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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Like many fairy tales it ends darkly. We can see how both approaches are valid methods of artistic expression. Irzykowski is pointedly unclear about the meaning of his title.

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. The most fundamental function of the spirit is inventing fables, creating tales NewReadings, New meanings, May Enter the email address you signed up with and we’ll email you a reset link. Log In Sign Up.

Mythopoetic Traditions and Inserted Treatises: Bruno Schulz and Danilo Kiš

Poetry happens when short-circuits of sense occur between words, a sudden regeneration of the primeval myths A traktwt is originally a doll or object that carries spiritual power not inherent in the material of the object itself. Schulz, The complete fiction of Bruno Schulz, tr.


Nelson, Fromm, New York,pp.

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Freud, writing in the context of modernist primitivism, borrows from this underlying primitivistic analogy in his analysis of psychological sexual fetishism. The wax figure with its uncanny physical realism utterly fails to tell the story. 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: 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.

He wants a word that is unsettling in its own language, let alone in translation. 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.

Pałuby in Bruno Schulz’s Workshop | David Goldfarb –

Irzykowski buries plot beneath piles of metafiction and interventions of the authorial voice. This is a fetish. Schulz again recovers traktst meaning by bringing these words into proximity in a single sentence. Witkacy argued that poetry, echulz, 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.


Lalka exemplifies all the characteristics of the genre – a wealthy merchant of the rising middle class in love with a young lady rtaktat the declining aristocracy, rich descriptions of material reality, lengthy internal monologues, the background of world politics, the tension between the country and the city, manekinzch margins of Europe and the center i. This he did not know how to interpret, even with what he had read about women Schulz, Les Boutiques de Cannelle, tr.

Irzykowski writes That which is unlike anything else, should take a name which is unlike anything else, wild and strange, uncombed and unpleasant – uncomfortable to use, and therefore unlikely to become a worn coin They are cast from underlying stories.

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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 mane,inach of prose fiction.