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Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper refers to relations that hold between modern literature and the architectural discourse of the first decade of the Inter-War Years. Tadeusz Peiper's 1927 article W Bauhausie (In the Bauhaus) published in "Zwrotnica" ("The Switch") is made subject of considerations. The piece forms a starting point for presenting the assumptions of functionalistic architecture and its reception in the Second Polish Republic, referring mainly to the works of Szymon Syrkus, one of the leading representatives of function alism in the native architecture. The avant-garde's will to transform reality and conviction about the artist's deliberate need to take part in building new reality besides shaping modern life, both close to Peiper, are conductive in entering into a dialogue between the program texts and Peiper's poetic creation on the one hand and the 1920s architectural and urbanistic discourse, especially with architectural functionalism assumptions formulated by Walter Gropius on the other hand. The author of the paper suggests developing a space for common research reflection between modernist architecture and avant--garde literature. [ABSTRACT FROM AUTHOR]

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pamietnik Literacki is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper includes pieces of information about a reissue of Postępek prawa czartowskiego (The Trial of the Devil's Law), an anonymous early printed book attributed to Sebastian Sternacki's printing shop, dated approximately 1619, and omitted from scholarly editing until now. Due to physical damage to the unique copy of editioprlnceps (Brest-Litovsk 1570), the existing state of art is incomplete, and reference to the early 17th c. full-text edition allows to fill the missing gaps. As based on the latter copy, an edition of fragments unknown to this day was prepared, namely the beginning of chapter I, a part of chapter II, prefatory verse Przedmowa do czytelnika łaskawego (Foreword to the Gentle Reader), and Dialog abo Rozmowa o Sprawiedliwości Świeckiej (Dialogue or Conversation on Secular Justice), a piece appended to the reissue of The Trial. [ABSTRACT FROM AUTHOR]

To this day, the history of Polish studies in the attribution and transmission of a diary text by Abraham Rożniatowski (d. 1665) completes with Wojciech Kętrzyński's Diariusze Wacława Dyamentowskiego i Marcina Stadnickiego o wyprawie cara Dymitra (Wacław Dyamentowski's and Marcin Stadnicki's Diaries about Tsar Dmitri's Expedition, 1908). The researcher not only made the text's attribution (formerly ascribed to Wacław Dyamentowski and Marcin Stadnicki), but also reconstructed the phases of its development. The present paper confronts Kętrzyński's examinations with the outcomes of latest analyses of the diary's preserved records to formulate arguments that the piece's history proves to be different from what was previously assumed. [ABSTRACT FROM AUTHOR]

In 1966, Janusz Pelc, Zbigniew Morsztyn's monographer, roughly dated the composition of a cycle of emblems. As he claims, Morsztyn completed it between 1675-1680 or 1676-1680, started presumably in the 1660s, and also added corrections probably after 1680. This dating is essentially valid until now. Grześkowiak in his paper proves that the cycle was concluded after May 21st, 1674 (date of Jan III Sobieski's coronation is mentioned in dedication), and before July 15th, 1675, when Kazimierz Krzysztof Kłokocki, a would-be issuer, who administered the Słuck publishing house, confirmed in a letter that he received the manuscript final draft. Grześkowiak questions the two hypotheses that had impact on the erstwhile dating: Pelc's thesis suggesting that two different copies of complete collections of emblems represent its two disparate auctorial editions, and Paulina Buchwald-Pelcowa and Janusz Pelc's assumption that Morsztyn composed 50 three-verse subscriptions written on a 1626 copy of Amoris Divini et humani effectus varii treasured in Uppsala University Library. [ABSTRACT FROM AUTHOR]

Analysis of Martin Opitz's poetics of panegyric pieces in honour of two Polish personages--a painter Bartłomiej Strobel and King Ladislaus IV of Poland--is made subject of the paper. Displaying the relationship between the poet and the king, the author focuses more on the aesthetic connections than on the subjective ones. Opitz, exploiting the canon of erudite panegyric, addressed to learned receivers, attempts to portray Strobel's achievements, and the painter is praised as vir doctus, namely art theoretician. Thus, what he means is implementation of Horatian image ut pictura poesis. Poetics of the panegyric is presented in the context of "last hand" version (sylvae genetics complexity) and with respect to Opitz's epigrams connected with Strobel, but first and foremost in the context of genetic observations from Das Buch von der deutschen Poeterei (Book of German Poetics, 1642). The panegyric to honour the Polish King appears totally contradictory in its nature and addresses, besides following Gerhard von Donhoff's political initiative, to German infidels inhabiting Poland. The author points at the poem's mediative character and formulates a thesis that the piece could have been directed to Swedish elites, justifying King Ladislaus IV's not only dynastic, but also ethical rights to the Swedish throne. [ABSTRACT FROM AUTHOR]

The paper analyses the mode in which Mikołaj of Wilkowiecko, the author of Historyja o chwalebnym Zmartwychwstaniu Pańskim (The History of the Glorious Resurrection of Our Lord), "constructs" the indisputable "truth" of the piece, in that he refers to the Latin term historia and distances from theatre (does not define his piece in the categories of stage performance). The title of the work reflects a tendency, characteristic of Christianity, to reject theatre while concentrating the believers' attention on liturgical and paraliturgical phenomena. Under the influence of Protestant criticism, the last aspect exhorted Mikołaj to eliminate the scenes satiated with secularity. [ABSTRACT FROM AUTHOR]

The subject of the paper is a detailed interpretation of the first part of Jan Kochanowski's Tren V (Lament V) in the context of Psalm 128 ("Beati omnes, qui timent Domimmf). As we know, the main source of the opening part of this poem is an epic simile from Iliad (XVII, 53-58), where a young warrior Euphorbos is compared to a "slip of an olive tree" as "it blossoms into beauty." Similarly, Psalm 128 proposes the picture of sons growing up like "the olive plants around the table" of a pious man. In Kochanowski's rewriting of the Homeric simile the emphasis is always put on negation of the meanings attributed to the symbol of olive tree, such as peace, wisdom, justice, fertility, abundance, youth. The poet explores the significant absence of the promised blessing for a God-fearing man. [ABSTRACT FROM AUTHOR]

The paper refers to two contradictory images of Poland contained in elegies by Filippo Buonaccorsi Callimachus. Quite concise, stereotypical descriptions of Poland as a northern country covered with snow and ice serve to locate the place of action and the origin of Fannia--the heroine and the addressee of the collection as well as of a few other familiar characters. Furthermore, with antitheses (e.g. barbarian country versus beauty, barbarian country versus literary creation), the descriptions allow to amplify their admiration. Further descriptions are considered more vital, namely that of Polish winter as one of the seasons, and those of warm spring and summer. Callimachus was the first, long before Jan Kochanowski, who offered a vision of Poland based on pastoral locus amoenus and Horatian spring odes (I 4 and IV 7) and patterned on ancient praises of countryside, known from the Roman elegy and Horace's 2nd epode. He was also the first to use the motive of flower chaplet that a girl gives to a boy as a sign of love. [ABSTRACT FROM AUTHOR]

Although to this day the editors of Treny (Laments) largely admitted that the 1583 reprinting was revised by Jan Kochanowski, the author of the paper argues that the 1580 first issue is more accurate and that the poet by no means took part in the preparation of this masterpiece's last impression before his death. Evidence to support his claim is provided by a detailed comparison of the republication with the unique first version purchased by Waldemar Łysiak that the writer rendered available in 2001 (two copies known before the World War II perished). Collation of the two specimens reveals various discrepancies (e.g. errors in rhythm and rhyming) which makes the researcher consider editio princeps as more diligently prepared and closer to Kochanowski's language habits. Eventually, it should serve as a basis for future scientific publications. [ABSTRACT FROM AUTHOR]

The paper offers a sample of a commentary to Jan Kochanowski's two foricoenia, namely Ad Lu-clnam (21) and De Neaera (4). The commentary is effectuated in connection with a new edition of the poet's Carmina Latina. When interpreting the two epigrams, an important context is made not only by antique works (e.g. from The Greek Anthology) to which the poet referred within the framework of the Renaissance aemulatio, but also by New Latin ones, inter alia Andrea Navagero's Lusus and Michael Marullus' epigrams. Forlcoenia enters into intertextual relationships with the works of other humanists and contributes to the common good of Renaissance Europe. [ABSTRACT FROM AUTHOR]

The paper discusses two poetic pieces closely connected to the Battle of Ula, a significant episode of the war with Moscow for Livonia. Capturing Polock by the troops of Ivan the Terrible (February 15th, 1563) and starting the war campaign by the Tsar in January 1564 moved the conflict into the interior of the Grand Duchy of Lithuania. Two great Muscovite armies were to meet near the city of Orsha to move towards Vilnius that was placed 26 miles away from the war theatre. The victory of the Lithuanian troops in the Battle of Ula (January 26th, 1564) and almost complete defeat of one army of Ivan the Terrible moved the immediate threat away and made way for a series of successes of the Polish-Lithuanian armed forces. The above-sketched events make up a background of Jan Kochanowski's trifle III 51 and Maciej Stryjkowski's handwritten poem. Remarks on the epigram Do Lubimira (To Lubimir) lead to explication of the relation between the poem and the Greek basis of the trifle, and disambiguate its dating. While as far as recently rendered available fragments of Stryjkowski's work are concerned, they focus on the piece's description and the shape of the poem about the Battle of Ula. [ABSTRACT FROM AUTHOR]

The author of the paper discusses the issue of Italian influences in Jan Kochanowski's output in the light of his youthful stays in the Republic of Venice, and a possible impact of the books with which he acquainted at that time. Niccoló Franco's La Priapea (1541), a pornographic-satirical cycle of sonnets issued a dozen or so years before Kochanowski's arrival, could have been one of them. In the trifle III 82 Do dziewki (To a Maid) Franco's collection most probably completes the Anacreontic pattern (an elderly suitor's love's labours to a young maid in the first stanza) and develops it into a firmly obscene (phallic, in verses 2-3) direction, while ceasing to wipe out the elements traditionally linked with Kochanowski's home culture. [ABSTRACT FROM AUTHOR]

The paper discusses a recently completed critical edition of Jan Kochanowski's Fraszki (Trifles), which will before long be issued as a subsequent volume of his Dzieła wszystkie (Collected Works). Different aspects of the publication are presented, including facsimile, transcription, and commentary. As a representative sample, a few actual passages from particular trifles are discussed in length. These include the following poems: I 48, I 55, I 78, II 55, III 1, III 39, III 46, III 53, III 63, and III 69. The most remarkable added value of the edition is that it contains countless minute discoveries--individually marginal-- creating much broader, much richer, and much deeper picture of Trifles than the previous editions might suggest. [ABSTRACT FROM AUTHOR]

The year 2022 marks 30 years since the passing of Zofia Kozarynowa--a writer, publicist, translator, Polish language instructor at the University of Turin between 1929 and 1939, Polish emigration literature nestor. The paper presents Kozarynowa's biography and her large output, as well as describes this interesting and controversial personality that stimulated her versatile activity. Additionally, it shows the family and social circle from which she originated, and the communities she lived in and worked with first in Poland, then in Italy, and ultimately in Great Britain. [ABSTRACT FROM AUTHOR]

The paper demonstrates the significance of bio-introscopy, or dermo-optical perception, to Jadwiga Stańczakowa's poetry. Searching for the connection between Stańczakowa's poems and her exercise in distinguishing colours and objects, Marta Tomczok describes the concept of dermo-optical perception, created by Lech Emfazy Stefański, Stańczakowa's teacher and co-creator of the Theatre at Tarczyńska Street, with the language of poetics, analysing a large group of poems from Stańczakowa's rich output. Thanks to juxtaposing dermo-optical perception with the concept of embodied wisdom by Juhani Pallasmaa, Stańczakowa's poetry becomes more than an individual struggle to maintain eyewitnessing in literature; it transforms into a kind of art similar to sculpture or architecture, oriented to its own processualism, as well as such multisensory artistic creation that embodies wisdom. [ABSTRACT FROM AUTHOR]

The paper is an attempt at researching a description of little known Inter-war poetry devoted to Our Lady of the Gate of Dawn. Crowning of Our Lady's painting took place in 1927 as an act of grace after Poland regained independence, and this fact proved to have religious and patriotic dimension in that it favoured national identity creation. Both aspects of the event became a source of inspiration for the verses in question. Tierling-Śledź juxtaposes pieces derived from various literary registers. Apart from the works by such recognised Inter-war poets as Teodor Bujnicki or Witold Hulewicz, the authoress analyses more poetry (poetic texts) of occasional and confessional character than fine artistic lyric. Minorum gentium poets vividly demonstrate the power of literary clichés as well as national and literary community the identity of which grows from living and experiencing models (also religious ones). These poems and the modes they were made public are interesting sociological documents of the epoch. A separate part of the article is dedicated to research in poetics of the poems with special attention paid to the literary genetic pattern of the litany. [ABSTRACT FROM AUTHOR]

The key issue discussed in the paper is a controversial significance of Gabriela Zapolska's journalistic sketch W sprawie emancypacji ( About Emancipation), composed as a reaction to a medicine doctor Karolina Szulcówna's doctoral dissertation defended in the Sorbonne. In the text, Zapolska formulated her life credo: "Kobietą jestem--i tylko... kobietą chcę zostać do zgonu [I am a woman and I only... want to remain a woman until my death]," convincing the readers of "Kurier Warszawski" ("Warsaw Courier") to believe into invariability of biologically, religiously and culturally sanctioned principles that govern the sex-dependent roles. Glorifying males and approving their superiority over females, she places women within family circle and deprives them of the possibility of higher education as well as of any importance outside family sphere. Zapolska's sketch, to this day commented several times, is here subject of yet another interpretation equipped with new contexts. [ABSTRACT FROM AUTHOR]

Cyprian Norwid's Wanda stands out above other dramas devoted to the beginnings of the Polish nation. Its uniqueness consists in the fact that its fantastic history is inscribed into a Christian story since Wanda's freewill sacrifice as an religious act precedes the birth of the Polish peoples. The author of the paper introduces various interpretive orders that make up a certain two-voice structure. From the perspective of postcolonial theory, Wanda reveals a mechanism of appropriation the old pagan religion by the Catholic Church. Norwid's worldview is particularly complex, and his relation to the Catholic Church proves ambiguous. The poet sees no special value in old cultures unless they scent Christianity. In Rudaś-Grodzka's interpretation, the main role is played by mystical tradition and feminist criticism, especially Lucy Irigaray's writings (the central category being the term Mystérique that she coined). This perspective broadens our understanding of national phantasms structure. The subject of reflection is hysterical personality of the Polish nation represented by Wanda in Norwid's drama. [ABSTRACT FROM AUTHOR]

The paper serves to delineate the figures of early modern Protestant women included in Erazm Otwinowski's paraenetic poetic collection Sprawy abo historyje znacznych niewiast (Affairs or Histories of Notable Women, 1589), namely Anne Askew, Jane Grey, Olympia Fulvia Morata and an anonymous "duchess," presumably Vittoria Colonna or Caterina Cibo. As its purpose, the article accomplishes an identification of possible (oral or written) sources of information about the heroines and interpretation of intertextual references made by the poet. All that allows the author to depict the parenetic patterns for pious women that Otwinowski outlined, combining apology of martyrdom, learnedness, and religious exile. [ABSTRACT FROM AUTHOR]

The paper is devoted to common in Kazimierz Przerwa-Tetmajer's poetic work visions of decay, the catalytic agent in which is repulsion experienced by the subject, in particular the one described by Julia Kristeva as „fear of the self." The body and soul, life and death, nature and poetry, subject and its memories and feelings in Tetmajer's imaginarium are subordinated to decay--a destructive force in its nature. Most representative examples of uncommon accumulation of the motifs in question are two earliest volumes: the first (1891) and the second (1894) series of Poezje (Poetry). Assumptions of affective studies are employed to interpret Tetmajer's poetry. The article also touches the following issues: repulsion to life, landscapes of decay, repulsion figures, decay of the self, repulsion of the bodily, decay of memory and memories. [ABSTRACT FROM AUTHOR]

The paper is devoted to Stanisław Barańczak's translations to music, specifically the translations produced for a few dozens of years and contained in the volume Stanisław Barańczak słucha arcydzieł (Stanisław Barańczak Is Listening to Masterpieces, 2016). The author of the paper explicates the conditions of the original concept of listening/writing, starting, on the one hand, from the practice of listening to music referred to as ascoltando (the term derived from Jean-Luc Nancy) and, on the other hand, from the practice of mediated listening and acousmatic experience (in the context of Pierre Schaeffer's view on acousmatics). In this optic, Hejmej settles four major issues: the consequences of listening in modern auditory culture, the need to listen and to "textualise" vocal (vocal-instrumental) music realisations, the mode of viewing untypical translations, and ultimately the order of translations proposed by Ryszard Krynicki, the editor of the exceptional anthology. The valid conclusions formulated in connection with the listener's experience in acousmatic culture refer to translational practice of situating "language-in-sound" and to the phenomenon of para-topicality born as a consequence of individually created audiosphere. [ABSTRACT FROM AUTHOR]

The paper is an analysis and interpretation of a nine-part Bolesław Leśmian's poetic cycle Z księgi przeczuć (From the Book of Premonitions), published in 1902 in "Chimera", and of a few other early pieces by the poet. Starting with Epilog (Epilogue) that completes the collection in which the speaking subject compares himself to God burning "on Sinai," the author analyses the light motives present in the cycle, which leads to validate the opinion of Anna Czabanowska-Wróbel who states that Leśmian was inspired by Jewish mysticism, and to particularise this stance with Marranism (the poet at the age of nine converted with his father) and with a post-secular reflection upon secularising. The paper suggests two modes of reading of the cycle, namely a linear one in which it is viewed as a narration on identity transformation, and a concentric one in the light of which its central thought hidden topic is the problem of forgetting and changing name. [ABSTRACT FROM AUTHOR]

The paper is devoted to a mixing of the dash with other punctuation marks, characteristic to the 19th c. texts, today hardly known procedure, absent from punctuation rules and analyses, and thus hard to interpret when one faces somewhat older texts. The author carried out a search query of about 800 publications referring to language, starting from the year 1700, and established that the procedure of mixing the dash with other punctuation marks was reported by 20 grammarians, in sum in 59 publications (including reprints) in the period 1830-1935. Lesiakowski also discusses what the authors wrote about the problem, what types of mixing they listed, how they interpreted and evaluated them as regards the correct usage rules, which meaning they attributed to them and if they employed them in their own writings. He also raises the treatment of the mixing in question in contemporary editions of 19th c. texts. [ABSTRACT FROM AUTHOR]

The paper contains an interpretation of selected industrial and environmental novels of the Positivism and Young Poland. Ideologies of the pieces are defined with the discourses of anthropocene and capitalocene. The dynamic development of capitalism in the second part of the 19th century found its expression in literature. Authors of Polish industrial and environmental novels--Artur Gruszecki, Stefan Żeromski, and Ignacy Maciejowski (Sewer)--represented various ideological stances. In their approach-es to the mechanisms of capitalist industry they most often criticised the economy based on misuse of working force, and on exploitation of nature (deposits of coal and petroleum). Gruszecki in his novels Krety (Moles) and Hutnik (Steelworker) as well as Żeromski in Ludzie bezdomni (Homeless People) disguised the capitalist logic, showing its destructive influence on a man and natural environment. The sharpest criticism of capitalocene and anthropocene is found in Żeromski's novel. [ABSTRACT FROM AUTHOR]

The article refers to an early period in Władysław Stanisław Reymont's biography; it traces the figure of Stefania Liwska, née Hulanicka, mistakenly identified by the writer's monographer Barbara Kocówna as Stefania Kluge, a young wife of a stationmaster in Rogów. Love to Liwska, Reymont's first serious affection, left in his memory and in women literary creations an indelible mark. Due to finding and exploring new sources and proper deciphering diary notes and correspondence, the paper sketches Liwska's biography and that of her husband Ignacy, Reymont's superior from the time of his work for the railroad, as well as traces the probable and set in a proper reality course of their relationship with Reymont. Additionally, it attempts to verify Reymont's alleged fatherhood. [ABSTRACT FROM AUTHOR]

This paper is a contribution to the study of the relationship between literature and sociology at the end of the 19th century in partitioned Poland. In particular, it explores the theoretical potential of Ludwik Krzywicki's concept of "migration of ideas" for comparative literature studies. It explains the context of the interplay of literary criticism and sociology among the Warsaw intelligentsia and examines how the work of foreign anthropologists and sociologists of literature (Hutcheson Macaulay Posnett, Charles Letourneau) was received in these circles. Even in the earliest sociologically based studies in the field of comparative literature, one can discern a postulate of functional connection between literature and what sociologists call "the social bond" (and what in the debate of the time often figures as "social sympathy"). The article reconstructs this line of reasoning and discusses the factors that led to it, disappearance in the subsequent history of the discipline. [ABSTRACT FROM AUTHOR]

The paper presents the ideological connections between Joseph Conrad's and Gilbert Keith Chesterton's output and between social-political activities of the two figures. Regardless of a manifest worldview discrepancy (Conrad's agnosticism versus Chesterton's Christian fideism), a strong spiritual link can be found between the writers. Their works are marked by interest in the man--deliberate and morally responsible creative subject, thus personalistic anthropological assumptions, while in journalism they shared devotion to modernly understood Latin tradition seen as a fundament of European civilisation. The two writers were distinguished by antiutopian sensitivity and sophisticated criticism of technocratic ideas of social reforms developed in the Fabian Society. As regards political issues, they supported the Poles' aspirations to independence. Critically speaking about pan-Germanic militarism and about the Zionistic politics led upon alliance contracted with Germany at the expense of Poland, they forcibly wrote about destructive impact of Bolshevism and communism. [ABSTRACT FROM AUTHOR]

The paper attempts to reconstruct the views on realism and its semantic content formulated by two novelists, namely Zygmunt Kaczkowski and Józef Ignacy Kraszewski. Their understanding of the realism in the discussed period--1850s and 1860s--is a conglomerate of several approaches to the various kinds of art (as it tells not only about literature, but also, presumably, first and foremost, about fine arts), as well as of discourses. What counts here is both the then literary-critical discourse, and the philosophical, economical, as well as political one. Ultimately, realism is viewed not as a variety of a literary presentation, but also as an attitude towards the world, art, politics, associated with liberalism and situated between Romanticism and naturalism. [ABSTRACT FROM AUTHOR]

Gallagher's focus of interest in the paper is fictionality in the novel - the issue that has been troubling scholars and novel writers from the moment the first narratives were issued and the novelistic form took its shape as a literary genre. Referring to examples from various literatures (mainly American, but also English, French, and Russian), the researcher traces the modes in which narration was conceived, examines the changing concept of referentiality, scrutinises the various approaches to the (in)credible, falsehood, imaginary events, and proper names in a fictional composition. Since her observations in majority are reader-oriented, she refers to the concept of emotional effect and the suspension of disbelief (in Samuel Taylor Coleridge's view) to observe the relationship between the fictional character and the public. Gallagher convincingly proves that the development of 18th-century literature mirrors a rise of fictionality since readers of that time became increasingly familiarised with the notion of fiction that is non-referential and detached from real-world figures, places, and circumstances. [ABSTRACT FROM AUTHOR]

The paper focuses on three categories, namely on time, space, and experience, in the context of cultural, social, ethnic, and geographical diversification of the Polish territory under the partitions. The author also considers the implications that arise from a wide application of the term "modernity" in the research in the Polish 19th century, and he concludes that the mentioned term reduces the diversified space to a limited class- and space-conditioned segment. The author also points to the multiplicity of temporal orders defining the lives of post-partition Polish citizens and the identity models that determined their life choices. Towards the end, referring to Ryszard Nycz's "poetics of experience," Forajter analyses fragments of Jadwiga Maria Strumff's Spostrzeżenia nad ludźmi. Szczere wyznania Massażystki (Ideas about People. Honest Confessions of a Masseuse) to follow with conclusions about heterogeneity of experience in the second half of the 19th century. [ABSTRACT FROM AUTHOR]