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Sedat Veyis Örnek’in çevirisini yaptığı Slawomir Mrożek’in Polisler adlı oyunun metnini bularak bize ulaştıran Prof. Dr. Fuat Bozkurt’a teşekkür ederiz. Elimize ulaşan daktilo metninde okunamayan yerler [...] ile gösterilmiştir. [TÜBİTAK SOBAG 114K576 Sedat Veyis Örnek Sözlü Tarih, Biyografi ve Belgelik Çalışması Proje Ekibi]
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Review of: David Craig - Moved by the Spirit: An Anthology of Polish Religious Poetry. Belfast: Lapwing, 2010. ISBN 978-1-907276-51-4. 156 pages.
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Julian Tuwim’s Bal w Operze (A Ball at the Opera) is one of the most remarkable of the apocalyptic visions which were produced in the doom-laden years prior to the outbreak of the Second World War. When he began to write it the optimism which had characterized the 1920s had long been dissipated. The worsening political climate was particularly painfully felt by Tuwim. As someone who considered himself both Polish and Jewish the pervasive climate of antisemitism, stimulated as it was by Hitler’s coming the power in Germany, the persistence of the depression and the willingness of a section of the government camp to adopt an antisemitic platfrom was extremely painful to experience. A Ball at the Opera is a savage description of a corrupt fascist dictatorship written by an individual in despair. Unlike some other Polish ‘catastrophist’ writers of the 1930s, such as Gałczyński and Witkiewicz, Tuwim clearly situates this fascist dystopia in Poland. It is an apocalyptic poem where Tuwim’s horror of a corrupt society’s filthy doings fuses with a foreboding of the destruction of that society.
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The article presents Polish literature in Israel as literature written by migrants: a response to the experience of being relocated and of functioning between different cultures. The subject of the analyses are the paraphrases, travesties and parodies of works by Adam Mickiewicz that are present in Polish-Israeli literature. Referring to the canon texts of Polish literature in them serves recording the life in Israel. Using Polish literary patterns in stories about the new life and inscribing the Israeli world as well as signs of Hebrew culture into them is interpreted as a peculiar correlate of the experience of migration.
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The aim of the article is to show the ways issues concerned with Yiddish writers are presented in the interwar Jewish press published in Polish. The periodical were targeted to Polish language readers, i.e. ones who were not able to read Yiddish literature. The writers were divided into four groups: classics (Mendele Mocher Sforim, Isaac Leib Peretz, Sholem-Aleichem), the middle generation (Sholem Asch, Joseph Opatoshu, Zusman Segałowicz and Jehoszua Perle) and the youngest one (Abraham Zak, Efroim Kaganowski, Rachel Korn, Itzik Manger and Kalman Lis). The last specific group is made up by the authors whose works and not printed, but nevertheless newspapers publish reviews of their volumes, e.g. Chaim Siemiatycki. The most frequent forms of statements presenting the figure of an author include: biographical sketches, interviews, translations of his statements or of articles published in Yiddish press, accounts of his meetings, journeys, important events concerning his person or his work, sketches concerning his whole work or its chosen aspects, reviews and translations of his works. Conclusions are based on such periodicals as: “Nasz Przegląd”, “Nowy Dziennik”, “Chwila”, “Opinia”, “Nasza Opinia”, “Nasz Głos”, “Dziennik Nowy”, “Kurier Nowy”.
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The article is an attempt at an analysis of usefulness of the concept of “bystander” that is increasingly popular in social sciences, in modern studies of Shoah and Holocaust. The author points to objective terminological dependencies, but she also takes into consideration the differences in the historical and cultural experience that require different perceptions of the role of witnesses in the English language discourse and in the East European, and especially Polish perspective.
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The article tries to identify distinctive features for the current of writing of the 3rd generation after the Holocaust on the basis of Jonathan Safran Foer’s novel Everything Is Illuminated that opens and establishes the basic features of his poetics. The experience of a loss, helplessness, panplagiarism and of searching for the meaning is manifested in various prose devices, ultimately leading through abductive meanders of reasoning to the affirmation of life.
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The article is entering into a dialogue with the interpretation of Bruno Schulz’s bookplates made by Władysław Panas in his book Bruno od Mesjasza (Lublin 2001). An attempt to understand them in a different (less holistic) way leads the author of the article to the conclusion that in Schulz’s plates the first veiled of the mythical Book may be seen – of the fundamental motif of Bruno Schulz’s later literary work.
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The article contains an interpretation of the song by Władysław of Gielniów, Oh Jesus, the Savior of Mankind that is a theological treatise about the Holy Spirit in verse. The explanation of references to the biblical and patristic exegetic tradition connected with theological dogmatic questions that are found in the text and presenting its cultural contexts are supposed to indicate a possibly broadest plane of meanings of the work. Attention is also paid to the motif of symbols of the Holy Spirit’s graces that is present in Władysław’s Marian poetry. The mystagogical function of the works is also mentioned; in vulgari they explained the difficult truths of the faith, and owing to the literary merits they realized the Horatian principle of “docere et delectare”.
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Four Polish language epigrams on the “Budziwiszki bees” (Epigrams, Second Books, 83-86), two Latin miniatures from the volume Foricoenia (44, 45) and Elegy IX of Book III Elegiarum libri quattuor by Jan Kochanowski document his relationship with Nikolai Radziwill the Black (1515-1565), the great Lithuanian chancellor and voivode of Vilnius, the leader of the Protestants in the Polish-Lithuanian State. The poetic miniatures were probably written between June 10 and October 19, 1563 in Budziwiszki aka Bujwidiszki (now Buivydiškės) near Vilnius, and Kochanowski wrote Elegy IX in autumn 1563.While in Elegy IX the poet creates the image of Radziwill as a statesman, a servant of the state of King Zygmunt August, in the unpretentious epigrams the magnate is presented as a patron surrounded by the humanists who promote reformation. Kochanowski described lexicographer John Mączyński, poet Andrew Trzecieski junior and most probably Cyprian Bazylik, poet, musician, and printer, as the Radziwill “bees” – hard-working, charitable, bringing the truth to the God's earth (a reference to a Platonic topos). In his epigrams, the author showed Nikolai Radziwill the Black as a patron of culture of the new format promoting Protestantism, and the creators gathered around him as a coherent literary milieu. Although it was presented in an affirmative way, Kochanowski maintained an attitude of the benevolent outsider. It is reflected by the skeptical tone of foricoenium 45 and biographical circumstances of the poet who was the then secretary of Bishop Piotr Myszkowski.
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The present paper tackles the issue of studies of the new literary phenomenon, that is cybernetic poetry in Poland. The works by Leszek Onak, one of the main representatives of this current, are a special subject of the study. The author of the article suggests that – due to an innovative character of the literature that uses the new media – the traditional methodology of literary studies should be enriched with performative conceptions. He tries to prove that owing to such a perspective works that apparently are devoid of any content may be interpreted. The significance of action and motion is emphasized, that are the basic properties of cybernetic poetry works. Also a literary work as an act – an author’s performative gesture – is subjected to interpretation.
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The article refers to Józef Wittlin’s diary–unpublished and unknown to readers. The text, composed of notes taken from the 1920s to the year 1976 (the year of the author’s death), is of paraliterary and syncretic character, and bears the title “Raptus Europae. Dziennik” (“Raptus Europae. A Diary”). Wittlin’s daughter, Elżbieta Wittlin Lipton, the poet’s only heiress, made it available for inspection and publication only to a few literary historians. Among the diary’s notes we find, inter alia, a handwritten fragment of “Sól ziemi” (“The Salt of the Earth”), notes to second part and a project of third part of “Powieść o cierpliwym piechurze” (“Story of a Patient Infantryman”), detailed plans of intended novels, rough drafts of the drama “Barabasz” (“Barabbas”), notes from travels to Europe and sketches of unfinished poems. The present paper focuses on Wittlin diary’s autobiographical character.
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Scholarly texts placed in the publication “Prince Józef Poniatowski in culture and education” offer an multidimensional portrait of the royal family member. They reveal different mechanisms of the character’s creation in literary, social, educational, media-studying, historical, and geographical contexts. They show that Józef Poniatowski is still seen as a hero who codifies the national imagination, while the controversies related to his life and death, his existential path leading from salon to battlefield – affect as a socially perceptible character.
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The review concerns vol. 2 of the new Conrad series, published in Polish by Maria Curie-Skłodowska University in Lublin in 2013.The focus of the volume is on Conrad as a Pole and a European in the sense of his views on Polish, European and world history, politics and the related ethical issues. The review enhances the Retingerian vision of a Pole and a European, which is embodied in Conrad as an English writer of international repute and Polish descent. The author of the review stresses the vital role of both the present volume and the whole series for a constructive and mutually corrective convergence of Conrad studies in Poland and abroad.
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The review discusses Marta Wyka’s book on Stanisław Brzozowski’s novelistic, literary critical and philosophical creativity. Wyka’s monograph and articles give the writer a new place in Young Poland culture and present Brzozowski’s outlook on modernity problems which stands in opposition to the presently dominating views on this formation in Polish literary research. Special value of the book is the fact that it is exceptional evidence of the reception styles of texts by Brzozowski who constantly engaged his readers into intellectual history of their modern times.
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The text reviews Czesław Kłak’s book on Stanisław Pigoń, a literary historian and an editor. The book, an effect of many years’ studies on the scholar’s life and output, includes various new and valuable pieces of information not only about the professor himself, but also about the times he lived in. The author presents Pigoń’s correspondents – figures connected with the 20th c. scholarly circles and their mutual relations
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The review discusses three books on the newest debates on the legacy of Polish and Eastern European structuralism. The papers, taking up both its history, assumptions of the method, and its most outstanding representatives, are linked by one thesis, namely a conviction about a still inspiring (and still rediscovered) heterogeneity of this literary research mode of analysis.
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The review of Paweł Dybel’s book “Oblicza hermeneutyki” (“Faces of Hermeneutics”) attempts to present in the most succinct way its most vital problematic axes. It focuses on possibilities of touching such categories as logos, value, conversation, understanding, aporia, indecidable, doctor-patient relationship–a connection by its nature hermeneutical. It is an invitation to a dialogue of a potential reader with a next book by an outstanding literary hermeneutics specialist.
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B. I. Antonič (1909-1937) writes poetry in Ukrainian, and J. Harasimovič (1933-1999) in Polish. Regardless of affiliation to various national poetic traditions, they share myth-creative nature. Both of them foster poetics of space. The first of them calls it the Green Gospel and the other calls it the Country Pleasantry. Lemko natural, cultural and poetic substrate is mutual. Under the Lemko substrate the author understands scintilla lyrica, kolomijka, krakovjak, basic emotionalizing of the world, the absence of heroic model of the world, social and historical split between civilized models of East and West, belonging to the Greek-Catholic Church etc.
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