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The article discusses literary representations of Łódź, challenging the popular notion about the lack of portrayals of this city in the literature. It offers a selection of walking tours of Łódź tracing literary characters (including Piotrowska Street, the Bałuty district, Łódź cemeteries, hotels, and tenement houses), and the argument presented in the papers aims to show that literary space and urban space are interlinked.
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The text refers to two translations of Trans-Atlantic of Witold Gombrowicz – English and Italian. The essay focuses on the last chapter of the novel, tracking down its translatory dark and blind alleys. It presents not only an analysis and critique of the existing translations, but also proposes solutions that would effectively bring the phenomenon of Gombrowicz in foreign languages.
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In his essay "The Writer as a Reader" Ricardo Piglia examines the effects of Witold Gombrowicz's stay in Buenos Aires in the years 1939-1963 on the culture of Argentine. At the beginning, he discusses the implications "Against Poets" and the translation of Ferdydurke for the Spanish language. He also addresses the issue of development of the literary canon, the so-called "economics of literary value" and considers Gombrowicz's work in terms of his exile and exclusion. Finally, he considers Gombrowicz's Diary as a laboratory of the writer's oeuvre.
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The article presents the bilingual French-Polish publication, entitled »La Morale de Madame Dulska. Moralność Pani Dulskiej« (2011). Editors of the volume (Danuta Knysz-Tomaszewska, Grzegorz Bąbiak and Cecile Bocianowski) invited representatives of various universities to join the project, among them: Paris III Sorbonne (Elżbieta Koślacz-Virol), Paris IV Sorbonne (Daniele Chauvin) and University of Warsaw (Tomasz Wójcik). The play was translated by: Krzysztof Jeżewski – translator of Polish poetry into the French, also Elżbieta Koślacz-Virol, author of the book on Gabriela Zapolska published in France. La Morale de Madame Dulska was based on the translation by Paul Cazin (1881-1963). The French-Polish publishing initiative has been based on a copy of Paul Cazin's manuscript donated by his widow, Juliette Monfet, in the late 1970s.
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In response to the questionnaire, Professor Alfred Gall discusses, inter alia, the reception of Polish literature in Germany in the historical context of Polish-German relations, translations of Polish literature and condition of Polish studies in Germany.
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Various factors influence the contemporary reception of Polish literature in France. Economic criteria have succeeded ideological constraints, but new developments in the memory process in Poland and France also play a major role, all the more so as they are not synchronised, especially when it comes to the history of WW2 and Jewish-Polish relations. An analysis reveals the combination of at least four factors: the role of literary translations (re-editions and new translations), the results of historiographical research, the evolution of collective memory in both countries, as well as the interaction with foreign - mostly Anglo-Saxon - publications on the subject. Through a cursory presentation of the reception of Polish literature for youth and adults in the early 2000s, we intend to show that WW2 and Jewish-Polish relations, among other themes, occupy a central position. The two "re-enactments" of the figure of Jan Karski published in 2009 in French novels by Yannick Haenel and Bruno Tessarech and the ensuing polemic, as well as the re-edition of the testimony by the great Polish freedom fighter Jan Karski are a telling illustration of what is at stake in the contemporary reception of Polish literature in France and, more generally, of all the issues regarding that country
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The text is devoted to Tuwim's fascination with the music of Chopin, especially his Scherzo in B flat minor. It is closely associated with music the poet's musical experiences in the House of Concert in Łódź. The text is also an attempt to interpret the translation of music into poetry made in the poem "Scherzo".
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The article is an attempt to analyse Julian Tuwim's poem »Reasons. A Song to a May Tune« from June 1933 year. The author reconstructs the likely circumstances of its creation (the strike of the workers of the Tomaszów Silk Factory between April and June 1933), which reveal hidden political meanings, to which this seemingly playful text alludes.
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The first part of the article is an attempt to present the full definition of a „lodzer-mensch“. In the literary variation, it is a ruthless businessman, professing the ethos of the industrial Łódź. The author confronts the proposed definition with the four central characters of W.S. Reymont's Promised Land. The qualities of a „lodzermensch“ are the most complete in Moryc Welt, while Karol Borowiecki is more of a "Don Juan" than a man of Łódź. Herman Bucholc is king and the spectre of the industrial Łódź, physically transformed by his own factory. Stach Wilczek is a mixture of Welt and Borowiecki, and an interesting attribute of this character is his violin. Also mentioned is the film adaptation of the novel, directed by Andrzej Wajda. The author, focusing on Borowiecki, juxtaposes the film version of a lodzermensch with the novel original.
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W artykule przedstawione zostały informacje dotyczące japońskiej potrójnej katastrofy naturalnej z 2011 roku oraz elementy recenzyjne książki Katarzyny Boni „Ganbare! Warsztaty umierania”, która jest najnowszą publikacją w Polsce traktującą o bezpośrednich relacjach świadków tych wydarzeń.
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Veliki poljski pesnik, Zbignjev Herbert (1924-1998), prevođen i cenjen u celom svetu (a naročito u Nemačkoj i SAD), pripada malobrojnoj grupi pisaca koja ne prestaje da iznenađuje svoje čitaoce ni posle svoje smrti. Nastoje}i da je preduhitri, neposredno pred njom, objavio je izbor 89 pesama (89 wierszy, Kraków 1998), zbirku Epilog oluje (Epilog burzy, Wrocæaw 1998) i sabrane pesme – Poezija (Poezje, Warszawa 1998), koje su, posle pesnikove smrti odmah imale i drugo izdanje.
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„Smatram da je Gombrovičev Dnevnik najvažnije delo poljske proze u celoj njenoj istoriji”, napisao je Vojčeh Karpinjski u pogovoru njegovom prvom necenzurisanom poljskom izdanju, iz 1997. godine. Da nije reč o preteranosti, nego o kritičkom stavu, iza koga slede argumenti, sa kojima se može, ali i ne mora složiti, svedoči i činjenica da se isti esej, neizmenjen, ponovo štampa, sada već kao „klasični” pogovor najnovijem izdanju Gombrovičevog trotomnog Dnevnika...
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The article presents a comparative analysis of the conceptions of mercy put forward in two texts by Karol Wojtyła–John Paul II, namely in his play Our God’s Brother and in the Encyclical Letter Dives in Misericordia. The existing interpretations of Our God’s Brother tend to disregard its theological aspects and focus on the biographic and historical issues instead. The author proposes a different approach to the reading of Wojtyła’s play and holds that its theological aspects, in particular the reference to the category of mercy, are crucial to its interpretation. A comparison of the ideational layer of the play with that of the encyclical in question leads to the conclusion that the most signifi cant ideas present in Dives in Misericordia were expressed—in a non-discursive way—in the play Our God’s Brother, which preceded the encyclical by thirty years. This discovery confi rms the axiological and ideational unity of the Polish Pope’s entire output, as well as the rightness of those who have pointed that Wojtyła’s literary works must be considered in terms of a ‘laboratory of thought’ which prepared the ground for his later writings making use of genres other than literary.
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The article focuses on two purposes. On the one hand, it constitutes an attempt to redefine the genre of historical novel in the circumstances in which the attempts made so far have turned out to be insufficient. The new definition shifts the centre of gravity from structural features (which are impossible to be determined following the experience of the narrativization of history) to the poetics of reception. On the other hand, the article also has its interpretative purpose which entails complicating the results of the analysis through the scrutiny of the chess novel that multiplies the historicity of the literary work and triggers more questions to be raised. Thus, the article aims at an alternative description of historical prose as an important literary experience of today’s world.
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Sienkiewicz had shown a keen interest in the issue of the historical novel prior to making his own first attempts at the genre. Among various reviews written by Sienkiewicz, a short analysis of Kraszewski’s Teutonic Knights 1410 (Krzyżacy 1410) is of particular significance, since Sienkiewicz stipulates there a general outline of the genre. On the other hand, while evaluating Historical Sketches (Szkice historyczne) by Ludwik Kubala, Sienkiewicz pointed to the potential literatureness of the history itself. The practical realisation of the genre of historical novel, as exercised by the author of The Trilogy, was preceded by his Tartar Captivity (Niewola tatarska), stylised for an old-Polish diary. And the famous series of novels set in the 17th century had formed the model of historical novel which was subsequently repeated in Quo Vadis and The Teutonic Knights (Krzyżacy). Sienkiewicz generalised on his writing experience in a lecture on the historical novel, in which he listed his views regarding the purpose and the form of the genre.
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Interviewed by Tomasz Cieślak and Jerzy Wiśniewski, Professor Wiesław Pusz – an expert in the literature of the Polish Enlightenment – talks about the people of Polish Philology of the University of Lodz, his research passions and favourite reading matters.
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The article contains an analysis of rules appropriation mechanisms and political discourse principles by national community in the situation of internal and external threat. Such a situation was faced by Polish political opposition after the fall of the November Insurrection, especially that part of it which decided to return to Poland from emigration. „Omyłka (The Mistake)” by Bolesław Prus is a literary account of a similar process, namely consolidation of local community threatened by partitioners’ persecution. A side effect of the consolidation process is radicalisation of attitudes and views’ uniformisation. All of them are voiced spontaneously in a given community, here–the national community expressing patriotic views. Other effect of the consolidation process in that group described by Prus is elimination of internal opposition. It results in exclusion of those who uncritically do not approve of all patterns of thinking and who are often seen as more dangerous than true enemies from the outside. All that makes favourable conditions for expansion of each kind of opportunists who become active. Many a time the opportunists take the initiative to the great detriment of the community’s social and political development.
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The reviewer discusses Małgorzata Rowicka’s monograph which vitally contributes to bibliological understanding of Mickiewcz’s creativity and its reception. The subject of the book is Mickiewcz texts’ presence in official circulation among readers at the period of partition.
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Przypomnijmy: Bohatyrowicze to schłopiały szlachecki ród, z którego wywodził się Janek — jeden z głównych bohaterów Nad Niemnem. Ród taki, który między pańskim dworem a chłopską wsią zamieszkiwał swoją, jak to zwał, okolicę.
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This sketch deals with Różewicz’s feeling that identity issues are unresolvable. This feeling, which became increasingly strong in the poet’s later works, led him to lose control over poetic form and employ more rhetoric as well as caused his works to be similar to performing arts. A description of the similarities between Różewicz’s cultural ideas and the ones that are present in popular rock music is an important part of this article.
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