Łysiak
Journal Title: Schulz/Forum - Year 2013, Vol 2, Issue 2
Abstract
In Białe plamy w schulzologii [The Blind Spots of Schulzology], a collection edited by Małgorzata Kitowska-Łysiak (2010), contributors focus on the relationship between Schulz’s fiction and his paintings, the problems of ethnicity and sexuality, and some newly discovered details of the writer’s life. In his discussion of the book, the reviewer stresses the increasing role of psychoanalytic, feminist and ethnicity-centered approaches, as well as the importance of the “iconic turn” for the study Schulz. The collection includes articles by Ewa Kuryluk, Małgorzata Kitowska-Łysiak, Shalom Lindenbaum, Ariko Kato, Jan Gondowicz, and Małgorzata Smorąg-Goldberg.
Authors and Affiliations
Bartosz Dąbrowski
Jak wydawać Brunona Schulza. Próba opisania kanonu edytorskiego
The article aims to present a critical project of publishing the literary and artistic works by Bruno Schulz in a uniform edition. Few readers realize that Schulz’s fiction exists in two editorial versions: the anonymous...
Markownik Tomasza Leca
The artist Tomasz Lec has done one of the most original graphic designs referring to Bruno Schulz. It is a cover of The Regions of Great Heresy and Environs by Jerzy Ficowski, the founding father of Schulz studies. The b...
Ciągłość szyn, ciągłość rynków i ogrodów. Wspólne przestrzenie Romana Jaworskiego, Stefana Grabińskiego i Brunona Schulza
The paper is an intertextual analysis of the selected works of three Polish modernist authors: Roman Jaworski, Stefan Grabiński, and Bruno Schulz. The world of their fiction – all of them in one or another world were rel...
J[…], Juna, Józefina
In the first part of the essay, Tuszyńska introduces Józefina Szelińska, “Juna,” and presents the circumstances of discovering an unknown manuscript of Bruno Schulz – an application for a sick leave that he wrote for his...
Fantasmagorie. Rozważania o filmowej wyobraźni Brunona Schulza
The article is devoted to Schulz’s connections to the cinema, both as a viewer and as a writer. Since we do not know much about his experiences as a moviegoer from his art or letters, the author tries to recreate it on t...