Results 61 to 70 of about 201 (115)
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Russian Literature, 2007
Abstract Gombrowicz's oeuvre is routinely described by referring it to the grotesque. It seems that in the case of Gombrowicz the grotesque is connected with dismemberment and decomposition. The motive of this artistic device must be sought in the author's entanglement in the horrors of twentieth-century history and his artistic preoccupation with ...
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Abstract Gombrowicz's oeuvre is routinely described by referring it to the grotesque. It seems that in the case of Gombrowicz the grotesque is connected with dismemberment and decomposition. The motive of this artistic device must be sought in the author's entanglement in the horrors of twentieth-century history and his artistic preoccupation with ...
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Was Gombrowicz the First Postsecularist?
The Polish Review, 2015Abstract In this article, based on my recent book Gombrowicza milczenie o Bogu (Gombrowicz’s silence about God),1 I demonstrate the essence of Witold Gombrowicz’s singularity, as well as the paradox of his attitude with regard to religion.
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New Theatre Quarterly, 1994
My introduction to Jan Kott was through his Theatre Notebook 1947–1967, which for me still captures the paradoxes of the man and his work. For all his cosmopolitanism, his work on Shakespeare, and his many years of life in exile, Kott remains very much an embodiment of the vitality of the post-war Polish theatre he helped to establish and later ...
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My introduction to Jan Kott was through his Theatre Notebook 1947–1967, which for me still captures the paradoxes of the man and his work. For all his cosmopolitanism, his work on Shakespeare, and his many years of life in exile, Kott remains very much an embodiment of the vitality of the post-war Polish theatre he helped to establish and later ...
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The Drama Review, 1970
Critics generally have considered Gombrowicz’ plays Ivona, Princess of Burgundia and The Marriage as purely oneiric, incoherent texts whose principal value lies in their grotesqueness and affectivity. Gombrowicz himself interpreted the plays as attempts to present the problem of youth.
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Critics generally have considered Gombrowicz’ plays Ivona, Princess of Burgundia and The Marriage as purely oneiric, incoherent texts whose principal value lies in their grotesqueness and affectivity. Gombrowicz himself interpreted the plays as attempts to present the problem of youth.
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The Polish Review, 2015
AbstractIn the 1960s, Witold Gombrowicz, as renowned an author as he was in Europe, with his works being translated into numerous languages, including Spanish, French, English, and Italian, was still relatively unknown in Francoist Spain. The one who came to play a crucial role in the introduction of his oeuvre to the Catalan and Spanish peninsular ...
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AbstractIn the 1960s, Witold Gombrowicz, as renowned an author as he was in Europe, with his works being translated into numerous languages, including Spanish, French, English, and Italian, was still relatively unknown in Francoist Spain. The one who came to play a crucial role in the introduction of his oeuvre to the Catalan and Spanish peninsular ...
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Gombrowicz : l'énonciation travestie
34-44, 1982Diaz Brigitte. Gombrowicz : l'énonciation travestie. In: 34-44, n°10-11, 1982. Énonciations. pp. 19-34.
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