{"title":"Nikczemne skrzaty i inne (nie)baśniowe potworności dzieciństwa w „Złodziejach snów” Małgorzaty Strękowskiej-Zaremby","authors":"Maciej Skowera","doi":"10.19195/0867-7441.27.8","DOIUrl":null,"url":null,"abstract":"The first part of the article provides a short outline of the works by Małgorzata Strękowska-Zaremba, a well-known and critically acclaimed Polish children’s author, and gives special attention to her interest in certain popular literature genres. Among her works, a prominent place is occupied by three books in which the writer uses various genres and conventions of the fantastic to discuss important real-life problems: parents’ divorce and homelessness in Złodzieje snów [The Dream Stealers] (2008/2019), domestic violence in Dom nie z tej ziemi [The Otherworldly House] (2017), and depression in Lilana (2019). The main part of the paper covers an analysis of Złodzieje snów, which is focused on monsterological plots and motifs shown in the context of the use of fairytale conventions in the book. Strękowska-Zaremba utilises the figure of demonic gnomes (derived from French folklore) who in the story are believed to have stolen the dreams of the protagonist, little Basia, after her parents separated. However, as the author of the article claims in its last part, in Złodzieje snów, these creatures from the folk imagery are much less monstrous than real-life problems, including separation and divorce, loneliness, and homelessness. This also applies to Dom nie z tej ziemi and Lilana, which is briefly stated in the conclusion.","PeriodicalId":141509,"journal":{"name":"Literatura i Kultura Popularna","volume":"22 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Literatura i Kultura Popularna","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.19195/0867-7441.27.8","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 1
摘要
文章的第一部分简要介绍了Małgorzata Strękowska-Zaremba的作品,这位著名的波兰儿童作家广受好评,并特别关注了她对某些流行文学流派的兴趣。在她的作品中,有三本书占据了突出的位置,作者利用各种类型和幻想的惯例来讨论重要的现实问题:《Złodzieje snów》(《偷梦者》,2008/2019)中父母的离婚和无家可归,《Dom nie z tej ziemi》(《另一个世界的房子》,2017)中的家庭暴力,以及《Lilana》(2019)中的抑郁。论文的主要部分包括对Złodzieje snów的分析,重点是在书中使用童话惯例的背景下显示的怪物情节和主题。Strękowska-Zaremba利用了恶魔侏儒的形象(来自法国民间传说),在故事中,人们相信他们在主角小巴西亚的父母分居后偷走了她的梦想。然而,正如文章的作者在Złodzieje snów的最后一部分所声称的那样,这些来自民间意象的生物远没有现实生活中的问题可怕,包括分居和离婚,孤独和无家可归。这也适用于Dom nie z tej ziemi和Lilana,这在结论中简要说明。
Nikczemne skrzaty i inne (nie)baśniowe potworności dzieciństwa w „Złodziejach snów” Małgorzaty Strękowskiej-Zaremby
The first part of the article provides a short outline of the works by Małgorzata Strękowska-Zaremba, a well-known and critically acclaimed Polish children’s author, and gives special attention to her interest in certain popular literature genres. Among her works, a prominent place is occupied by three books in which the writer uses various genres and conventions of the fantastic to discuss important real-life problems: parents’ divorce and homelessness in Złodzieje snów [The Dream Stealers] (2008/2019), domestic violence in Dom nie z tej ziemi [The Otherworldly House] (2017), and depression in Lilana (2019). The main part of the paper covers an analysis of Złodzieje snów, which is focused on monsterological plots and motifs shown in the context of the use of fairytale conventions in the book. Strękowska-Zaremba utilises the figure of demonic gnomes (derived from French folklore) who in the story are believed to have stolen the dreams of the protagonist, little Basia, after her parents separated. However, as the author of the article claims in its last part, in Złodzieje snów, these creatures from the folk imagery are much less monstrous than real-life problems, including separation and divorce, loneliness, and homelessness. This also applies to Dom nie z tej ziemi and Lilana, which is briefly stated in the conclusion.