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L’unique issue
The document is a translation of the first three chapters of the last novel by Stanislaw Ignacy Witkiewicz ("L’unique issue")
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The document is a translation of the first three chapters of the last novel by Stanislaw Ignacy Witkiewicz ("L’unique issue")
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La modernité déclenche deux types de réactions contradictoires: nostalgie d’un monde révolu, peur d’une évolution technique qui mènerait vers l’apocalypse ou bien au contraire accueil enthousiaste de l’innovation, effort pour se mettre au rythme du progrès, et inventer des formes artistiques qui lui répondent et l’exaltent.
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Record of conversation with prof. Michał Głowiński on Circles of Strangeness
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The article analyzes Małgorzata Lebda’s autoethnographic writing practice within the framework of posthumanist theory and new materialist feminism. The author examined the issue of creat- ing and experiencing community relations between non-human subjects using the example of Lebda’s poetry, prose and activist practice. It is based, among others, on the concepts of: river heritage, companion species, kinship, assumptions of transrelational ethnography, ethics of care and responsibility towards weak subjects. In particular, the strategy of constructing water narra- tives was interpreted as an example of a remedy for crisis experiences.
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The article analyses three motives (Easter rams, communist slogans and the Gothic) in Miron Białoszewski’s reportages in the context of uses of similar topics in his later literary work.
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This article refers to Bakhtin’s concept of primary and secondary speech genres. Theobservations concern the genre of CONFESSION (Polish: wyznanie) – analyzed against the back-ground of several related Polish communication structures. An accurate comparison of the genre ofCONFESSION, functioning in colloquial speech, with the presumptive one appearing in a poemreveals that the original genre pattern undergoes various modifications in the new discursivesituation. Its illocutionary determinants and perlocution are slightly different in the literary contextand it also has a more universal character. Its content is sometimes enriched thanks to variousintertextual references.The above conclusions result from the analysis of Leopold Staff’s poem Podwaliny (‘Foundations’)interpreted as a confession that poignantly shows the condition of a man who survived a warcataclysm. The poem evokes images known from the Gospel parable of good and bad constructionmodifying them in a significant way.
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The aim of the article is to characterise the phenomenon of generic reductionism, that isof a set of processes (selection, reproduction, generalisation, creation of new forms) deciding abouta choice of genres and shape of their textual realisations in the newspaper “Dobre Nowiny” as wellas an attempt to determine the identity of the paper. The essence of the said reductionism is a combination of selected religious genres with journalism.Journalistic ludic genres and elaborate forms typical of opinion-forming press are subject to reduc-tion. Announcing genres (previews, editorials), profiles, interviews, publicised news, and notes arerealised. Among the religious genres there are prayers, testimonies and catechesis. The distinguish-ing feature is creation of genres in the form of a collection, in which a new wholeness (difficult torecognise genologically) is created by religious genres subject to journalistic assimilation.A procedure unheard of in other types of specialised press (including the religious one) is a visualstylisation of a tabloid. It allows “Dobre Nowiny” , due to the thematic profile of the communica-tions and their function, for a status of the evangelising function persuasively framed into a visualtabloid shape.
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As the year 2023 was announced the Year of Wisława Szymborska due to the 100th anniversary of her birth, it is a great opportunity to present keepsakes of her kept inthe Scientific Library of the PAAS and the PAS in Krakow. They have been gathered in the period from 1953 to 2011 and were not collected in a planned manner: they come from separate donations, legacies or purchases. These are poetry books published during Szymborska’s life (7), Italian issues in Pietro Marchesani’s translation with original col- lages or watercolours by Alina Kalczyńska, donated by her or a painter Leszek Dutka (5). The manuscripts collection contains 5 letters of the Poet to Witold Zechenter from the period 1970–1976 and her dedications in the books she gave to him in the period from 1953 to 1976 (9); these and numerous other dedications were cut out by Zechenter from books and kept as loose cards. Two dedications have been decorated with cut- outs. Also the bookplates collection of the Library Printing Room contains 7 bookplates produced for Wisława Szymborska by respected Polish artists: Zbigniew Osenkowski, Roman Mucha, Czesław Woś, Helena Sawicka and Leszek Frey-Witkowski as well as two etching matrices of Stanisław Dawski’s works. Despite varying provenance and in- completeness, the keepsakes of Wisława Szymborska constitute an interesting collection for researchers and enthusiasts of her work.
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Poetry by Kuba Kisjelevski: "Nekad sam umeo da volim zdesna na levo"; "Granica"; "xxx".
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This article investigates the Spanish translation of Miron Białoszewski's Memoir from the Warsaw Uprising. I discuss the erroneous translation of the work as a “diary” according to Spanish dictionaries and literary theory works, the paratexts (introduction and afterword), and the reception of the work by the Spanish speaking community. In the last part, I examine a few passages to demonstrate how Białoszewski’s style has come to be flattened in the translation process.
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Interview with Włodzimierz Bolecki by Dariusz Pachocki
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Using the poetics of the avant-garde travelogue as the starting point, we analyse the most significant features of Stanislav Krakov’s travel reports from Poland. Being a journalist by trade, on the one hand, and being conscious of his Polish roots on the other, lead Krakov to Poland, from where he sent the majority of his European travel reportage (a total of sixteen reports). It can be said that, alongside the Mediterranean Basin, Poland takes up the privileged central space in Krakov’s journalistic travel writing. These articles intersect various discourses – namely, the travel narrative of modelling foreign space is realized through the intersection of past and present, visible and invisible, present and concealed, and through the thematic exploration of cultural, historical, economic, political, and social aspects. In Krakov’s Polish travel reportage, we find not only the journalistic striving to highlight the current Polish reality and social climate, but the author’s stance on the significance and status of the newly independent Polish state is clearly manifested as well. Furthermore, the travel narrative expands dispersively towards more comprehensive reflections on European everyday life, as well as the recent and not so recent history. Emphasized is the fact that Krakov does not write from a neutral vantage point as a foreigner, but rather from a standpoint of someone who feels a clear and undisguised closeness to the Polish state and people, not only as a journalist coming from a friendly country but also as someone who partly belongs to it by origin. Describing what is seen, the travel writer’s intention to listen to the echoes of time in the present is clear; that is, to mediate in the travel text the simultaneity of the past and present, which provides that characteristic experience of excitement and enjoyment felt whilst travelling. By modelling a typical image of the Polish mentality, the travel writer will mostly direct the pendulum of his inclinations towards strong national feelings and heroism. It is particularly noted that when these travel reports are considered as a whole, there is an unmistakably negative attitude towards Russians and all things Russian. Polish patriotism is largely determined by pronounced Russophobia and the need to erase all signs of the “Russian past” from the visible part of the Polish present. In addition to the description of what he saw on the journey, historicism and the essayization of travel writing are developed through acquainting readers with various pieces of knowledge regarding history and culture, as well as activating memories of the recently concluded Great War and awareness of the fragility of civilization’s progress. The travel narrative expands towards presenting those forms of foreignness in which processes of modernization and progress of the Polish society are manifested.
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In this article I tried to present briefly the main philosophical assumptions of Stanisław Lem. However, I arranged them in an order typical for classical Christian Philosophy, paying attention in following order: cognitive and scientific issues, on- tological issues and those related to the Absolute Being, as well as to anthropological and ethical issues. After analyzing Lem's philosophical views, there was a need to delve deeper into the thoughts of the Polish futurologist, who – as can be seen in his theses and conclusions – anticipated the views that are popular today in postmodern philosophy, long before they were announced by the people considered to be their creators. What is also noteworthy it is the specific realism of the Polish author, which can sometimes border on philosophical pessimism. It is certainly worth subjecting Lem's theses to in-depth analysis and discussion.
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In his autobiographical novel, Promise at Dawn, Romain Gary, in addition to numerous confabulations, also made several borrowings from various works of world literature; a considerable number of these have been identified by researchers. The article adds to this list the hitherto undiscovered plagiarism of Bezgrzeszne lata [Innocent Years] by Kornel Makuszyński, a writer whom Gary read in his youth. One of the most recognisable episodes of Promise at Dawn – the story of the author’s/narrator’s childhood love for Valentina, for whom he ate, among other things, a kilo of cherries with seeds or, finally, the eponymous galosh – bears a striking resemblance to the description of narrator’s love for Inka Leszczyńska in Innocent Years.In addition to this connection, there are other, less obvious similarities between the two works, related to the authors’ creative paths, their first literary attempts or difficulties at school, and the subsequent experience regarding their first publications. There are also similarities between the authors themselves, both achieving ‘celebrity’ status through their writing successes, both equally averse (with reciprocity) to any avant-garde or political involvement, both adhering to humanist ideals in their writing and seeking to right wrongs and injustices, each in their own way.
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In this paper, the Ukrainian trilogy by Józef Łobodowski has been interpreted as a historical novel, in which the described events took place in the Kuban region in the period between 1918 and 1922. The history of the Bolshevik revolution and the Civil War in the Caucasus area of Russia has been presented in a vivid story, which was inspired by the author’s personal experiences. The protagonist of the trilogy is the author’s own alter ego. The author’s participation in the discussed events significantly influenced the artistic form of the novel. The work possesses the features of a reportage novel, with its inherent verism, a trend towards a faithful depiction of life during the Russian Civil War, as well as elements of journalism that correspond to the writer’s journalistic activity. The reportage characteristics of the trilogy did not hinder the author from complying in his narration with the pattern of Sienkiewicz’s novel W pustyni i w puszczy (In Desert and Wilderness). In this way, the Ukrainian trilogy became a work with an original structure, in which the author also objectified his own emigrational experiences.
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Poetry by Julia Fiedorczuk ("Wilcza pełnia"; "nie wiemy skąd biorą się nasze pomysły"; "dyskrecja")
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Poetry by Bartłomiej Kucharski OCD ("Klęska"; "Wspomnienie")
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