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Journal articles on the topic 'Schulz'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Rosiek, Stanisław. "Bio/biblio-graficznie." Schulz/Forum, no. 15 (September 24, 2020): 174–86. http://dx.doi.org/10.26881/sf.2020.15.09.

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The easiest option would be to ask the author of The Cinnamon Shops whether it was him who many years ago wrote in German and published in the Montenegro periodical Cetinjer Zeitung two stories: “Du bist Staub” and “Pfennig mit dem Auge.” Had he said “yes,” these two unusual narratives would be included in the oeuvre of Bruno Schulz. His literary identity would have been upheld (enhanced) and confirmed. But what is the literary identity? We know full well that the foundation of an individual identity is memory which selects and integrates the particles of a particular existence. There is no identity without memory. This, however, does not apply to the literary identity, deprived of that natural basis of each identity, both individual and collective. Its foundation is congruence, i.e. the coherence, harmony, and appropriateness of its components. Trouble begins when all of a sudden we come across a text signed with a name that already exists in the literary space, and this is exactly what happened when after one hundred years two German language stories from the Cetinjer Zeitung have been retrieved. An automatic inclusion of the stories in the literary identity signed “Bruno Schulz” seems risky for many reasons. First of all, because some stranger may invade the space occupied by the son of a Drogobych cloth merchant, the actual author of The Cinnamon Shops. Let us then defend the Schulz of Drogobych from the Schulzes who come from different parts of the world, and they are many. In the first three decades of the 20th century those were, e.g., Karl Richard Bruno Schulz (1865-1932, professor of architecture), Bruno Claus Heinrich Schulz (1888-1944, oceanographer), Bruno Schulz (engineer, fleet officer), Bruno Schulz (1890-1958, psychiatrist, genetician), Bruno Kurt Schultz (1901-1997, anthropologist, in the Third Reich an SS “race” expert), and Bruno Schultz (1894-1987, economist).

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2

Schulz, Dagmar. "»Was sind die Alternativen?«." Pädagogik, no. 6 (June 4, 2019): 31–32. http://dx.doi.org/10.3262/paed1906031.

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Ein Wechsel der Perspektive zeigt: Nicht nur die Quer- und Seiteneinsteigenden haben Bedürfnisse und viel Arbeit, sondern auch die Kolleginnen und Kollegen an der Schule müssen mit den Neuen zurechtkommen und sie ins Team integrieren. Im Interview mit Dagmar Schulz, der Leiterin einer sächsischen Oberschule, wird klar, dass diese Situation durchaus frischen Wind in die Schule bringen kann.

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3

Hoppe, Balbina. "Schulz niesceniczny?" Schulz/Forum, no. 13 (October 28, 2019): 102–8. http://dx.doi.org/10.26881/sf.2019.13.07.

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Many theater reviewers consider Cinnamon Shops and the Sanatorium under the Sign of the Hourglass to be unspecific, impossible to translate into the language of the theater. Paradoxically, Schulz's theater reception is still growing, new performances, happenings and performances are created. The question arises whether today, in the era of post-dramatic theater, there is still a category such as “indecency” or should literary works be divided into those that can be shown in the theater and those that are not suitable for it. The article confronts the embarrassing concept of “indecency” on the example of Bruno Schulz's prose. It juxtaposes the harmful voices of critics with the rich theatrical reception of his work. It is an attempt to cleanse Schulz's work of accusations of indecency as a category now obsolete, anachronistic.

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4

Rabe, Hanns. "Hugo Schulz." Allgemeine Homöopathische Zeitung 198, no. 05/06 (April 14, 2007): 126–38. http://dx.doi.org/10.1055/s-2006-934618.

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5

Salter, Mark. "Michael Schulz." BMJ 335, no. 7613 (August 2, 2007): 265.5–265. http://dx.doi.org/10.1136/bmj.39280.823970.be.

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6

Draeger, Volkmar. "CLAUS SCHULZ." tanz 15, no. 7 (2024): 8. http://dx.doi.org/10.5771/1869-7720-2024-7-008-1.

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7

Klinger, Michał. "Groza i wyobraźnia." Konteksty. Polska Sztuka Ludowa 340, no. 1-2 (October 25, 2023): 241–46. http://dx.doi.org/10.36744/k.1670.

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W temacie Konferencji – „grozę” wnosi sam Bóg, wyobraźnię - Bruno Schulz. Celem studium jest naszkicowanie procesu hermeneutycznego, jaki powstaje między obecnością Pisma, a formami wyobraźni w dziele Schulza. Przedstawię zderzenie epifanii Synajskiej i niektórych wizji z Schulzowskiego toposu Drohobycza, wraz z komentarzem teologicznym (biblistycznym). Uważam obecność hierofanii w dziele Schulza za oczywistą i istotną, wbrew krytykom odnośnej hermeneutyki Wł. Panasa. Rozdziały Sanatorium pod Klepsydrą w sugestywnej obrazowości „Księgi”, szczególnie dzięki metaforom „degradacji”, budują hermeneutykę proroczo zgodną z samookreśleniami aktywnymi w ramach Pisma. Wskazujemy na analogię z wątkiem Pisma w Mistrzu i Małgorzacie.

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8

Matorina, Natalia. "PROFESSIONAL IDENTIFICATION OF ARTIST- UNIVERSALIST BRUNO SCHULZ." Polish Studies of Kyiv, no. 39 (2023): 252–73. http://dx.doi.org/10.17721/psk.2023.39.252-273.

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The breadth and variety of creative (and not only) interests of the outstanding artist of the Galician borderlands, Bruno Schulz, is impressive, and in each of the areas, sometimes quite distant from each other, the master managed to reach great heights. The binary professional identification of Bruno Schulz as a writer and an artist is customary. Almost all of us know little about Bruno Schulz’s other professional roles, including a literary critic, excellent essayist, and even philosopher, etc., which are organically combined in one personality of the world-famous artist from the Ukrainian town of Drohobych. Obviously, the problem needs working out separately. Therefore, the purpose of the article is to determine the place of Bruno Schulz in professional cartography thanks to ontologization, systematization, and theoretical generalization of the relevant factual information from investigations of the Schulz direction. The article collects and systematizes information about the professional identification of Bruno Schulz, thanks to which the traditional binary identification turns into a multiple one. There exists the original “catalog of professions” of the artist Bruno Schulz, which includes writing, painting, and some other professional positions of Schulz (a graphic artist, epistolographer, painter, illustrator, literary critic, thinker, educator, translator, writer, novelist, publicist, draftsman, literary theorist, teacher, etc.), as well as those which, due to objective circumstances, did not become equal to them (an architect, decorator, journalist, memoirist, scientist, sculptor, etc.), and the so-called figuratively defined professions of the artist (a fiction writer in painting, chronicler, maestro, master of the Polish word, Socrates, artist in literature, organ grinder, etc.). There are two varieties in the catalog: alphabetical and subject-systematic. The author considers it promising to study the problem of Bruno Schulz’s belonging to the cultural and artistic space of this or that state (the place of the artist in the national cartography) both by well-known Schulz scholars, translators, and novice scientists or ordinary admirers of the artist in the Schulz scientific and popular scientific discourse, – problems, which still remains debatable in modern Schulz studies.

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9

Romanowski, Marcin. "Schulz pod ścianą." Schulz/Forum, no. 15 (September 24, 2020): 187–94. http://dx.doi.org/10.26881/sf.2020.15.10.

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The paper is an analysis of a 1958 memorial essay on Bruno Schulz by Hanna Mortkowicz-Olczakowa, focused on its two aspects. One is Schulz’s relationship with the writer Maria Kuncewiczowa, rarely addressed by scholars but important since her novel Cudzoziemka played a significant role in Schulz’s literary criticism. The other is Mortkowicz-Olczakowa’s memorial narration itself and her role in promoting the Drogobych writer’s myth. The memorial essay shows clear ambivalences as regards the myth of Schulz, most likely representing a mourning bias in the postwar reception of his writing.

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10

Calabrese, Edward J. "Remembering Hugo Schulz." Nonlinearity in Biology, Toxicology, Medicine 1, no. 3 (July 1, 2003): 154014203902498. http://dx.doi.org/10.1080/15401420390249899.

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11

Nalewajk, Żaneta. "Witkacy – Schulz – Gombrowicz." Tekstualia 1, no. 2 (January 2, 2014): 3–10. http://dx.doi.org/10.5604/01.3001.0013.5935.

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The article presents the original achievements of three writers: Stanisław Ignacy Witkiewicz, Bruno Schulz and Witold Gombrowicz. The text indicates the sources of their inspiration, and describes their reception, and formal experiments. Confrontation of these three types of oeuvre is based on the belief that the legacy of these authors is not merely a part of Polish and European Modernism, but substantially enriches all literature of that time. The article situates the literary achievements of the three Modernist writers in the context of the Modernism and the artistic endeavors of Polish writers in the second half of the nineteenth century.

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12

Shallcross, Bożena. "Bruno Schulz Forum." East European Politics and Societies: and Cultures 11, no. 2 (March 1997): 254–56. http://dx.doi.org/10.1177/0888325497011002002.

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13

Linton, Otha. "Milford D. Schulz." Journal of the American College of Radiology 5, no. 12 (December 2008): 1214. http://dx.doi.org/10.1016/j.jacr.2008.08.002.

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14

Czyżak, Agnieszka. "W „Drohobyczach” – wokół zbioru poetyckiego Serhija Żadana." Narracje o Zagładzie, no. 5 (December 22, 2019): 228–44. http://dx.doi.org/10.31261/noz.2019.05.12.

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Celem artykułu jest analiza kulturowego fenomenu Drohobycza (obecnie terytorium Ukrainy), miasteczka, w którym Bruno Schulz – wielki europejski/żydowski/polski pisarz – żył i umarł podczas drugiej wojny światowej. Pierwsza część zawiera refleksje na temat przedtawień Drohobycza w literaturze (Andrzej Chciuk, Jurij Andruchowycz, Henryk Grynberg). W kolejnej części autorka proponuje interpretację tomu wierszy napisanych w latach 2014–2016 przez ukraińskiego poetę Serhija Żadana, zatutułowanego Drohobycz (w przekładzie Jacka Podsiadło). Wszyscy wyżej wymienieni pisarze traktują Drohobycz jako „miejsce Brunona Schulza", pełne jego śladów i niejako stworzone przez jego prozę.

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Czyżak, Agnieszka. "W „Drohobyczach” – wokół zbioru poetyckiego Serhija Żadana." Narracje o Zagładzie, no. 5 (December 22, 2019): 228–44. http://dx.doi.org/10.31261/noz.7989.

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Celem artykułu jest analiza kulturowego fenomenu Drohobycza (obecnie terytorium Ukrainy), miasteczka, w którym Bruno Schulz – wielki europejski/żydowski/polski pisarz – żył i umarł podczas drugiej wojny światowej. Pierwsza część zawiera refleksje na temat przedtawień Drohobycza w literaturze (Andrzej Chciuk, Jurij Andruchowycz, Henryk Grynberg). W kolejnej części autorka proponuje interpretację tomu wierszy napisanych w latach 2014–2016 przez ukraińskiego poetę Serhija Żadana, zatutułowanego Drohobycz (w przekładzie Jacka Podsiadło). Wszyscy wyżej wymienieni pisarze traktują Drohobycz jako „miejsce Brunona Schulza", pełne jego śladów i niejako stworzone przez jego prozę.

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16

Wittenhagen, Julia. "„Minderheiten bekommen zu häufig Recht“." Lebensmittel Zeitung 73, no. 43 (2021): 75. http://dx.doi.org/10.51202/0947-7527-2021-43-075-1.

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Ben Schulz hat sich früh auf Personal Branding spezialisiert. Mit der Umfirmierung seiner Agentur Werdewelt in Ben Schulz & Partner möchte er noch stärker Unternehmen dabei unterstützen, sich authentisch zu positionieren.

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17

Skiba, Tymoteusz. "Bruno Schulz czyta Conrada v. 2." Schulz/Forum, no. 15 (September 24, 2020): 74–82. http://dx.doi.org/10.26881/sf.2020.15.05.

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The paper refers to a problematic relationship of Bruno Schulz with Joseph Conrad, analyzed for the first time by Bogusław Gryszkiewicz. Gryszkiewicz’s text has become for the author a pretext to ask questions concerning the limits of Schulz studies and the originality of Schulz himself. Passionately trying to find literary parallels, should we be indifferent to what is original, unique, and incomparable? If we take such an attitude to Schulz, he turns out a writer with the imagination of a plagiarist, who only translates texts by other writers into his idiom. This kind of a comparatist interpretation, lost in the maze of literary references and intertextual echoes, is a trap. In such a maze one is unable to recognize Schulz’s depth and his fabulist machinery that made absolutely original events and characters.

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18

Sitkiewicz, Piotr. "Bruno, syn Franciszka." Schulz/Forum, no. 15 (September 24, 2020): 5–25. http://dx.doi.org/10.26881/sf.2020.15.01.

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Already the first reviewers of Bruno Schulz’s exhibitions and stories compared him to Franz Kafka, pointing at clear resemblances of imagination and motifs. Those analogies were later noticed also by literary scholars who either tried to prove that Schulz was inspired by the work of the Prague writer, or – on the contrary – demonstrated that all the correspondences between their literary worlds were accidental or determined by the times. Analyzing the reception of Kafka and Schulz in Poland before World War II, and the arguments used by both parties, the author makes an attempt to establish whether Schulz was indeed Kafka’s follower. It transpires that even though Schulz most likely knew Kafka’s novels and stories already before 1926, and one may find a number of links connecting not only their works, but also biographies, in terms of their idiom and worldviews the two writers were dramatically different. This, however, does not mean that there is no connection between them. On the contrary, the author realizes that it was actually Kafka who encouraged Schulz to write and ultimately made him an artist, so that Schulz’s writing may be considered a kind of response addressed to his literary progenitor. The picture of Schulz as an imitator of Kafka was largely influenced by the first postwar critics of his work, who promoted it abroad and looked for analogies with that of another Jewish writer active at approximately the same time and in the same geographical area. The ultimate step toward a firm belief in the literary affinity of Schulz and Kafka was made by Jerzy Ficowski who, even though he rejected analogies, created Schulz’s legend using the same methods as Max Brod – with similar merits as well as errors.

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19

Lukas, Katarzyna. "Schulzowska „teoria obrazu” w interpretacji Anny Juraschek." Schulz/Forum, no. 15 (September 24, 2020): 231–40. http://dx.doi.org/10.26881/sf.2020.15.14.

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The article is a review of and a discussion with the recent monograph by Anna Juraschek, Die Rettung des Bildes im Wort. Bruno Schulz’ Bild-Idee in seinem prosaischen und bildnerischen Werk, Göttingen 2016. Juraschek has put forward the following thesis: alongside his own specific philosophy of language expressed in his narrative works and essays, Bruno Schulz also suggests a particular philosophy of image/picture, which he develops in his visual art. This “program” is not specified and may be reconstructed only by interpreting his graphic works; it is, however, corroborated by the poetics of Schulz’ stories. Juraschek regards the “word” and the “image” in Schulz as artistic entities, and emphasizes the visual nature of his fiction and the narrative qualities of his graphic works. She points at Schulz’s crossing of the boundaries between different arts and claims that the writer criticizes the very notion of mimesis (a statement that, according to the reviewer, may be questioned). Juraschek tries to reconstruct the main sources inspiring Schulz’s idea of image/picture: the classic European painting, German literature (i.e. Leopold von Sacher-Masoch and Joseph von Eichendorff), as well as German philosophers and cultural critics such as Walter Benjamin. According to the reviewer, there are three points that Juraschek’s study can contribute to Schulz studies. First, the German scholar succeeds in systematizing different kinds of verbo-visual relations and interactions in Schulz’s oeuvre. Second, she fully appreciates his graphic work which thus far seems to have been undervalued, especially by Polish scholars. Last but not least, Juraschek brings to the fore some striking affinities between the ideas of Schulz and those of Walter Benjamin. As a possible background of interpreting Schulz, the philosophical writings of Benjamin are a context which certainly deserves more investigation.

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20

Millati, Piotr. "Czy Bruno Schulz był pisarzem?" Schulz/Forum, no. 15 (September 24, 2020): 44–64. http://dx.doi.org/10.26881/sf.2020.15.03.

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The essay is an analysis of the most important, yet actually quite sporadic artistic adventure of Schulz, which was fiction writing. The question discussed is apparently paradoxical: was Bruno Schulz a writer? The author argues that there is a difference between a writer and a man of letters, i.e. someone who is a professional in the literary field. Schulz never became the latter and this is what makes his biography significantly different from those of the typical literati among whom he had many friends. In comparison to them, Schulz wrote very little, started writing quite late, and the period when he really was a writer lasted only several years. One might say that writing fiction indeed rather happened to him – it was not a permanent disposition of his artistic existence. That had crucial consequences for the form of his writing.

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21

Romanowski, Marcin. "Schulz, duchy i meblościanka." Schulz/Forum, no. 13 (October 28, 2019): 86–101. http://dx.doi.org/10.26881/sf.2019.13.06.

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The paper presents an analysis of the “Schulzoid” novel by Dominika Słowik, Atlas: Döppelganger, which addressed the topic of passing from adolescence to adulthood during the Polish systemic transformation. The author’s starting point is the famous interpretation of Schulz’s fiction by Artur Sandauer in his essay “The Degraded Reality” [Rzeczywistość zdegradowana], based on a claim that Schulz represented in his own way the experience of the decomposition of the known world as a result of the capitalist expansion in the early 20th century. The analysis focuses on the figure of the grandfather and the transformation itself. The former is the central character in the narrator’s mythology of childhood: he keeps telling fascinating stories about life at sea, on the other hand being a fantasist who tries to alleviate his sense of exclusion from the new reality. The systemic transformation has been represented in Słowik’s novel by a series of antinomies as well. The nostalgic and sublime descriptions of the material conditions at the turning point have been combined with the pictures of degradation and trash. Then the novel is placed against the background of the literature of the 1990s, summed up by Olga Drenda’s essay, Duchologia polska. Słowik remembers the material conditions of the period of the systemic transformation and the trashy, though also sentimental, aesthetics of the historical moment when she and other authors of her generation were children. This makes the author of the paper compare their writing with Schulz’s postulate of the return to childhood. Yet in Schulz’s fiction childhood is the source of a private mythology – the images that constitute the writer’s imagination. The writers of the 1990s make a turn toward the reminiscences of childhood to revise critically the myths of the historical turning moment and to articulate their own and their generation’s experience of the transformation.

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22

Künzer, Isabelle. "Raimund Schulz: Die Perserkriege." Das Historisch-Politische Buch 66, no. 1 (June 1, 2018): 56–57. http://dx.doi.org/10.3790/hpb.66.1.56.

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23

Rambhia, KinjalD, Vidya Kharkar, Sunanda Mahajan, and UdayS Khopkar. "Schopf–Schulz–Passarge syndrome." Indian Dermatology Online Journal 9, no. 6 (2018): 448. http://dx.doi.org/10.4103/idoj.idoj_26_18.

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MONK, B. E., S. PIERIS, and V. SONI. "Schopf—Schulz—Passarge syndrome." British Journal of Dermatology 127, no. 1 (July 1992): 33–35. http://dx.doi.org/10.1111/j.1365-2133.1992.tb14822.x.

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25

Schulz, H. J., and B. Sriram Shastry. "Schulz and Shastry Reply:." Physical Review Letters 82, no. 11 (March 15, 1999): 2410. http://dx.doi.org/10.1103/physrevlett.82.2410.

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26

Friedman, David. "Juergen Schulz (1927–2014)." Journal of the Society of Architectural Historians 74, no. 3 (September 1, 2015): 281–84. http://dx.doi.org/10.1525/jsah.2015.74.3.281.

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27

Scherer, Helmut. "Winfried Schulz 65 Jahre." Publizistik 48, no. 3 (September 2003): 341–42. http://dx.doi.org/10.1007/s11616-003-0080-y.

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Schönbach, Klaus. "Winfried Schulz 60 Jahre." Publizistik 43, no. 4 (December 1998): 427–28. http://dx.doi.org/10.1007/bf03654752.

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29

Ziemann, Zofia. "It’s a writer’s book. Anglojęzyczni pisarze czytają Schulza (na potęgę)." Schulz/Forum, no. 11 (December 3, 2018): 153–66. http://dx.doi.org/10.26881/sf.2018.11.14.

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The long awaited publication of Madeline G. Levine’s retranslation of Schulz’s fiction has sparked new interest in the reception of Schulz in English-speaking countries. In Poland, the general view seems to be that the author has not received the attention he deserves. Based largely on a review non-specialized periodicals from 1963–2018, the paper presents a strong and lasting trend in the reception of the English Schulz, namely the admiration of hosts of fellow authors: writers of high-brow and popular fiction, poets and playwrights from the whole anglophone world, form Australia to Canada. Examining their reviews of Schulz’s stories, interviews and articles promoting their own work, and intertextual references to Schulz which some of them employed, the paper adds some a new names to the small handful of Schulz-loving anglophone authors of whom Polish scholars have been aware so far.

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Wapińska, Malwina. "Bruno Schulz – mistrz, inspirator czy literacki ojciec Jerzego Ficowskiego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 11, 2017): 134–44. http://dx.doi.org/10.24917/20811853.16.10.

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Bruno Schulz – master, inspiration or literary father for Jerzy Ficowski This article explores the artistic relationship between Jerzy Ficowski and Bruno Schulz. For the first time Ficowski came across Schulz’s The Cinnamon Shops in 1942, as a 17 year old adolescent. He remembered that first reading as a moment of epiphany which occurred to be crucial to the whole further Ficowski’s literary biography. The young poet hailed the author of The Cinnamon Shops as his great master, the only one who dared to express the true importance of myth to the artistic imagination in such an unique way. The influence of Schulz’s prose on Ficowski’s poetry was unquestionable. However, this does not mean that Ficowski’s work was secondary to Schulz’s or less original. Jerzy Ficowski, like Schulz, emphasized the importance of childhood and myth in a poet’s imagination. On the other hand, both writers found themselves different ways to express those ideas in artistic way. To analyze the unique nature of artistic relationship between Bruno Schulz and Jerzy Ficowski, I refer to the famous Harold Bloom’s work The Anxiety of Influence. A theory of Poetry.Key words: Jerzy Ficowski; Bruno Schulz; biography; interpretation; fictionalisation; the impact of poetic; Paul Ricoeur; Harold Bloom; psychoanalysis;

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31

Zamaraeva, Julia. "The concept of transnational culture and the cultural studies research program of Lukasz Schulz." Asia, America and Africa history and modernity 2, no. 1 (March 27, 2023): 11–26. http://dx.doi.org/10.31804/2782-540x-2023-2-1-11-26.

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The article analyzes the research program of Lucas Schulz, a professor at the University of Manchester (Great Britain). This program is based on the principle of transnationalism. Lukas Schulz believes that it is unacceptable to conduct cultural research on the principle of analyzing the scope of cultural phenomena of a particular nation-state. He believes that transnationalism is at the core of cultural studies. The main approaches of transnationalism: radical contextualism, reliance on comparative studies and dewesternization of academic cultural studies. A critical study of the position of Lukas Schulz shows that some of his principles can be mastered in Russian cultural studies, but at the same time it is necessary to avoid those practices that Professor Schulz calls for and which are based on the method of positive discrimination. It is hardly possible to achieve an adequate scientific model if, at the same time, one or another of its creators is discriminated against.

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Flader-Rzeszowska, Katarzyna. "Realność artystyczna i koneksje literackie. Bruno Schulz w Umarłej klasie Tadeusza Kantora." Załącznik Kulturoznawczy, no. 8 (2021): 279–99. http://dx.doi.org/10.21697/zk.2021.8.14.

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The inspiration that Tadeusz Kantor drew from the works by Schulz can be seen in many of his theatre performances. Like he did with Gombrowicz, Kantor never used one specific work to be staged in his theatre. The Dead Class is a piece where one can find influences by Witkacy, Gombrowicz and Schulz – probably the three most important writers for Kantor. In this article, I discuss the way Schulz, with his short story A Pensioner, is handled in the ‘Cricot 2’ performance. Even though many studies concerning this performance have been written and the connections between Kantor and Schulz seem to have been covered, I have not found any study of Dead Class which would indicate any specific references to A Pensioner. In the bruno schulz w umarłej klasie tadeusza kantora article, the following questions are explored: Can Schulz’s protagonist be recognized in the senile, childlike old people from Dead Class? Which passages of the short story were used by Kantor? How differently is the notion of death treated in the short story and in the performance? And finally, why – having been so fascinated with The Cinnamon Shops at a young age – did Kantor come back to Bruno Schulz’s writings only as a mature artist? In the article, I also discuss the strategies utilized by Kantor to adapt the non-theatrical prose for the stage.

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Compton, S. G., and R. S. Key. "Coincya wrightii (O.E. Schulz) Stace (Rhynchosinapis wrightii (O.E. Schulz) Dandy ex A.R. Clapham)." Journal of Ecology 88, no. 3 (June 2000): 535–47. http://dx.doi.org/10.1046/j.1365-2745.2000.00477.x.

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Matorina, Natalia. "Innovative, traditional, and classic-innovative forms of popularization of the literary heritage of Bruno Schulz." 93, no. 93 (December 22, 2023): 48–56. http://dx.doi.org/10.26565/2227-1864-2023-93-07.

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One of the tasks that modern literary critics, art critics, cultural experts, etc., are still solving is the need to disseminate actively information of various types on Ukrainian territory and throughout the world about this or that Ukrainian artist, that is, scientists are engaged in popularizing the life and creative heritage of more or less well-known artists to a wide audience of creative personalities of Ukraine. The article deals with the expansion of Schulz’s literary discourse in Ukraine and the attraction of new and new admirers of the creative work of the world-famous Galician writer from Drohobych Bruno Schulz to the Schulz Ukrainian community thanks to the use of innovative and classical forms of artistic popularization. The author of the scientific research focuses on the relevance, necessity, and correctness of accelerating the processes of entry of the bright Galician writer of the first half of the 20th century, Bruno Schulz, to the Ukrainian reading, literary, literary studies, and artistic discourses precisely through the prism of representation of various forms of popularization of Bruno Schulz’s biography and creativity. In the investigation the place and role of Bruno Schulz in the world literary and artistic discourse have been characterized; the level of awareness of both specialists and ordinary citizens with the creative heritage of the artist on Ukrainian territory has been clarified; innovative, innovative-traditional, classic forms, methods and techniques of popularizing the figure of Bruno Schulz among the broad strata of modern Ukrainians are systematized, and recommendations on the outlined issues have been formulated. Given the fact that Bruno Schulz is world-famous not only as an author of prose works but also as a philosopher, literary critic, literary theorist, epistolographer, artist, painter, drawer, draftsman, graphic artist, translator, educator, these facets of the multifaceted talent of the artist will become the subject of further scientific investigations by the author of the publication because they also need a certain popularization.

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Chomycz, Łesia. "Wyjazd Brunona Schulza do Francji." Schulz/Forum, no. 11 (December 3, 2018): 179–88. http://dx.doi.org/10.26881/sf.2018.11.16.

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The period of July 31st-August 26th, 1938 Bruno Schulz spent in Paris. Suppressing his doubts, he eventually decided to visit the French capital „to study literature and organize an exhibition of paintings.” The paper includes previously unknown documents which the author has found in the Lviv archives, together with their analysis. Some of them are manuscripts, supplemented by an unknown photo of Schulz.

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Romanowski, Marcin. "Ficowski monografista." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 12, 2017): 159–69. http://dx.doi.org/10.24917/20811853.16.12.

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Ficowski as a monographist The article deals with topic of reading practices of Jerzy Ficowski as a monographist of Bruno Schulz and Witold Wojtkiewicz. The crucial features of Ficowski’s monographical discourse are deep emotional engagement, creation of researcher-amateur sceptical of practices of professional scholars, humbleness towards the text and respect for its singularity.Key words: Schulz; Wojtkiewicz; monograph; ethics of interpretation; art of interpretation; Epiphany;

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Chwin, Stefan, Włodzimierz Bolecki, Jerzy Jarzębski, Rolf Fieguth, and Katarzyna Lukas. "Poprosiliśmy pięcioro schulzologów… Ankieta redakcji." Schulz/Forum, no. 15 (September 24, 2020): 162–73. http://dx.doi.org/10.26881/sf.2020.15.08.

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Finding by Piotr Szalsza two German language stories signed with the name “Bruno Schulz” could not be ignored by the editors of Schulz/Forum. Not yet recovered from the shock caused by the 14th issue, we are again facing a possible revelation. Unlike, however, in the case of the story titled “Undula” of 1922, which leaves no doubt that it is an early work by the author of The Cinnamon Shops, even if he preferred to use a penname, the question of the authorship of the two stories published in the Cetinjer Zeitung in 1917 and 1918 seems much more complicated. Perhaps without more research in the archives its resolution will be impossible. We asked four Schulz scholars for their opinions about the texts: Stefan Chwin, Włodzimierz Bolecki, Jerzy Jarzębski, Rolf Fieguth, and Katarzyna Lukas.

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Wilczyński, Marek. "Miejsca bezpieczne: Kafka, Walser, Schulz." Schulz/Forum, no. 11 (December 3, 2018): 55–63. http://dx.doi.org/10.26881/sf.2018.11.06.

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The paper begins with a reference to Franz Kafka’s unfinished long short story “The Burrow,” which has been chosen as a starting point of a series of intertextual associations focusing on futile efforts made by various modernist literary narrators and characters to find a sense of safety in some specific settings. The route from “The Burrow” runs through selected short stories by Martin Walser toward late fiction by Bruno Schulz, in particular “The Republic of Dreams” and “The Homeland,” revealing affinities connecting the Polish writer from Drogobych with two writers of the German language, who shared his fears and obsessions.

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Brun, A. "Bruno Schulz – i co dalej?" Schulz/Forum, no. 11 (December 3, 2018): 117–20. http://dx.doi.org/10.26881/sf.2018.11.10.

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A short article published in Chwila (1935, no. 5921). The author, who must have known Schulz personally, interprets Cinnamon Shops in opposition to literature that was socially and politically engaged. Besides, the text includes a description of Schulz’s apartment.

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Rabizo-Birek, Magdalena. "Schulz poetów „ośmielonej wyobraźni” (preliminaria)." Schulz/Forum, no. 13 (October 28, 2019): 63–85. http://dx.doi.org/10.26881/sf.2019.13.05.

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The paper addresses the popularity of the person and work of Bruno Schulz in one of the trends in Polish poetry, represented by the generation born in the 1970s, placing it in the context of the writer’s earlier reception (e.g., in the works of the poets of older generations, such as Marian Jachimowicz, Tadeusz Różewicz, Jerzy Ficowski, Anna Frajlich, and Jarosław Gawlik). This trend has been usually referred to with a metaphorical term “bold imagination” and called “imiaginativism”, and its main representatives are Roman Honet, Tomasz Różycki, Radosław Kobierski, and Bartłomiej Majzel. Close to that group are also Ewa Elżbieta Nowakowska, Dariusz Pada, and Mariusz Tenerowicz. All of them consider Schulz, who called the entire genuine literature “poetry,” their mentor and patron, both as a writer and a graphic artist, whose heritage includes also the works that are unfinished or lost, and as such, they encourage continuing his ideas (such as the novel Messiah). For them, he is also the founder of a “trend” based on the primacy of imagination, visions, the mythicization of reality, and a creative approach to cultural traditions. The poets have been also inspired by Schulz’s literary legend whose elements are his double Polish and Jewish identity, the family and erotic psychodramas, life in a provincial and multicultural Galician town as well as the necessity to combine a literary career with the humdrum teacher’s job and his tragic death in the Holocaust. Referring to the motifs drawn from Schulz’s life and work, the imaginativists, poets and fiction writers, write apocrypha and elegies in which Schulz continues his “posthumous life.” The author considers all the modes of his presence in the poetry of the “bold imagination”: as a literary precursor, as the favorite master, as an emblem of the Holocaust, and as a protagonist of a biographical legend. She interprets the programmatic statements of Honet, Majzel, and Różycki, where Schulz figures prominently, right before other highly appreciated poets, writers, and artists: Rilke, Kafka, Trakl, and Schiele. Then she interprets the early poems by Honet, Kobierski, Nowakowska, and Pada, which include the characteristic motifs of Schulz’s fiction: a sanatorium, a phantasmagoric town, the Book, a comet, and the realities of the Austro-Hungarian Empire and the belle époque. It has been stressed that the later Schulzean “biographical apocrypha” of the imaginativists (Tomasz Cieślak’s coinage), which develop the alternative versions of his life, are rooted in the projects of alternative histories (“side courses of time,” the “thirteenth months”) to be found in his fiction, as well as the visionary ways of prolonging life of the dead (particularly in “The Sanatorium under the Sign of an Hourglass” and the “Treatise on Tailor’s Dummies”). The Schulzean poems of the imaginativists are full of biographical details – their authors, imitating the poetics of their master, quoting, paraphrasing, and summarizing his texts or referring to his life experience and vicissitudes, write first of all about themselves. Schulz’s biography and work turn out to be an unusually flexible medium, a figure of the contemporary (particularly Polish) artist, and a mirror for the writers of late modernity, who get a chance to understand themselves and perhaps confirm their own poetic calling.

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Brass, Horst, and Ludwigshafen am Rhein. "Walter Schulz zum 65. Geburtstag." Nieren- und Hochdruckkrankheiten 32, no. 09 (September 1, 2003): 383–84. http://dx.doi.org/10.5414/nhp32383.

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Brass, H. "Walter Schulz zum 70. Geburtstag." Nieren- und Hochdruckkrankheiten 37, no. 06 (June 1, 2008): 251–52. http://dx.doi.org/10.5414/nhp37251.

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Van Gerrewey, Christophe. "Christian Norberg-Schulz (1926-2000)." Environment, Space, Place 4, no. 1 (2012): 29–47. http://dx.doi.org/10.7761/esp.4.1.29.

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Platschek, Johannes. "Raimund Schulz, Herrschaft und Regierung." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte. Romanistische Abteilung 118, no. 1 (August 1, 2001): 590–94. http://dx.doi.org/10.7767/zrgra.2001.118.1.590.

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Banks, Brain R. "Promenade Abroad with Bruno Schulz." Załącznik Kulturoznawczy, no. 4 (2017): 387–99. http://dx.doi.org/10.21697/zk.2017.4.21.

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The article depicts ethnic, religious, as well as cultural and literary background of Bruno Schulz and his work. The author argues with some Schulz’s biographers and commentators in order to differentiate between facts and ‘myths’ or interpretations of writer’s life. Moreover, the author traces the main lines of Schulz’s foreign reception and addresses some critical remarks about translations of his work into English, as well as about the other examples of reading and popularizing Schulz’s legacy and heritage, especially in Anglophone cultural contexts.

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Lange, Thorsten. "Schulz/Hauß (Hrsg.), Familienrecht – Handkommentar." Familie und Recht 29, no. 11 (November 1, 2018): 589–90. http://dx.doi.org/10.1515/fur-2018-281109.

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Dunn, Graham. "Commentary on Schulz et al." Clinical Trials: Journal of the Society for Clinical Trials 13, no. 3 (March 25, 2016): 260–61. http://dx.doi.org/10.1177/1740774516639911.

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Stienkemeier, F., H. O. Lutz, and C. P. Schulz. "Stienkemeier, Lutz, and Schulz Reply:." Physical Review Letters 84, no. 19 (May 8, 2000): 4510. http://dx.doi.org/10.1103/physrevlett.84.4510.

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Makowska, Urszula. "Spotkanie we Lwowie (do którego nie doszło). Bruno Schulz i Henryk Vogler." Schulz/Forum, no. 14 (December 16, 2019). http://dx.doi.org/10.26881/sf.2019.14.04.

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The paper presents unknown details concerning Bruno Schulz, found in the memoirs of the Cracow critic, writer, and poet Henryk Vogler (1911–2005). Vogler wrote quite a long article, “Two Romantic Worlds. On Bruno Schulz and Witold Gombrowicz” [Dwa światy romantyczne. O Brunonie Schulzu i Witoldzie Gombrowiczu], published in 1938 in Skamander. Both writers thanked him in letters, which initiated their correspondence that continued till the outbreak of World War II. Schulz exchanged with his younger colleague opinions about literature, evaluated his attempts to write fiction, and described his dreams. They resumed writing letters to each other in 1940 during Vogler’s stay in Lviv – he actually invited Schulz to pay him a visit. Their meeting, however, never took place: already on his way, Schulz returned home. That situation may be considered in the contexts of similar events from Schulz’s life and an interpretation of his fiction and art proposed by Jerzy Jarzębski, who saw in both a “record of … an encounter realized in many different ways.” This encounter almost never brings about a harmonious connection, but instead leads to “pain, shame, comedy, and irony.” On his correspondence with Schulz, lost during the war, as well as on Schulz’s influence on his own work and the meeting in Lviv that did not take place, Vogler wrote in his Self-Portrait from Memory [Autoportret z pamięci] – three volumes published in 1979–1981. In his autobiography Vogler also mentioned the first postwar publication of Schulz’s fiction in 1957 by Wydawnictwo Literackie, of which he was editor-in-chief. Still, his account does not explain the details of a conflict between Artur Sandauer and Jerzy Ficowski, which began on that occasion and continued for many years. The closing part of the paper focuses on the traces of Schulz in Vogler’s novel, The Man Who Was Dreaming [Człowiek, który śnił], written before the war but published with some revisions in 1960.

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Baumbach, Henryk, and Horst K. M. Volkmann. "Zur Situation von Armeria maritima ssp. hornburgensis – aktuelle Daten zu Populationsgröße, Demographie und Taxonomie." Mitteilungen zur floristischen Kartierung in Sachsen-Anhalt 11 (January 1, 2006). http://dx.doi.org/10.21248/mfk.211.

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Der vorliegende Beitrag gibt einen Überblick über die aktuelle Bestandssituation (September 2006) von Armeria maritima ssp. hornburgensis (A. SCHULZ) ROTHM. sowie demografische und genetische Parameter der Population. Aus diesen Daten werden Empfehlungen für kurz-, mittelund langfristige Schutz- und Pflegemaßnahmen zum Erhalt der Population abgeleitet. Zusätzlich wird die Taxonomie der Sippe im Kontext neuer molekulargenetischer Untersuchungen des gesamten mitteleuropäischen Armeria maritima-Komplexes diskutiert.

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