Przybyszewski und Japan. Bezüge und Annäherungen
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Bei einer näheren Beschäftigung mit Przybyszewskis frühem Prosawerk sowie seinem auf dieses folgenden dramatischen Oeuvre lassen sich vor dem Hintergrund einer breiten europäischen Rezeption japanischer Ästhetik, wie sie besonders in der bildenden Kunst, aber auch in der Literatur und im Theater um 1900 zum Vorschein kam, interessante Beobachtungen machen. Mit dieser in der Przybyszewski-Forschung bislang nur fragmentarisch behandelten Thematik sollen neue Aspekte des Werks und der künstlerischen Entwicklung des Schriftstellers herausgearbeitet werden. Adam Jarosz bezieht in seine vorliegende Untersuchung Przyby-szewskis Zusammenarbeit und redaktionelle Betätigung an den renommiertesten Zeitschriften der Epoche (Die Zeit, Zycie, Chimera, Pan, Die Fackel) mit ein und stellt in Erstübertragung sowohl Texte bereit, die in diesen Kunstblättern erschienen (Wladyslaw Stanislaw Reymont) sind, als auch solche, deren Bedeutung schon lange nach einer deutschsprachigen Übersetzung verlangt (Waclaw Sieroszewski). Ferner legt Jarosz die Korrespondenz Przybyszewskis mit dem Mentor japanischer Kunst der Zeit Feliks Jasienski Manggha vor. Allesamt tragen sie zum tieferen Verständnis der untersuchten Bezüge und der Faszination japanischen Kulturgutes in der Epoche des Jungen Polen bei.
Ibler, Reinhard: - Adam Jarosz, Jahrgang 1974, wurde in Bielsko-Biala (Polen) geboren, Germanist (Schlesische Universität, Katowice/Kattowitz), Slavist (Philipps-Universität Marburg und Justus-Liebig-Universität Gießen), Wissenschaftliche Mitarbeit, Doktorand am Institut für Slavistik (Gießen), Veröffentlichungen zahlreicher Prosatexte, Lyrik und dramatischer Kurzformen sowie wissenschaftlicher Abhandlungen zur europäischen Moderne (Przybyszewski, Maeterlinck, Rilke, Zapolska, Lesmian) in Polnisch und Deutsch, Übersetzer, Mitglied der Internationalen Rilke-Gesellschaft (Sierre), Hugo von Hofmannsthal-Gesellschaft (Frankfurt/M.).
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