With Witkacy through Croatia in five images

The article concerns the reconstruction of the “Croatian intertext” of the renowned Polish playwright, novelist, painter, philosopher and photographer Stanisław Ignacy Witkiewicz, better known under the pseudonym Witkacy, while focusing on the five images in which an imago of various dimensions of his presence is being displayed. Witkacy appears in each one of these as a person - as a young emerging artist, an engaged artist - playwright and inventor of the so-called theory of the Pure Form, an object of the theatrical reception, and, finally, an artist indicating a wider content pertaining to our culture and civilization. Each of these images is marked by its own native context, but considered in their presupposed wholeness they can lay a framework for a wholistic reception of Witkiewicz in Croatia

With Witkacy through Croatia in five images

The article concerns the reconstruction of the “Croatian intertext” of the renowned Polish playwright, novelist, painter, philosopher and photographer Stanisław Ignacy Witkiewicz, better known under the pseudonym Witkacy, while focusing on the five images in which an imago of various dimensions of his presence is being displayed. Witkacy appears in each one of these as a person - as a young emerging artist, an engaged artist - playwright and inventor of the so-called theory of the Pure Form, an object of the theatrical reception, and, finally, an artist indicating a wider content pertaining to our culture and civilization. Each of these images is marked by its own native context, but considered in their presupposed wholeness they can lay a framework for a wholistic reception of Witkiewicz in Croatia

Bruno Schulz's status in Croatian literary consciousness

The text attempts to reconstruct the history of Bruno Schulz’s reception in Croatia from the appearance of the first translation of his works in Serbian in the early 1960s; to the analyses of Schulz’s creative opus in the contexts of Polish studies, comparative studies and problem-based criticism (Malić, Mifka), respectively; to the history of Schulz’s appropriation as a “patron” of the literary generation of Borges-influenced writers in the 1970s; to, finally, his status among some of the members of the new generation of Croatian writers in the late 20th and early 21st centuries (S. Andrić, R. Jarak). The latter are known to have have appropriated his work through Danilo Kiš’s mediating influence understanding Schulz as a hallmark of a reconstructed central European literary discourse, namely, an autobiographical discourse seen as “maturation for reaching childhood”. In that way Schulz’s search for lost times becomes an indication of a painful response to the censorship of memory