Search

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 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]

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 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]

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 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 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 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 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]

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]

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 A Cultural History of the 19th Century Novel presents a project on the same subject, and discussed in accordance with the logic of developing the idea. Its beginning is a reflection on the 19th century that failed to await a binding that differs from a system of oppositions (work-creativity, progress-tradition, individualism-collectivism, activism-passivism, etc.). The author of the paper proposes to acknowledge the history of the (realist) novel told anew as a factor that binds "the long 19th century." The terms "realism" and "realistic" detach here from their simplest meanings, become a synonym for multifarious narrative matter that while sticking to the general rules of probability (and often even breaking them), it plays its own games with the reality. Conceived of in this mode, the 19th c. realist novel claims its cultural history embedded in all aspects of social and literal reality, from hearth and home of authors to abstract developmental lines of novelistic genre. [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 was produced as a response to an unusual plea located in the Russian Internet in September 2019. Yuliya Yakovleva, a R ussian-born Muscovite, a great-granddaughter of Aleksandra Karpova, née Żeromska, enquired Internet users about their knowledge whether her great-grandmother mentioned above might have been a sister of the Polish writer Stefan Żeromski, and she followed with a request about the delivery of further information about this case. As a consequence of a chain of sympathetic intermediaries, the author of the paper entered into contact with Yakovleva and came into possession of numerous information and scans of biographical documents, which resulted in writing the article about the dramatic life of Żeromski's elder sister. [ABSTRACT FROM AUTHOR]

The paper is a multicontextual interpretation of Wiktor Woroszylski's poem Zagłada gatunków (A Holocaust of Genres), written in 1966 and published four years later in a volume under the same title. The author of the paper relates the piece to the realia and circumstances in which it was composed (including the anti-Semitic ambiance), compares it to Woroszylski's other pieces, especially to the silva rerum autobiographical prose Literatura. Powieść (Literature. A Novel, 1977), and moves on to prove that the poem foreruns the consideration about the analogy drawn between the mechanisms of exclusion of some ethnic groups leading to their extermination and permission to kill animals. Stressing the significance of the innovative in its time and now falsely forgotten book by Antonina Leńkowa Oskalpowana Ziemia (Scalped Earth, 1961) to which Woroszylski directly refers, the author of the paper points at the timelessness and strength of the poem to the literary studies reflection over the Anthropocene (the poem can even be thought of as the first Polish piece to reflect on the issue), it interestingly resonates with the works by, inter alia, Ewa Bińczyk, Dipesh Chakrabarty and Elizabeth Kolbert, and at the same time preserves the relics of anthropocentric optics, giving insight into the limits of collective and individual memory. Nonetheless, in subversive reading it proves to be a powerful voice for deanthropocentrisation of genocide studies. [ABSTRACT FROM AUTHOR]

The paper offers an attempt to insight into the experience of internment from a woman's perspective. The starting point here is Wiktor Woroszylski's poem Kobiety internowane (Interned Women), composed in the poetics typical of that of martial law (characterised in the papers by Danuta Dąbrowska and Janusz Sławiński). The poem and Woroszylski's notes from his diary written in the intern camp are made subject of parallel reading alongside notes and memories recounted by women. The works are not only a testimony, but also a document of female and male authors' awareness, all of which strengthens the stereotypical image of gender roles division and takes advantage of ready--made clichés in building one's own account of the situations that proves vital for the country and nation. [ABSTRACT FROM AUTHOR]

The author of the paper attempts to interpret Bolesław Leśmian's Dziewczyna (The Girl). He begins with the rhythm-the vital issue for the poet that he saw as more important than the word level; in modern terminology-the verbomotoric level. The starting point for the poem's reading is, nevertheless, versification analysis, and that was superbly carried out by Kazimierz Wyka. Mencwel relies on this analysis and also exceeds the "philosophical" distinguishments recurring in the subject literature. Similarly, he recalls Giambattista Vico's concept of "poetic wisdom" and "austere metaphysics" to prove that The Girl is not a philosophical, but a mythological piece of writing. The article, to a possibly utmost detail, analyses the poem's polyphonic construction and "bizarre" world presented in which the world and the other world intermingle and "participate" in each other. Towards the end of the poem the poet in a feasibly direct way, in his own voice, utters his message about the significance of mythologisation and about mythologisation being human and only human creation. [ABSTRACT FROM AUTHOR]

The author of the article analyses a rich translation series composed of 13 Polish renderings of Lewis Carroll's Alice's Adventures in Wonderland. The time span (1910-2020) between consecutive items of the series allows to trace changing translation strategies which depend on the fluctuating translatory norms and literary polysystems of the source and target cultures. Dynamics of the series is also discussed in the paper, specifying central and polemical translations, as well as the most enigmatic, full of paradoxes and escaping any classification Polonised version by Grzegorz Wasowski. The article's final part contains a meticulous presentation of the culture-forming role of the book which inspires translators, artists and scholars all over the world. [ABSTRACT FROM AUTHOR]

The review discusses a collective volume of papers Strony Joanny Pollakówny (Aspects of Joanna Pollakówna) edited by Anna Kozłowska and Jan Zieliński (2017). It includes interpretations of Pollakówna's poetic, essayistic, and biographical output, an analysis of reception of her works, and a bibliography. Beyond doubts it is a fundamental book for Pollakówna's monographers, not only of her as a poetess and essayist, but also art historian, translator, and authoress of books for children. [ABSTRACT FROM AUTHOR]

The author of this paper presents the uncollected to this day musical terms from Bruno Schulz's cycles of stories Sklepy cynamonowe (Cinnamon Shops) and Sanatorium pod Klepsydrą (Sanatorium Under the Sign of the Hourglass). The collected lexis is divided into several categories and it shows that the number of musical terminology and its use proves vital in Schulz's creating the world presented and his language. The musical motifs in the discussed stories usually voice in three situations: in depictions of city space, including architecture, in protagonist characteristics, and in descriptions the sounds of nature-audiosphere. Skrzypczyk analyses and interprets selected prose fragments, including musical motifs such as the barrel organ. Musical metaphors and musical analogies make room for expressing the inexpressible, carry down the tension between the image and the world, and complement the world presented. Ultimately, Schulz employs not only single terms, but also verbal music-verbal description of the musical work. In her study, Skrzypczyk makes use of literary potential to express what is inexpressible, namely music, through which she uncovers some truth about the author and his sensitivity. [ABSTRACT FROM AUTHOR]

Problems of vocal translations are made subject of the paper. Following Stanisław Barańczak, translation text for singing consists in the greatest language mastery and also is constrained by a number of rules and regulations. Even the smallest structural-semantic deviation from the original may lead to consequences when confronted with music. Barańczak's vocal translations are seen as a separate phenomenon, and also as an interpretive challenge not only for the performer, but first and foremost for music-literature borderline researcher. An analysis of Countess Almaviva's songs reveals that Rosina in the original and in the translation are different characters. Barańczak creates a figure that is not conflicting to its prototype, but functions complementarily in a new intermedial reception mode. [ABSTRACT FROM AUTHOR]

The article sums up Witold Wirpsza's presence on the pages of one of the most paramount periodicals of the Polish 20th century emigration. Following the decision of the Polish authorities that refused to prolong the validity of his passport, the writer stayed in West Berlin. Between 1972 and 1985 he published in the Paris "Kultura" ("Culture") almost 60 pieces, including poems, essays, polemics, reviews, conversations, short stories, letters to editors, and open letters. The author of the article traces the publications, and discusses them in the context of Wirpsza's correspondence with the other figures who prove influential for this monthly. The text in enriched by fragments of letters deposited in Berlin Archiv der Akademie der Künste. Wirpsza's main respondent is Jerzy Giedroyc-the editor-in-chief of "Culture." Other authors of letters quoted in the paper are Gustaw Herling-Grudziński, Leszek Kołakowski, Józef Czapski, and Maria Danilewicz-Zielińska. Pawelec pictures Wirpsza in "Culture" as a writer of polemical temperament. In the circle of "Culture" he was a "well present" figure, especially in the first period of his cooperation with this periodical. His activity clearly downtones in the 1980s due to health problems. The crowning of the writer's "good presence" in "Culture" was a remembrance sketch published after his death in the monthly in question by Wiktor Woroszylski entitled Imiennik (Namesake). [ABSTRACT FROM AUTHOR]

The paper is devoted to the literary pieces that in a polemical way refer to Czesław Miłosz's Piosenka o porcelanie (Song on Porcelain). Kłosowski analyses here the poems by Stanisław Barańczak, Tadeusz Różewicz, and Zbigniew Herbert, each of whom takes up the motif of porcelain proposed by Miłosz, and who give their own contrasting visions of a man's life and her/his devotion to material products (Barańczak), post-war poetry (Różewicz), or fragility as an aesthetic category through the prism of which one comprehends lyrical creativity (Herbert). The arbitrary catalogue of intertextual relationships demonstrates profound significance of Miłosz's poem and the motif of porcelain derived from it in the work of Polish 20th century poets. [ABSTRACT FROM AUTHOR]

The author of the paper underscores that in Julian Przyboś's piece Notre-Dame of Paris four times becomes the world's vertical axis. It proves to be an exceptional crosspoint of the earth's horizontal axis and the universe's vertical axis, as in Jacob's dream. The consequence of entering the temple through its door is expressed in the words: "The Interior pried me from the spire's hook-in terror." And the terror is a fundamental item of numinosum. A startling effect of the poet's three-decade struggle with the most famous gothic cathedral of Paris seems to be his at least partially religious or only para-religious confession: "I made a plane pilgrimage to Notre-Dame de Paris as to The Beauty of Lourdes that never failed me [...]. [ABSTRACT FROM AUTHOR]

The paper is devoted to the birth of the Philomath myth, namely the shaping of cultural memory about imprisonment, investigation and following it deportation from Lithuania to exile into Russia of a group of Vilnius interns, students and professors in 1823 and 1824. The author of the paper focuses on announcing and first accounts of so-called Philomath and Filaret trial, the associations to which, traditionally, an anonymous brochure published during the Polish November Insurrection Nowosilcow w Wilnie w roku szkolnym 1823/24 (Novosilcov in Vilnius in the Schoolyear 1823/24, 1831) by, as was later proven, Joachim Lelewel, and Adam Mickiewicz's Dziady (Forefathers' Eve) part III (1832) belonged. As based on those autobiographical accounts, and also on the regained manuscript of Nowosilcow w Wilnie, the author formulates a thesis about the existence of pre-Mickiewicz, nameless, collective memory about the Philomaths strengthened, and also substantially changed by the issuing of Dziady part III. [ABSTRACT FROM AUTHOR]

The author of the paper explains the role that the problem of memory plays in Ballady i romanse (Ballads and Romances). He also poses a question about the significance of the romantic turn which is taking place in Polish literature, and in doing so he challenges the state of research completed to this day in Mickiewicz's cycle of ballads (especially with the works by Zgorzelski, Stefanowska, Fieguth, and Miłosz). Trybuś exploits the issue of romantic memory, resorts to Aleida and Jan Assmann's cultural studies reflection, as well as allows both for the rhetoric tradition of memory reflection, and the epistemological tradition ("eye of memory"). In his reading of the ballads he concentrates mainly on the subject of romantic memory and on the places of memory, indicating memory-forming experience of death. The considerations are thought of as justification of the paper's hypothesis about two culminating points of the development of memory problems in Mickiewicz's creativity--in Ballady i romanse and in the consecutive parts of Dziady (Forefathers' Eve). [ABSTRACT FROM AUTHOR]

The paper is an attempt to disambiguate a set of phenomena forming a new Romantic paradigm in Adam Mickiewicz's Poezje (Poetry). It describes the mode in which, in connection with the constitutive occurrence of ballads, namely the breaking of empirical vision of the world, all the crucial (textual, imagery, existential, and subjective) phenomena of the work mingle into a multi-layer model to generate new relations and shapes. This event core of the ballads is also linked with developing a personal ethic horizon and individual romantic identity based on it. The paper reveals that this identity is substantially formed in the subjective sphere of the literary piece, on the level of the narrator and the author of Ballady i romanse (Ballads and Romances). Parallel phenomena are examined in the lyrical pieces of the Poetry. [ABSTRACT FROM AUTHOR]

In the initial part of the paper, the author revises the state of research in Sebastian Fabian Klonowic's poem Victoria deorum to this day, taking into consideration the issue of nobility, the allegorical nature of the piece, its literary genetic and thematic qualification, affinity for Old-Polish paraenetic literature, explanation of the title, the role of mythological context, social problems, construction of the work, printing history as well as ancient and modern sources of erudition. Next, he describes the history of translations of the piece (both those that remain in manuscripts and fragments printed in research papers), mentions partial Latin editions of the work and quotes fragments of scholars' translations. He also informs about a discovery of a translation, regarded as lost, by Jacek Idzi Przybylski, characterises its manuscript found in the collection of Ambroży Grabowski, deposited in the National Archive in Cracow, and follows to consider the reasons why Przybylski stopped his translation and Grabowski failed to publish the work of his friend. [ABSTRACT FROM AUTHOR]

The paper reveals that the immediate cause of including Dialog mistrza Polikarpa ze Śmiercią (Master Polikarp's Dialogue with Death) in 1542 in the print Śmierci z mistrzem dwojakie gadania (Death's Two Dialogues with the Master) was a plague epidemic that then spread over the Greater Poland region and reached Cracow the following year. The epidemic was the most severe of all that attacked Poland in the 15th and 16th c. The Cracow printers issued at that time numerous mortuary prints and within this framework they also reminded of the mediaeval dialogue. The author of the paper also pays attention to two readers of this volume: Mikołaj Rej, who, influenced by it, composed his Kupiec (Merchant, 1549), and Paweł Simplicjan, that in his Manele duchowne (Spiritual Matters, 1601) in extenso quoted a piece of a skull from Śmierci z mistrzem dwojakie gadania. Simplicjan's publication is here linked with a 1542 edition which also incorporates the same image of Death. [ABSTRACT FROM AUTHOR]

The paper discusses the ethical aspects of issuing Leo Lipski's volume Proza wybrana (Selected Prose) by Czarne Publishing House, prepared by Agnieszka Maciejowska, and in doing so it devotes attention to the issues of preserving the waiting period for launching Lipski's intimate letters to Irena Lewulis. The letters in question, following the will of Łucja Gliksman, the writer's friend and carer, were to have been revealed to readers 25 years after transferring them to the Archives of Polish Emigration, University Library of Nicolaus Copernicus University in Toruń. The letters appeared on the market earlier, in 2022. Thus, there emerges the question why the edition fails to comply with the will of the letter's donor. [ABSTRACT FROM AUTHOR]

The paper discusses Tadeusz Sucharski's monograph Literatura polska z sowieckiego „domu niewoli" (Polish Literature from the Soviet "House of Captivity"), currently the most serious synthesis of labour camp prose and poetry accessible in Polish. [ABSTRACT FROM AUTHOR]

The paper surveys the figures and images of the Russian women reproduced in the Polish interwar press discourse. It is an attempt to reinterpret the meanings of the images by deconstructing the gender stereotypes that deform them. The assessment analysis of the emancipation in the Soviet Union recorded in the Polish interwar press concentrates on describing the phenomenon of emancipation through work and through adopting the male roles, e.g. military ones, by the Russian women. In this manner, the Polish-Russian cultural contacts are distorted as being entangled into the Polish models of gender roles and the ideas of Polish identity supporting the roles, deformed by the male version of the Polish national canon, as well as patriarchal social order based on interrelation of power, strength and violence. [ABSTRACT FROM AUTHOR]

The paper reports on a crime on 18.000 Jews in Majdanek Nazi concentration camp. Hidden under a codename "Erntefest [Harvest]", the execution took place on November 3rd, 1943, and was the last stage of Operation Reinhard, consistent acts of murdering Jews in the General Government. The crime was recounted in dozens of camp memories, mostly unpublished, and a dozen or so pieces in prison jargon, the latter of which form the structure of the present paper. It is, first and foremost, a set of letters by Henryk Jerzy Szcześniewski and by Henryk Wieliczański (Izrael Halpern), both corresponding with their relatives with the help of civil workers employed in the camp. It is an excellent example of camp personal document literature. [ABSTRACT FROM AUTHOR]

The paper is devoted to an analysis of a 1826 speech O powołaniu i obowiązkach młodzieży akademickiej (On Vocation and Duties of University Students) delivered by Kazimierz Brodziński (1791-1835), Polish literature professor at the Royal University of Warsaw. The speech intended to explain the students the system of studies and contained pieces of advice about the student's individual work and conformation to the University's rules and regulations. The paper additionally had another layer, unnoticed by scholars to this date, namely a voice in the dispute about the future of university. Facing the plans of the Department of Education that aimed to split the University into specialist schools, a part of which was to be located outside Warsaw, Brodziński stresses the unity of university teaching and the importance of general subjects as, for example, philosophy or literary history. Brodziński also kept clear distance from the then system of supervising university students. His views on university didactics are confronted with the conceptions of Józef Kasalanty Szaniawski (1764-1843), the State's Councillor and a conservative politician, who was in charge of education of the Kingdom of Poland. [ABSTRACT FROM AUTHOR]

The paper accurately discusses Franciszek Malewski's biography (Filomat v Imperii. Dokumentalnaya povest o Frantishku Malevskom? A Philomath in the Empire. The Documentary Story of Franciszek Malewski?, 2019) by Alexandr Feduta, a Belarussian literary scholar who for many years has been publishing (in Russian, Belarussian, and Polish) materials referring to the history of the Philomaths exiled into the Russian Empire. Feduta scrupulously penetrated Russian, Lithuanian, and Polish archives, which allowed to picture the figure of Malewski--for most part omitted in Polish research--who, after leaving Mickiewicz, stayed in Russia and started moving up the ladder as an office worker. The biographer refrains from passing sentences, but rather displays the difficult choices of the Empire's citizens in the context of political and legal situation of the country, and also in comparison with the lives of other Poles living and working in Russia. [ABSTRACT FROM AUTHOR]

While Adam Mickiewicz's life has been closely examined, sometimes even scrupulously, the knowledge about the poet's ancestors and relatives is scanty. This refers to, inter alia, the Orzeszko family, from which the poet's grandmother--Anna Majewska, née Orzeszko--descends. The paper presents, as based on information included in documents, the ancestral relations of this particular line of Mickiewicz's family, and the situation of Mateusz and Anna Majewscy before their settlement on the property in Czombrów. [ABSTRACT FROM AUTHOR]

The author of the paper attempts to reconsider the relations between Adam Mickiewicz and Weltliteratur and discloses the factors referring to the idea, formulated for the first time by Johann Wolfgang Goethe, that played special function in the Polish poet's output. As based on Paris lectures, particularly the first five of them, the author insights into the way in which Mickiewicz takes advantage of world literature and discusses the context of Slavonic studies debate that took place at that time. [ABSTRACT FROM AUTHOR]

The paper is devoted to Adam Mickiewicz's political thought. Its chief thesis refers to the breakthrough that took place in his thought after the year 1831. The breakthrough entailed quitting from the vision of politics shaped within the framework of Enlightened modernity to develop a programme of Messianic politics anchored in modernity criticism. The change is presented as a paradigmatic choice, a choice of the only accessible tools to pursue politics; it became an exemplary, repeated until today motion of the Polish politics, breaking with modernity. The model proposed by Mickiewicz comprises criticism of liberal democracy, setting politics into religious and moral frame, national symbolic field, and treating politics as an agon. [ABSTRACT FROM AUTHOR]

The paper takes up an interpretation of earliest literary pieces and letters by Adam Mickiewicz (1798-1855) from the years 1817-1819, when the poet studied at Vilnius University and taught at a Kaunas school. Satirical and mock-heroic poems from that time (Mieszko, książę Nowogródka 〈Mieszko, Prince of Novogrudok〉, Pani Aniela 〈Lady Aniela〉, Dziewica z Orleanu 〈The Maid of Orleans〉, Kartofla 〈Potato〉) are adaptations of Voltaire's plots adjusted to Polish conditions. The interpreter asks about the mode in which young Mickiewicz pictures the historical, human nature, and existential (misfortune) evil. The adaptations from Voltaire are compared with a tale of Żywila (Zhivila) and letters written in a diction of despair. A combination of a private thread with a historical thread of evil experienced by a community devoid of freedom is a characteristic feature of Mickiewicz's image of evil. [ABSTRACT FROM AUTHOR]

The paper registers and discusses Zbigniew Herbert's unknown to scholars early journalism. 48 press papers from the years 1948-1955, found mainly in Toruń mutated edition of "Ilustrowany Kurier Polski" ("Illustrated Polish Courier") and in "Słowo Powszechne" ("Universal Word") of the PAX Association, are a marked supplement to the work by Paweł Kądziela Twórczość Zbigniewa Herberta. Monografia bibliograficzna (Zbigniew Herbert's Creativity: A Bibliographical Monograph, 2009), and to Herbert's journalistic papers Węzeł gordyjski oraz inne pisma rozproszone 1948-1998 (The Gordian Knot and Other Scattered Writings 1948-1998, 2001; second impression, extended and amended 2008), also collected and prepared by the same author. The years 1949-1951 is also the time when Herbert co--worked with the Gdańsk Radio Station, and with the Pomeranian Radio Station in Bydgoszcz and in Toruń of the Polish Radio, which resulted in radio broadcasts. The paper examines 16 such broadcasts, pieces of information about which were found in the National Archives in Gdańsk and in Bydgoszcz. [ABSTRACT FROM AUTHOR]

The paper presents an unknown manuscript of Nowe niebo duchowne [...] (New Spiritual Heaven [...]) ascribed to Tomasz Nargielewicz OP, disregarding the inspection of the piece. The essential part of the article consists of a description of the regained relic and a comparison of the work--the manuscript and the codex where it was recorded--with Nargielewicz's output. The analyses allow to settle the author of New Spiritual Heaven [...] and to suggest new hypotheses about the circumstances of Nargielewicz's works composition. [ABSTRACT FROM AUTHOR]

The paper discusses Daniel Naborowski's recently found poem composed to commemorate a German surgeon Wilhelm Fabricius Hildanus and their to this day unknown correspondence (Naborowski's letter dated July 27th, 1613, and Hildanus' two letters dated January 12th, 1614, and March 20th, 1614). The author of the article reconstructs the course of the poet's friendship (and his patron Janusz I Radziwiłł) with the German medic as based on the correspondence published by Hildanus in the collection Observationum et curationum chirurgicarum centuriae. Naborowski's letter also brings new information about the battle of Guzów waged during Zebrzydowski's rebellion. [ABSTRACT FROM AUTHOR]

The paper discusses a few places from Żywot Ezopa (The Life of Aesop the Phrygian) by Biernat of Lublin. To achieve a better understanding or even correcting the piece under scrutiny, the author compares it with its Greek original and, first and foremost, with Rinuccio's Latin translation, and also takes into consideration the German translation (by Steinhöwel) and the Czech one (by Vrchbělský). [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.)

The study challenges the statement that Stanisław Herakliusz Lubomirski's Eklezjastes (Ecclesiastes), a poetic translation of Ecclesiastes, is effectuated from Jakub Wujek's translation of the Bible. The author of the paper suggests that Lubomirski's paraphrase was based on the Vulgate. To prove it, he carries out a translatological analysis of fragments from Eklezjastes treated in the literature as evidence for the text's dependency on Wujek's translation (Arguments 1-8) and lists factors that conform Lubomirski's work on the Latin text (Arguments 9-12). [ABSTRACT FROM AUTHOR]