RESISTANCE AND RE-CREATION IN BRUNO SCHULZ’S. “TRAKTAT O MANEKINACH”. Bruno Schulz, born in the sleepy Eastern European town of. W Traktacie o manekinach, cyklu opowiadañ14 swiatlo niemal oraz z trzech kolejnych czçáci stanowiacych wlasciwy Traktat o manekinach, tzn. Rzeczywistosc zdegra- dowanа (Rzecz o Brunonie Schuhu). w: B. SCHULZ. Pałuby in Bruno Schulz’s Workshop DAVID A. GOLDFARB Barnard College, The word, pałuba, figures prominently in Schulz’s Traktat o manekinach.

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This is a fetish. Nelson, Fromm, New York,pp.

The wax figure with its uncanny physical realism utterly fails to tell the story. Irzykowski was not otherwise known for fiction, though he was a prolific critic and one of the first European critics to write about cinema in a serious way. Log In Sign Up. Irzykowski buries plot beneath piles of metafiction and interventions of the authorial voice.

Imprisoned in each figure is a substrate of mythic narrative – like the lost tale of the golem or the forgotten story of Queen Draga – which is reality for Schulz, as we would recognize from the frequently quoted passage in his essay, The Mythicization of Reality: Schulz again recovers lost meaning by bringing these words into proximity in a single sentence.


Mythopoetic Traditions and Inserted Treatises: Bruno Schulz and Danilo Kiš

As the father articulates his theory of matter and form, he states, The Demiurge, that great master and artist, made [matter] invisible, made it disappear under the play of life. Remember me on this computer. Like many fairy tales it ends darkly.

The authorial persona in the text asserts that it was chosen for its symbolic value, which he only begins to explicate toward the end of the text9. Skip to main content. NewReadings, New meanings, May While his novel is virtually unknown outside of Poland, it was the break with historical and psychological realism that would free writers like Witkacy, Witold Gombrowicz and Schulz to invent new forms of prose fiction.

Pałuby in Bruno Schulz’s Workshop | David Goldfarb –

They are cast from underlying stories. Schulz, Les Boutiques de Cannelle, tr. Witkacy argued that poetry, painting, and drama were capable of Pure Form, while prose in general could at best only represent the experience of the individual in the face of Pure Form – the exception being the prose of Bruno Schulz, which possessed this quality of poetry for Witkacy.

She is not alone in this difficulty. A fetish is originally a doll or object that carries spiritual power not inherent in the material of the object itself. Irzykowski is pointedly unclear about the meaning of his title.

Freud, writing in the context of modernist primitivism, borrows from this underlying primitivistic analogy in his analysis of psychological sexual fetishism. Schulz, The complete fiction of Bruno Schulz, tr.


This he did not know how to interpret, even trakta what he had read about women Help Center Find new research papers in: Irzykowski writes That which is unlike anything else, should take a name which is unlike mmanekinach else, wild and strange, uncombed maenkinach unpleasant – uncomfortable to use, and therefore unlikely to become a worn coin Click here to sign up.

The most fundamental function of the spirit is inventing fables, creating tales Lalka exemplifies mnaekinach the characteristics of the genre – a wealthy merchant of the rising middle class in love with a young lady of the declining aristocracy, rich descriptions of material reality, lengthy internal monologues, the background of world politics, the tension between the country and the city, the margins of Europe and the center i.

We can see how both approaches are valid methods of artistic expression. He wants a word that is unsettling in its own language, let alone in translation. Poetry happens when short-circuits of sense occur between words, a sudden regeneration of the primeval myths