Alfred Nobel University Journal of Philology

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https://ir.duan.edu.ua/handle/123456789/2003

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Перегляд Alfred Nobel University Journal of Philology за Ключові слова "artistic initiation"

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    The Figure of Adolf Arendt in the Biography and Artistic World of Bruno Schulz: A Comparative Analysis of Interpretations.
    (Alfred Nobel University, 2025-12-02) Rostyslav P. Radyshevskyj; Natalia M. Matorina
    One of the most discussed figures in the context of the formation of the aesthetic worldview of the Polish artist of the first half of the 20th century, Bruno Schulz, is Adolf Arendt, a drawing teacher at the Drohobych Gymnasium named after Franz Joseph I. His name appears in the writer’s prose, particularly in Cinnamon Shops, and raises the question: was he Schulz’s real teacher, or rather a symbolic figure, the embodiment of initiation into figurative thinking? The purpose of the scientific investigation is to clarify the interpretative strategies of creating the figure of Arendt in the biographical and artistic world of Schulz in the context of modernist poetics and creative approaches to the formation of an artistic image (including an individual person), to trace the evolution of the reception of this image and its artistic transformation in Schulz studies of the 20th – 21st centuries, as well as to identify intertextual parallels of such creative transformations in the European tradition. In the research process, a complex of interrelated methods has been applied: the biographical method; the hermeneutic method; the comparative method; the culturological method; the intertextual analysis; the literary analysis of the text. Four main interpretative strategies are analyzed: traditional biographical (J. Ficowski), critical-deconstructive (V. Panas), psychocultural / cultural-local (L. Kuibida; A. Sypek), and modern (culturalogical or memory studies). Ficowski considers Arendt to be a credible and important figure in Schulz’s biography, as the first drawing teacher who had a direct influence on the formation of the writer’s aesthetic orientat ions. Based on a meticulous analysis of archival materials, Panas proves that Arendt’s teaching career and Schulz’s years of study do not coincide chronologically, which is why he interprets the scene of “Professor Arendt’s lesson” as a purely artistic construction. Kuibida and Sypek’s research approach is dual: the Lviv scholar interprets the figure of Arendt as both real and symbolic, and the professor’s lesson as an act of memory and transformation; the Polish researcher, using new documentary sources, rehabilitates the figure of the drawing teacher as a real person, noting clear boundaries between the time of his professional activity at the Drohobych Gymnasium and the period of Schulz’s studies at this educational institution. In modern discussions, the figure of Arendt is mostly perceived as a key to understanding Bruno Schulz’s poetics of memory, and connections and parallels are also announced between the image of Arendt and the motif of the Teacher in the European literary tradition of the 20th century. As demonstrated in the article, an important genre feature of biography is the retrospectivity of narrative strategies, the presentation of true, not fictional life collisions, their factuality, and the embroidery of life on the canvas of real historical events. What is important here is the dynamics, the display of the formation and change of the author’s inner world. However, artistic practice (as in the case of the figure of Adolf Arendt in Bruno Schulz) can be an example of how modernist artistic approaches to the creation of biographical narratives can “devalue” the factuality and reliability of biographical facts and real images, and, expanding and deepening the boundaries of reality, mythologize and artistically transform them in artistic texts, thereby undermining the possibilities of interpretative strategies.