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Ariergarda Awangardy Refleksje Na Okoliczność Stuletniej Rocznicy Między­Wojnia

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Ariergarda Awangardy Refleksje Na Okoliczność Stuletniej Rocznicy Między­Wojnia POZNAŃSKIE TOWARZYSTWO PRZYJACIÓŁ NAUK UNIWERSYTET IM. ADAMA MICKIEWICZA W POZNANIU Poznańskie Studia Slawistyczne nr 18/2020 Ariergarda awangardy Refleksje na okoliczność stuletniej rocznicy między wojnia Poznań 2020 Poznańskie Studia Slawistyczne (półrocznik) nr 18/2020 Rada Naukowa Tatjana Bečanović (Nikšić, Montenegro), Reinhard Ibler (Giessen, Germany), Katica Ivanković (Zagreb, Croatia), Sanjin Kodrić (Sarajevo, Bosna and Herzegovina), Zvonko Kovač (Zagreb, Croatia), Georges Mink (Paris, France / Warsaw, Poland), Izabela Lis-Wielgosz (Poznań, Poland), Cvijeta Pavlović (Zagreb, Croatia), Tanja Popović (Belgrade, Serbia), Kleo Protohristova (Plovdiv, Bulgaria), Andrej N. Sobolev (St. Petersburg, Russia / Marburg, Germany), Lidija Stojanovik’ (Skopje, Macedonia), Zheng Tiwu (Shanghai, China), Bogusław Zieliński (Poznań, Poland) Kolegium redakcyjne Magdalena Baer (administrator baz danych), Urszula Kowalska-Nadolna (sekretarz redakcji), Marzanna Kuczyńska (zastępca redaktor naczelnej), Krystyna Pieniążek-Marković (redaktor naczelna) Redakcja tematyczna Anna Maria Skibska, Krystyna Pieniążek-Marković Redakcja językowa Maya Ivanova (język bułgarski), Karen Kuhn (język angielski), Ninoslav Radaković (język chorwacki), Ana Samardžić (język serbski), Anna Maria Skibska (język angielski), Anastasiia Yaremchuk (język ukraiński) Korekta Marta Andrzejak Projekt okładki Dragan Marković Wydawca Uniwersytet im. Adama Mickiewicza w Poznaniu Poznańskie Towarzystwo Przyjaciół Nauk Adres ul. Fredry 10, 61-701 Poznań e-mail: [email protected] pressto.amu.edu.pl/index.php/pss/ Osoba do kontaktu Urszula Kowalska-Nadolna Skład Trevo – Martins Publikacja dofinansowana ze środków Wydziału Filologii Polskiej i Klasycznej UAM oraz programu Wsparcie dla czasopism naukowych © Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk 2020 © Uniwersytet im. Adama Mickiewicza w Poznaniu 2020 ISSN 2084-3011 e-ISSN 2450-2731 Pamięci Profesor Tanji Popović POZNAŃSKIE STUDIA SLAWISTYCZNE PSS NR 18/2020 ISSN 2084-3011 Spis treści Ariergarda awangardy (słowo od redakcji) ................................ 9 The Rearguard of the Avant-garde (Editor’s Note) ......................... 15 ARIERGARDA AWANGARDY Magdalena Bogusławska Wędrująca idea awangardy. Centrum Dekontaminacji Kulturowej i serb- ska struktura oporu ................................................ 23 Zoja Bojić The Slav Avant-garde in Australian Art .............................. 37 Zrinka Božić Blanuša Decentred Geographies: Poetics and Politics of the Avant-garde ....... 49 Nicoletta Cabassi Futurist Suggestions in the War Poems by Josip (Sibe) Miličić .......... 67 Barbara Czapik-Lityńska Transgresje. Przenikania. Synchroniczność. Uwagi o wyobraźni chorwac- kiej i serbskiej awangardy literackiej ................................. 83 Anna Gawarecka Flâneur nadrzeczywistości. Vítězslava Nezvala surrealne wędrówki po Pradze ............................................................ 103 Анна Горнятко-Шумилович Із метою „підшукування нових динамічних форм вислову”. „Дванадцятка” як авангардне явище в українській літературі ...... 125 Sylwia Nowak-Bajcar Iskustvo Beograda Augustina Tina Ujevića ........................... 145 Branislav Oblučar Avangarda poslije avangarde u hrvatskoj poeziji ...................... 159 Krystyna Pieniążek-Marković Augusta Cesarca (nie)realistyczny portret przygłuchej Tonki ............ 175 Ярослав Поліщук Маска „одеського бомонду”: поезія Бориса Нечерди ................ 195 6 Spis treści Галя Симеонова-Конах Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век .............................. 209 ESEJ Irvin Lukežić O talijanskom futurizmu u Rijeci 1919. godine ........................ 225 WOKÓŁ TEMATU Joanna Goszczyńska „Nic tylko wstręt” – Ladislava Klímy koneksje z gotycyzmem ........... 237 POZA TEMATEM Mirosława Hordy Język ciała we frazeologii polskiej i rosyjskiej ......................... 253 ARTYKUŁY RECENZYJNE Eлена Дараданова Полското междувоенно двадесетилетие в огледалото на колективната рецепция ........................................... 275 Zdzisław Darasz Plakat polityczny w chorwackiej ikonosferze ......................... 283 Izabela Lis-Wielgosz Święte i doczesne… ciało, czyli o somatycznym wymiarze narracji ...... 291 Daria Nowicka Awangarda panoramicznie .......................................... 305 VARIA Marina Protrka Štimec Književnost i revolucija kao nasljeđe avangarde. Tribina na Filozofskom fakultetu u Zagrebu ................................................ 321 Notes on the Authors ................................................... 329 POZNAŃSKIE STUDIA SLAWISTYCZNE PSS NR 18/2020 ISSN 2084-3011 Contents The Rearguard of the Avant-garde (Editor’s Note) [Pl] ..................... 9 The Rearguard of the Avant-garde (Editor’s Note) [Eng].................... 15 A REARGUARD OF THE AVANT-GARDE Magdalena Bogusławska Wandering Idea of the Avant-garde. Centre of Cultural Decontamination and Serbian Resistance Culture ..................................... 23 Zoja Bojić The Slav Avant-garde in Australian Art .............................. 37 Zrinka Božić Blanuša Decentred Geographies: Poetics and Politics of the Avant-garde ....... 49 Nicoletta Cabassi Futurist Suggestions in the War Poems by Josip (Sibe) Miličić .......... 67 Barbara Czapik-Lityńska Transgressions. Penetrations. Synchronicity. Comments on the Imagina- tion in the Croatian and Serbian Literary Avant-garde ................. 83 Anna Gawarecka Flâneur of the Surreality. Vítězslav Nezval’s Surreal Walks around Prague ............................................................ 103 Anna Horniatko-Szumiłowicz ‟In Search of New Dynamic Forms of Speech”. “The Twelve” as an Avant-garde Phenomenon of 1930s Ukrainian Literature ............... 125 Sylwia Nowak-Bajcar Augustin Tin Ujević’s Experience of the Belgrade ..................... 145 Branislav Oblučar Avant-garde After the Avant-garde in Croatian Poetry ................. 159 Krystyna Pieniążek-Marković A (Non)realistic Portrait of the Half-deaf Tonka by August Cesarec ..... 175 Yaroslav Polishchuk The Mask of the ‟Odessa Beaumond”: Poetry of Borys Necherda ...... 195 8 Contents Galia Simeonova-Konach On the Question of the „Native Art” (Rodno Izkustvo) Style in the Aspect of Bulgarian Avant-garde in the 1920s ............................... 209 ESSAY Irvin Lukežić About Italian Futurism in Rijeka on 1919 ............................. 225 AROUND THE SUBJECT Joanna Goszczyńska „Nothing but Disgust” – Ladislav Klima’s Connections with Gothicism .. 237 OFF-TOPIC Mirosława Hordy Body Language in Polish and Russian Phraseology ................... 253 REVIEWS Elena Daradanova The Polish Interwar Period in the Mirror of Collective Reception ....... 275 Zdzisław Darasz Political Poster in the Croatian Iconosphere .......................... 283 Izabela Lis-Wielgosz Holy and Worldly... Body, Somatic Dimension of Narration ............. 291 Daria Nowicka Avant-garde in Panoramic View ..................................... 305 VARIA Marina Protrka Štimec Literature and Revolution as an Avant-garde Heritage. Round Table on the Faculty of Humanities and Social Sciences in Zagreb ............... 321 Notes on the Authors ................................................... 329 POZNAŃSKIE STUDIA SLAWISTYCZNE PSS NR 18/2020 ISSN 2084-3011 Ariergarda awangardy (słowo od redakcji) Ćwierć wieku temu, pisząc swoją pierwszą pracę poświęconą awan- gardzie, rozpoczęłam od zdania: „Pojęcie awangarda jest nierozerwalnie związane z postawami artystycznymi dwudziestego wieku”. Nie wyobra- żałam sobie, by jej żywotność mogła naznaczyć również XXI wiek, wy- dawało mi się wówczas, że awangarda definitywnie „zeszła ze sceny”. W takiej ocenie utwierdzały mnie m.in. konstatacje Dubravki Oraić Tolić (1990), która kres awangardowej kultury wyznaczyła na 1968 rok. Chor- wacka znawczyni omawianej formacji wyróżniła trzy jej fazy: artystycz- ną, polityczną i filozoficzną. W jej ocenie faza artystyczna przypada na lata 1910–1935, w centrum kultury znajdowała się wówczas sztuka, w niej zaś na czoło wysuwało się malarstwo mające istotny wpływ na literaturę, w ramach literatury zaś główna rola przypadła poezji. Lata 1935–1955 wy- znaczały polityczną fazę awangardowej kultury. Centralny kontestacyjny model awangardy przemieścił się z estetyki destrukcji do destrukcyjnej polityki. W tym czasie, w ocenie badaczki, niemal zamarła awangardowa twórczość literacka, a jej dominującym gatunkiem stała się powieść. Trze- cia, ostatnia faza awangardowej kultury, filozoficzna, trwała od początku lat pięćdziesiątych do 1968 roku, kiedy nastąpił kres awangardowego stylu artystycznego. W tym okresie, pisze Oraić Tolić, nie istnieje już „formacja stylistyczna” (Flaker), a „jedynie wyizolowane awangardowe tendencje, które mieszają się z postulatami współczesnej massmedialnej kultury, wie- dzy przyrodniczej i technologii”. W wydzielonych fazach kolejno następo- wały: estetyzacja, upolitycznienie i ufilozoficznienie kultury. Z tego samego okresu, co moje pierwsze badawcze spotkania z awan- gardą, pochodzi glosa Zygmunta Baumana Ponowoczesność, czyli o nie- możliwości awangardy (1994), w której filozof przekonuje, że w przestrzen- nie i czasowo nieuporządkowanym ponowoczesnym świecie nie ma sensu mówić o awangardzie, gdyż jej działania sytuowane są wobec konkretnego 10 Ariergarda awangardy porządku, tymczasem w ponowoczesności nie wiadomo „gdzie przód, a gdzie tył, a więc nie wiadomo, co «postępowe», a co «wsteczne»” (Bau- man). Z dzisiejszej perspektywy
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