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Cu un an înainte de apariția volumului Sanatoriul timpului (1937), Bruno Schulz a publicat eseul Mitizarea realității (1936)1, care avea să devină bază a majorității exegezelor critice. De altfel, J. JarzQbski, excelent cunoscător al prozei avangardiste, în prefața la volumul Citindu-l pe Schulz (Czytanie Schulza)12, în care stabilește trei etape de receptare a operei scriitorului polonez, afirmă, printre altele, că „locul central în analiza acestei opere l-a ocupat mitologia - cheie universală pentru sensul lumii”, cercetătorii din generația mai nouă pornind tocmai de la eseul sus-menționat, considerat „cel mai important text programatic al scriitorului”. într-adevăr, se poate spune că aproape toți exegeții de seamă n-au putut trece indiferenți pe lângă acest aspect esențial și original al operei schulziene, oferind interpretări și comentarii menite nu numai să adâncească înțelegerea și deslușirea textului, ci și să extindă semnificativ sfera conotativă a conceptului de mit în sine.
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Fiecare cititor are exemplele sale favorite. Acest fapt nu ține doar de obișnuințele sale de lectură, de tabieturi, de universul privat și plezirist al înțelegerii literaturii. Hermeneutica filosofică și literară, concepte precum acela al „orizontului de așteptare” ne-au convins că există lecturi fondatoare, că interpretările noastre trăiesc în orizontul unor texte întemeietoare. Un uz ale cărui temeiuri și îndreptățire nu le mai interogăm astăzi ne-a obișnuit să numim aceste texte capodopere.
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începeam un curs mai vechi despre Gombrowicz cu observația că nu-i rău să-l gândim pe Gombrowicz alături de Eugen Ionescu. Poartă aceeași marcă, același tip de discurs, același însemn al Mitteleuropei periferiilor. Munteanul Eugen Ionescu și sarmatul Gombrowicz trăiesc aceeași depărtare de un Centru coagulant. Și abundența de regi, regine, curți regale pot să ne oblige să-i gândim alături.
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Am în față cele două versiuni românești (1988 și 1998) ale jurnalului lui Gombrowicz, ambele apărute la Editura Univers, în traducerea Olgăi Zaicik. în prima, constat perversitatea cenzurii. Din loc în loc sunt croșete, deci omisiuni mărturisite. Când confrunți cu cealaltă versiune, afli că omisiunile sunt mult mai multe. în loc să recunoască, croșetele ascund.
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„Ă la recherche...” Anul 1920, Zakopane. Eram elev în clasa a Vl-a a gimnaziului de aici. Am salutat cu mare bucurie reîntoarcerea la vechea și liniștita clădire „Liliana” după o pauza de doi ani, cât m-am aflat la părinții iezuiți din Chyrow. La Zakopane am întâlnit colegi și prieteni mai vechi; în plus, îmi plăceau tare mult munții Tatra.
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Słowacki’s drawings from his journey to the East (24 August 1836 – 16 June 1837) are in two notebooks (one of them is kept in the Library of the National Ossoliński Institute in Wrocław, the second in the Russian State Library in Moscow). They are a source of information about travel (they present places not found in Słowacki’s notes and letters), but they can also be treated as an autobiographical document and as portals of the poet’s individual memory – memory of a man and a creator. They reflect the visual sensitivity of the author and the energy of his body: traces of a pencil, pen or brush correspond to the gestures of his arm and hand. In some drawings, Słowacki marked the place from which he saw the view, filling this part of the composition with disorderly, careless lines or undefined shapes. They contrast with the calm and objective registration of the object of his observation. The drawings show landscapes and monuments along the way, but also contain hidden self-portraits of the poet. They can be related to the disintegrating and reassembled identity of the sylleptic subject in his literary works written during the eastern journey. It is possible that they also played an inspiring role (as portals of memory) for Greek and Egyptian themes and motifs in Słowacki’s late works.
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The article attempts to analyze the mnemotopoi of Ukraine in the work of Juliusz Słowacki, with particular emphasis on the axiological context. It was noted that the concept of mnemotopoi combines the interests of humanistic geography and studies of memory. It was emphasized that Słowacki, in his early works, remembers the image of Ukraine as an exotic geographical and ethnographic space through steppe metaphors, graves, icons, and the topoi of a young Cossak-man marked ambivalently. In his later texts, among others "Sen srebrny Salomei" (“The Silver Dream of Salomea”), the mnemotopoi of Ukraine are characterized by infernality, but also by the awareness of its separateness and an important role in raising the spirit of Polishness.
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The article deals with the drama of the last period of the artistic creativity by Juliusz Slowacki – "Sen srebrny Salomei" (“The Silver Dream of Salomea”), which focuses on the Polish-Ukrainian conflict of the Confederation of Bar and Haydamak rebellion’s times. The focus is on the discrepancy by different researchers of the dramatic symbolic scenes and images in the context of antagonism of Wernyhorа, the prophet of the Polish-Ukrainian union, Semenko, the leader of the peasants’ uprising, and Sawа in his triple hypostasеs of “Lіakh, Kozak and the Devil”. Both the peasant community and the noble Confederates express their own “truth” in the struggle for freedom and faith. For Juliusz Słowacki, Ukraine with its freedom-loving history is inscribed in the historiosophic truth-identifying mystical plan of Poland’s transformation on the path of perfected freedom, when true “will of the spirit” therefore is born in agony, in pain.
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Autobiographic narratives by their nature are a sort of creation, in which a particular role is played by memory of events, places, people. The identity one builds in the course of self-narrativisation ultimately becomes a kind of construct, a literary creation, half real, half fictional, functioning in the eyes of posterity like a literary hero, sometimes even detached from biographical facts. The aim of the present sketch is to explore the character and form of the narrative very deliberately created by Słowacki, as well as the special role played in it by memory and imagination. The tale he tells about himself, composed of a variety of genres – from diary and letter, to small poetic forms – constitutes an image of the poet as a literary figure. In the present text, these forms have been limited to just a few, written in the poet’s early life, and formally related to autobiographic genres – namely "Pamiętnik" (“Diary”), "Życiorys ojca i własny" (“My Father’s Life and My Own”), as well as letters written by the poet to his mother.
More...Pamięć i zapomnienie w listach do matki Juliusza Słowackiego
The article is devoted to one of the most interesting threads related to Juliusz Słowacki’s correspondence addressed to his mother – memory, but also its variation, which is forgetfulness. The poet consciously uses the power of seemingly opposing expressions, constructing a landscape of internal tensions, experiencing changes over time and gaining life experience. In his imagination, the poet links memory and oblivion with transience, displaying discretely, but no less clearly, the inscribed death. For Słowacki, memory is a kind of code, a meta-text, which in his letters to his mother allows the reader to recognize the next layers of meaning of these masterpieces.
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The presented sketch of "Priests in the memory of Juliusz Słowacki" has a historical and literary character. It concerns the poet’s contacts with priests, mainly with rank-and-file servants of the Lord’s vineyard. Apart from the factual layer, the work indirectly tries to answer the question, what resulted from the recorded meetings, to what extent they left a trace in the spiritual life of the poet. From the early period of the poet’s life, an important, remembered figure was priest Bazyli Sobkiewicz, chaplain of the Volyn Junior High School in Krzemieniec. This figure is enveloped in an aura of warm, family memories colored with fervent child religiosity. During the journey to the East, an important figure that Słowacki met was a Jesuit father, a missionary Maksymilian Stanisław Ryłło. In addition to practical help provided to his compatriot, he greatly helped him in experiencing spiritual encounters at cult sites in the Holy Land. The sketch is completed with a paragraph on the character of priest Tomasz Praniewicz, chaplain of the Lambert Hotel, le poète de grotesque. It was his pastoral ministry Słowacki asked for before his death, perhaps feeling quiet sympathy for this servant of God.
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This article asks a question about ways and cognitive effects of exploiting poet’s memory (written down, first of all, in the letters but also in the memorials) as a component of the historical documentation, which was the scientific base for Ferdynand Hoesick’s monograph "Życie Juliusza Słowackiego na tle współczesnej epoki (1809‒1849). Biografia psychologiczna", 1896‒1897 (“The Life of Juliusz Słowacki Against the Backdrop of His Times (1809‒1849). A Psychological Biography”, 1896‒1897). The researcher’s trust in Słowacki’s autobiographical testimonies is presented as a symptom of the modernist changes inhistorical and literary biography studies. The earlier poet’s monograph by Antoni Małecki is an important reference to Hoesic’s work.
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Adam Mickiewicz was widely considered in Vilnius and in Lithuania to be the bearer of the romantic tradition. Juliusz Słowacki, whose work was rendered ambiguous, took up the second position. Theatre performances, either from the beginning of the 19th century ("Lilla Weneda", 1909) or from the interwar period "Książę niezłomny", 1926 (“The Constant Prince”), were very helpful to popularize Słowacki’s works. An interest in Słowacki and his works increased in 1927, and was connected with bringing in the remains of Słowacki to Cracow. Słowacki today is well seen on the cultural map of Vilnius, but respected only by Polish community. Słowacki is a completely unknown author for Lithuanian readers, and such position is mainly caused by the lack of translations.
More..."Blanche" Waleriana Borowczyka (1971) jako adaptacja "Mazepy" (1839)
The author of this article discusses the problem of the film adaptation of Juliusz Słowacki’s dramatic composition, directed in France by Walerian Borowczyk, who was at that time banned from Poland. She reflects upon the play between eros and sacrum, which is very characteristic of the Polish director, but also very different than in Słowacki’s design. She also considers the following issues: change of name and title of the work; modification of historical and geographical background; ascetic scenery (one-dimensionality and lack of pageantry like in Giotto’s paintings); functioning of things (or rather – in Borowczyk’s case – almost lack of props) and animals – different in both works: literary and cinematic.
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Leopold von Sacher-Masoch reprezintă fără îndoială un caz; nu doar pentru faptul că rumoarea antumă și scandalul postum l-au transformat în exemplul prin excelență al unui gust erotic particular, ci mai curând prin uitarea aproape integrală a operei lui literare în beneficiul anecdoticului vieții sale private. Leopold von Sacher-Masoch a fost un scriitor celebru și prolific : foarte repede tradus, s-a bucurat de un succes prompt și de proporții, iar cenzura literară nu a găsit nimic necuviincios în prozele sale. Notorietatea i-a jucat însă un renghi, aproape definitiv: în 1869, baronul Richard von Krafft-Ebing, medic psihiatru și profesor, publică Psychopathia sexualis, primul „inventar” complet al tulburărilor de orientare sexuală. între cele 15 capitole descriind, cum o spune chiar el, „tendințele sexuale stranii”1, unul poartă numele Masochism. Krafft-Ebing este, prin aceasta, un descălecător : până la el tulburările similare purtau numele, cu etimon grecesc, de „algolagnie”. Noul nume al perversiunii se va impune, ajutat de succesul tratatului lui Krafft-Ebing, dar mai ales de consecvența cu care noul sens al „masochismului” va fi preluat de tradiția psihiatrică. în 1869 începe așadar o concurență a celebrității pe care scriitorul Leopold von Sacher-Masoch o va pierde în beneficiul perversului Sacher-Masoch. Femeia divorțată (1870) și Venus în blană (de asemenea, 1870) vor fi uitate destul de curând; va rămâne însă amintirea tenace a anunțurilor date la mica publicitate, a corespondenței sale amoroase și mai ales a contractelor prin care se reducea pe sine la condiția de rob al femeilor iubite.
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Poetul Max Hölzer stă cu mine la o măsuță, la „Zuntz”, pe geam privim albul strălucitor și neoanele somnoroase de pe Kurfurstendarmm, el se plânge, zice, la naiba, am avut atâția filozofi, oameni de artă, care n-au admis să privească nimic altceva decât problemele existențiale cele mai importante, de bază, pe când azi, mă întreb, unde a dispărut specia acestor grands seigneurs, literatura noastră tot rumegă războiul și pe Hitler, și politica tot revine la răfuielile dintre democrație și dictatură, la aceasta ni s-a redus genialitatea.
More...Zaimki "nasz" i "naski" w autobiograficznych relacjach Mazurów i Warmiaków z połowy XX wieku
The paper examines the occurrences and contexts of the pronouns "nasz" and "naski" in the statements of the autochthons from the Warmia and Masuria region. It treats them as linguistic signs of a sense of belonging to a community. It identifies and describes various aspects of this belonging: the relationship with the land and nature, the past, the language, the religion and the system of values shaped by it, the state and its institutions, as well as the dispersed community of the Masurians and Warmians after World War II.
More..."Poniemieckie" Karoliny Kuszyk a polsko-niemieckie dyskursy pamięci
The text discusses the myth of the “Regained Lands” in the Polish People's Republic and contemporary Poland, as well as the historical policy of the Federal Republic of Germany, which was shaped by the Federation of Expellees and subsequent German governments since 1949 until today. In the first part of the text the author describes the genesis, development and revision of the founding myth of the Polish People's Republic in historical context. He recalls the "Message of the Polish Bishops to their German Brothers in Christ" of 1965, Jan Józef Lipski’s thought referring to the critical tradition of Polish patriotism, formulated in 1981 in the essay Two Homelands, Two Patriotisms” and the idea of open regionalism and the Atlantis of the North developed by Olsztyn intellectuals centered around the Cultural Community “Borussia”. The second part of the text analyses historical policy and German memory culture in relation to the 1951 Card of the German Expellees, eastern policy of Willy Brand in the 1970s and the institutionalization of the memory of expulsions through the establishment of the Berlin Documentation Centre in 2021 and controversies surrounding it. The text is a preface to the interview conducted with Karolina Kuszyk, the author of the book "Poniemieckie" in 2021 during the conference “Identity as a Process”.
More...Z autorką książki "Poniemieckie" Karoliną Kuszyk rozmawia Rafał Żytyniec
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