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The aim of this paper is to discuss selected cultural keywords in the Norwegian translation of Wisława Szymborska’s (1923–2012) poetry. Translators O.M. Selberg and Ch. Kjelstrup used multiple approaches, thanks to which Norwegian readers have a chance to get acquainted with typical Polish phenomena, although often at an expense of the original text. Since the kind of publishing itself – an anthology of translated poetry – indicates the place of Szymborska’s work in the foreign discourse, her published works in Norway, Sweden and Denmark, along with her reception in Norwegian discourse as a Nobel Prize winner, are discussed here as well.
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The author presents fragments of the diary of rabbi Josef Guzik’s from Dukla. In the introduction Farbstein characterizes the diarist and also discusses the tragic fate of the local Jewish community. Guzik kept his diary in hiding during 1943–1944. He wrote in Rabbinic Hebrew, using expressions and references to Jewish sources despite not having access to the books he was quoting. He treated writing as a mission to bear witness for the sake of the future generations. Josef Guzik’s writings go back and forth between the internal and the external world, revolving around four axes of time or space which intertwine in every entry. The original text did not survive. The incomplete copy of the diary is stored at Yad Vashem.
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Następny proszę. Następny. Następny. Ludzie wchodzą i wychodzą, nie ma im końca. Pokazuję, gdzie jest gabinet psychologa i gdzie przyjmuje lekarz. Zamykam dziesiątki dramatów i śmierci w zdawkowych komunikatach rejestru.
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The article is an attempt at a synthetic examination of the concept of beauty in Norwid’s work. The paper highlights the most important aspects of this complex problem. The author of Promethidion conceives of art and beauty as if they were transcendental categories in their classical sense, manifested by the principles of perfection and their ontological inevitability, as well as by ethical autonomy. The originality of the poet’s aesthetic concepts is, to a large extent, determined by his anthropological insight, the object of his focus being such important issues as work, national art, folklore, and style. The concept of love—although strongly rooted in the Gospel and in the patristic thought—also finds its justification here. According to Norwid, the ultimate point of reference and the origin of love is God, whereas the human being is its subject. The article emphasizes the scheme Norwid used to construct his aesthetic ideas based on a specific vision of man as a being immersed in mortality, in history, as well as in the present moment, and, simultaneously, related to the ‘harmony of creation.’ Any incarnation of a creative concept requires effort and work, including physical work, at the same time paradoxically—in this physical aspect— going beyond the horizon of the earthly life. The relation of the creator to the created, by analogy to God’s creative attitude, manifests its fullness in love and through love.
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This article discusses the ways of fictionalizing biography in the midtwentieth century, using as examples two biographies. One is Dziennik pobytu w Rosji Adama Mickiewicza by Leon Gomolicki (published in 1949), which is based on chronologically arranged sources. The second is a young adult fiction book Namiestnik narodu by Tadeusz Łopalewski (published in 1955). In her analysis of the sources, the author of the article points out that Gomolicki’s work depends on Russian sources, unknown to a Polish reader. This announces his future decision to forsake academic writing and undertake experimental prose. Łopalewski’s prose, on the other hand, paraphrases and summarizes source materials. He also relies on his own creative experience in radio and concentrates on Mickiewicz’s pronouncements rather than descriptions of his life. In Gomolicki’s work citation becomes a heterogeneous, almost experimental compilation while in Łopalewski’s novel the narration unifies diverse voices.
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The theme of this paper is Aleksader Fredro’s Husband and wife – one of the most valued performances in the works of Bohdan Korzeniewski. The author reconstructs the actual performance based on reviews, director comments and remarks preserved in the prompter’s copy and proves that superimposing these perspectives shows the emancipatory potential of stage play. The author concludes that interpreting Husband and wife in a libertine spirit matches Korzeniewski’s directing strategy which can be described as Wallenrodic.
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This article reflects on the politically biased censorship practices towards the dramas of Adam Mickiewicz and Juliusz Słowacki. It also discusses the censorship conducted by the “UKPPiW” office of the new re-interpretations of Romantic literary tradition, which alluded to the stereotypical function of adolescence. The author concentrates on the conflicting attitudes of the New Wave poets and censors. The first group perceived the Romantic nonconformists as their ancestors while the second was concerned about the concept of Romantic youth understood as imperative contestation of reality.
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This article discusses the literary legacy of Artur Gruszecki (1852–1929). The author explains why some of his novels were forbidden by the Polish Communist authorities and put on the censorship list in 1951. Further, the article explains how, owing to the twentieth century ideologies, Gruszecki’s substantial writings remain vitually unknown to the contemporary reader in Poland.
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This paper is an analysis of the discourse emerging around the novels by Stanisław Brzozowski in Poland between 1945 and 1989. The publishing timeline sets the background for the more important focus on the reception of his work. Three distinct periods are discussed – 1945–1956, when his novels were regarded as an aftermath of the interwar period, and thus banned under the Stalinist regime; 1956–1974, when his work was frequently reprinted and became a subject of historical and literary research; finally, 1974–1989, when Brzozowski’s novels came under proper academic scrutiny.
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This article discusses the life, career and work of Aniela Gruszecka. The author attempts to characterize her writing career after 1945, highlighting its successful turns. According to the author the fact that Gruszecka was married to the famous linguist Kazimierz Nitsch may have had an impact on her work. While the criticism addresses mainly the most famous work by this long forgotten writer – Przygoda w nieznanym kraju, the author of the article analyzes two unpublished novels – Wschodnie skrzydło and Geografia serdeczna.
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This article examines the post-1945 reception of the work by Adam Strug – Miliardy. The posthumous novel presents the lives of several protagonists living in New York during the Great Depression (1929–1933). The article discusses the critical remarks formulated in the years 1945–1989, when the cultural policy of the Polish People’s Republic was politically subjugated to Marxist ideology. All those interconnections bore upon the reception and interpretation of Andrzej Strug’s literary works.
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This article discusses the censorship of the Spanish Civil War in Poland, using the example of the work Zapiski na karteluszkach. Hiszpania po czterdziestu latach by Jan Wyka. The first part of the text is dedicated to the activities of “GUKPPiW” in the 1980s, biographical information on Wyka and other important publications on the Spanish CivilWar. In the second part, Zapiski has been reconstructed to demonstrate the fragments cut out by the censorship.
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The article addresses the polemic between two Polish writers Jerzy Andrzejewski and Jerzy Zawieyski, whose outlook was significantly affected by the war experience. When in 1945 Andrzejewski was influenced by Marxist ideology, Zawieyski turned to religion and gained recognition as a Catholic writer. The author of the article asserts that Andrzejewski’s Propozycje teraźniejszości (published after 1945) and Zawieyski’s Kantata anielska (1948) represent a literary polemic determined by its biographical and socio-political contexts.
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The article offers a critical reading of an important and original book by Maciej Junkiert – Nowi Grecy: Historyzm polskich romantyków wobec narodzin “Altertumswissenschaft”. The author considers the book in the context of Junkiert’s earlier works and the current critical interest in the concept of reception, its theoretical approaches and practical application. The author concludes that the book casts new light on the antiquarian research and historicism, situating its onset in the German myth of “new Greeks” and nationalistic reading of literature.
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The article interprets the novel Gwiazda Piołun by Władysław Lech Terlecki. Its main character is based on the real life figure of Stanisław Ignacy Witkiewicz – author, painter, philosopher. The author of the article indicates the relationships between the accounts of Witkacy’s death and its fictional version. Terlecki’s story of a painter who escapes from war, only to commit suicide eventually, became a pretext for discussing the events from September 1939 and March 1968.
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This article analyzes the novel Wilk (English “wolf”), which was written by Marek Hłasko, discovered by Radosław Młynarczyk, and then published only in 2015. The novel depicts the lives of the residents of a Warsaw district, Marymont during the interwar period. The analysis of this text by young Hłasko sheds new light on the current academic criticism of the writer’s works, and shows – sometimes indirectly – his inspiration with the literary representatives of Young Poland – Stefan Żeromski and Władysław Reymont. The discovery of the literary camouflage used by the writer discloses the following components of the Young Poland period: sensitivity to the beauty of melody and image, lyrical description and the question of rapid civilization changes.
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The article’s interpretation of Sońka by Ignacy Karpowicz centres on the construction of the eponymous character. The author of the article analyzes the character’s identity, drawing from the postmodern feminist critique. Especially useful is the concept of nomadism introduced by Rosi Braidotti. Another key idea is the proposal by Adriana Cavarero about the functions of relation and narration in building female identity. The author emphasizes the significance of the body and bodily experience in the creation of the feminine self.
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The article analyzes the depiction of Podlasie in the literary reportage Jutro spadną gromy by Bartosz Jastrzębski, Jędrzej Morawiecki and Maciej Skawiński. The author concentrates on the authorial voice and the professional background of the writers, emphasizing in particular the photographic narrative of the place created by Maciej Skawiński. The article also discusses the image of Podlasie and its capital city – Białystok.
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The article attempts to present in a synthetic way (also in the axiological aspect) the editorial work of Juliusz Wiktor Gomulicki. The editions of Norwid’s ouvre prepared by Gomulicki, especially the first complete edition of the poet’s writings, were published mainly in the years 1944–1989. Undoubtedly, Gomulicki’s greatest editorial success was the full coverage of Norwid’s writings. However, there were also some flaws, such as the excessive “biographisation” of his editorial commentaries, erroneous readings and peculiar, in the literary sense, interpretations. Furthermore, Gomulicki marginalised Norwid’s activity in the area of plastic arts (cf. his lithograph Solo). Also his genological classifications and categorisations, which had a great influence on the layout and form of the corpus of Norwid’s writings, raise some serious doubts. Finally, it is also impossible to recognize the critical and scientific character of this publishing endeavour, which Gomulicki willingly and constantly stressed.
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