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Polskie oryginały angielskich pism.

Author(s): Magdalena Heydel / Language(s): English,Polish Issue: 1/2018

The work of Joseph Conrad has become a part of the Polish literary canon and takes suchan important place in it that it is not difficult to forget his novels were translated into Polish.It is precisely the translations and their interpretations that have informed the reception ofConrad’s modernist writing in Poland. The translators, critics and commentators have placedhis novels and stories in various historical, social and political contexts which resulted invarious resonances and in including his work into particular ideological discourses. The paperoffers an overview of some of these readings from the perspective of translation history.keywordsJoseph

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Międzynarodowa konferencja „Gustaw Herling-Grudziński. Między Wschodem a Zachodem”

Author(s): Joanna Kułakowska-Lis / Language(s): Polish Issue: 2/2019

The article is a report from International Conference „Gustaw Herling-Grudziński. Between East an West", which was organised on 17-18th September 2019 in High State College in Krosno .

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Teatralność troski. Spektakl Kochana Wisełko, Najdroższy Zbyszku jako egzemplifikacja feministycznej etyki troski

Author(s): Monika Machowska / Language(s): Polish Issue: 1/2023

This article undertakes an attempt to prove validity of the claim that the play Kochana Wisełko, Najdroższy Zbyszku can be seen as an exemplification of feminist ethics of care, especially in reference to its interpretation by the theorist Nel Noddings. The methodological tools used, include the textual analysis of the script as well as the adaptation of phenomenological approach. The categories of a general assessment introduced alongside this reflection are as follows: relationality and receptivity, as well as the practice of empathy, care, understanding and attunement to other people’s needs. The article proved the adequacy of the assumption that the aforementioned categories had been expressed in the play and that they can be clearly ascertained in its reception by the viewers.

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O wpływie spuścizny Świętej Teresy z Ávili na piśmiennictwo i kulturę polskiego barokuchivalric romances, Poland, Poles, toponyms, 16th century

Author(s): Katarzyna Kaczor-Scheitler / Language(s): Polish Issue: 21/2021

The subject of this article is to discuss the penetration of influences of Spanish mysticism, in particular, the works of Saint Teresa of Ávila, on the literature and culture of the Polish Baroque. The intercultural influence of Spanish mysticism on Polish artists is reflected in the translations of the writings of Saint Teresa of Ávila. The considerations focus on the influence of the mysticism of Saint Teresa on mystical autobiographies and anonymous poetry of Carmelite nuns from Krakow from the 17th and 18th centuries. The reflection also covers the centres of the veneration of the saint in Poland, in services and prayer books, and her popularisation through art. Mystical influences are also visible in the poetry of the 17th and 18th centuries, including poetry by Kasper Twardowski, Sebastian Grabowiecki, Stanisław Grochowski, Mikołaj Mieleszko, Zbigniew Morsztyn, Maciej Kazimierz Sarbiewski, Elżbieta Drużbacka, and Konstancja Benisławska. The Polish-Spanish ties situate the research issues undertaken in a comparative context, without which the studies on post-Tridentine spirituality would not have produced real achievements.

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Lucjan Rydel i piękna książka

Author(s): Grzegorz Bąbiak / Language(s): Polish Issue: 19/2019

Artistic activity at the turn of the 19th and 20th centuries resulted not only in the development of literature and art, but also functional art and crafts, e.g. graphics and book decoration. Apart from artistic press, it was clearly visible in the phenomenon of the so-called beautiful book. The most distinguished artists of that period: Stanisław Wyspiański, Jan Bukowski, Antoni Procajłowicz – designed covers, vignettes and decorations of the best-known literary works. Lucjan Rydel, who found himself among those artists, was a friend of Wyspiański and cooperated with him, which meant that their first joint works heralded the discussed phenomenon at the Vistula River. This big event was the publication of Rydel’s translation of Iliada with the pictures and illustrations by Wyspiański, who also decorated Rydels’ volumes of poetry, using floral motifs, which were typical in his later work. Also other artists in their ornaments have tried to refer to the motifs which were dominant in Rydel’s works. Thanks to this practice, some editions of dramas (1902, designed by A. Procajłowicz) and Bajka o Kasi i królewiczu (1904, designed by S. Dębicki) should be regarded as the most renowned works of the ‘beautiful book’ trend, not only in Poland, but also in East-Central Europe. This paper focuses on the most representative ‘beautiful books’, based on Lucjan Rydel’s works from the period 1896–1911.

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Genologia i finezja. Najkrótsze pieśni Jana Kochanowskiego

Author(s): Elwira Buszewicz / Language(s): Polish Issue: 20/2020

The purpose of this paper is the analysis of the shortest songs from Jan Kochanowski’s collection Pieśni. These include a petrarchist Pieśń II 21, and above all, four horatian ¬origin works Pieśń: I 11 (Stronisz przede mną, Neto nietykana), II 7 (Słońce pali, a ziemia idzie w po¬piół prawie), II 16 (Nic po tych zbytnich potrawach...) and II 23 (Nie zawżdy, piękna Zofija...). Following a short review of previous attempts at classifying Kochanowski’s Pieśni, which were made by Polish scholars, as well as considering other options of categorising lyrical songs, the author indicated the contexts of particular works, described their rhetorics and emphasised the mastery of the poet, which is manifested through the construction of such sophisticated forms. A song, under Kochanowski’s pen, became a brief but comprehensive genre. It comprised solemnity and joy, elegiac mood and frivolous joke.The purpose of this paper is the analysis of the shortest songs from Jan Kochanowski’s collection Pieśni. These include a petrarchist Pieśń II 21, and above all, four horatian ¬origin works Pieśń: I 11 (Stronisz przede mną, Neto nietykana), II 7 (Słońce pali, a ziemia idzie w po¬piół prawie), II 16 (Nic po tych zbytnich potrawach...) and II 23 (Nie zawżdy, piękna Zofija...). Following a short review of previous attempts at classifying Kochanowski’s Pieśni, which were made by Polish scholars, as well as considering other options of categorising lyrical songs, the author indicated the contexts of particular works, described their rhetorics and emphasised the mastery of the poet, which is manifested through the construction of such sophisticated forms. A song, under Kochanowski’s pen, became a brief but comprehensive genre. It comprised solemnity and joy, elegiac mood and frivolous joke.

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Od „śmierdzącego dudka” po banialuki. Obraz ptaków w literaturze renesansu i baroku – rekonesans

Author(s): Dariusz Chemperek / Language(s): Polish Issue: 20/2020

Birds function in Polish literature of Renaissance and Baroque in three paradigms. Mostly they appear as creatures gifted with a symbolic (allegoric) meaning, seen through the prism of the tradition reaching to Aristotle’s Zoology, Physiologist, and later symbological compendia. The second category is describing birds as food or pests (especially in hunting and agricultural literature). Apart from this ‘practical’ paradigm, there is also a third one: birds as a source of an aesthetic thrill, fascination with them includes both lyricism and a ludic element.The first two categories fit into a more general utilitarian paradigm. Handbooks, trea-ties, sermons, fairy tales, paroemias and animal epigrams showcase birds almost exclu-sively as tools of moral, religious and conventional reflection, or as objects to be obtained and consumed. Interestingly, the symbological activity of the creators does not cease in the Renaissance and Baroque periods, the representatives of avifauna are burdened with new meanings, while the fantastic creatures slowly disappear from the creators’ fields of view. In the third group of works distinguished here, one can notice the phenomenon of the eman-cipation of birds as objects of interest just as they are, although their voice is heard mostly in the digressions scattered throughout the big epic works. The autonomy of birds in the literature of Renaissance and Baroque is not linear, the way of perceiving them is deter-mined by the individual sensitivity of the authors, the most prominent of whom are Hieronim Morsztyn (early 17th century) and an anonymous translator of the Italian Adon (2nd half of the 17th century).

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Polska epika bohaterska przed i po Gofredzie

Author(s): Roman Krzywy / Language(s): Polish Issue: 20/2020

The article is a review of the most important trends in the development of the Polish epic in the 16th and 17th centuries. In the absence of significant traditions of knightly works, the creation of Polish heroic poetry should be associated primarily with the humanistic move¬ment, whose representatives set a heroic epic at the top of the hierarchy of genres and rec¬ognized Eneid as its primary model. The postulate proposed first by the Renaissance and later by the Baroque authors did not lead to the creation of a ‘real’ epic in Poland. The trans¬lations of: the Virgil’s epic poem (1590) by Andrzej Kochanowski and Book 3 of The Iliad by Jan Kochanowski can be regarded as the genre substitutes. These translations seem to test whether the young Polish poetic language is able to bear the burden of an epic matter. Then again, the works of Maciej Kazimierz Sarbiewski on the Latin Lechias (the 1st half of the 17th century), which was to present the beginnings of the Polish state, were not completed. Polish Renaissance authors preferred themes from modern or even recent history, choosing Bellum civile by Lucan as their general model but they did not refrain from typically heroic means in the presentation of the subject. This is evidenced by such poems as The Prussian War (1516) by Joannis Vislicensis or Radivilias (1592) by Jan Radwan. The Latin epic works were followed by the vernacular epic in the 17th century, when the historical epic poems by Samuel Twardowski and Wacław Potocki were created, as well as in the 18th century (the example of The Khotyn War by Ignacy Krasicki). The publication of Torquato Tasso’s Jerusalem delivered translation by Piotr Kochanowski in 1618 introduced to the Polish liter¬ature a third variant of an epic poem, which is a combination of a heroic poem and romance motives. The translation gained enormous recognition among literary audiences and was quickly included in the canon of imitated works, but not as a model of an epic, but mainly as a source of ideas and poetic phrases (it was used not only by epic poets). The exception here is the anonymous epos entitled The siege of Jasna Góra of Częstochowa, whose author spiced the historical action of the recent event with romance themes, an evident reference to the Tasso’s poem. The Polish translation of Tasso’s masterpiece also contributed to the popularity of the ottava rima, as an epic verse from the second half of the 17th century (previously the Polish alexandrine dominated as the equivalent of the ancient hexameter). This verse was used both in the historical and biblical epic poems, striving to face the rhythmic challenge.

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W kręgu późnobarokowej zootanatologii. Trzy próbki literackie Jana Ludwika Platera

Author(s): Dorota Samborska ‑Kukuć / Language(s): Polish Issue: 20/2020

A manuscript collection, literary Miscellanea, from the 18th century, which is in the possession of the Ossolineum Library, contains works written by Jan Ludwik Plater (ca. 1670-1736), a Livonian voivode. Three poems about little domestic animals, and more specifically - their dying, are worth the attention. The author, who was an educated man, wrote elegies for the death of the ‘turkey court’ favourites, following the model of ancient (Catullus, Ovid) and old-Polish (Kochanowski, Szymonowic) writers. He wrote light and graceful poems, which contain the features of an elegy but are also decorative in the Rococo style; on the one hand they ‘commemorate’ ephemeral beings, on the other hand they provoke thought on the universality of death.

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Lucjan Rydel jako badacz i wydawca literatury dawnej – dzieje edycji Jerozolimy wyzwolonej Torquata Tassa w przekładzie Piotra Kochanowskiego (Kraków 1902–1903)

Author(s): Marta M. Kacprzak / Language(s): Polish Issue: 19/2019

The article discusses the research and editing work of Lucjan Rydel related to the Old Polish literature – the two-volume edition of Torquato Tasso’s Gerusalemme liberata, translated by Piotr Kochanowski as Goffred albo Jeruzalem wyzwolona, prepared by Rydel and published in Krakow in 1902–1903 by Polish Academy of Arts and Sciences in the series Biblioteka Pisarzów Polskich (Polish Writers’ Library). It is the result of Rydel’s research on the life and work of Piotr Kochanowski – Jan Kochanowski’s nephew, Renaissance poet, Polish translator of Ariosto and Tasso. In the Biblioteka Pisarzów Polskich it was planned to publish, in addition to Goffred, a 5-volume edition of Ariosto’s Orlando furioso translated by Piotr Kochanowski and a monograph on Kochanowski. Rydel’s materials for these books were lost during World War II, but they are known from the accounts of Józef Tretiak and Roman Pollak. Rydel’s edition of Goffred was critically reviewed by Adam Antoni Kryński, Ignacy Chrzanowski and Aleksander Brückner.

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„A tu rzeczywistość skrzeczy…”, czyli Na marne i Z dobrego serca Lucjana Rydla

Author(s): Maria Jolanta Olszewska / Language(s): Polish Issue: 19/2019

Two dramas by Lucjan Rydel 'Na marne' (1895) and 'Z dobrego serca' (1897) were created during the poet’s stay in Western Europe. These pieces are a testimony to changes in his worldview and attitude to life. He left in them his youthful fascination with symbolic and mood drama modeled on Maurice Maeterlinck’s plays. The attempts to transpose these patterns were heavily criticized by his youthful works 'Matka' and 'Dies irae'. Rydel turned to realism in art. In this case, the patterns were provided by Gerhart Hauptmann and Leo Tolstoy. Na marne is based on the confrontation of two life attitudes. The Major, a former insurgent, symbolizes patriotic tradition and deed, and his grandson Adam is a decadent who has lost faith in the meaning of life. It pushes him to suicide. This drama is a warning against passivity and fatalism. 'Z dobrego serca' treats about the sacrifice of a young girl who, after her sister’s death, decides to marry a much older brother-in-law to save her family. It becomes the personification of love of human being. For Rydel, the foundation on which we should build our life is Christian values. The choice made by the poet confirms his subsequent dramas mainly written for the folk theatre of which he was the initiator and creator.

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The paradox of death and the Theatre of the Absurd

Author(s): Dariusz Piotr Klimczak / Language(s): English Issue: 19/2019

The aim of the article is the presentation of some interesting and stimulating questions connected with the problem of eschatological codes in the Theatre of the Absurd. The main objective of this paper is to discuss the topos of Death in the Theatre of the Absurd. Because the subject has been underexplored so far, the author tries to triangulate the Theatre of the Absurd within the genre of drama first, and then moves on to the short reflection on chosen plays of Beckett and Ionesco, concentrating on the role that eschatological elements, funereal objects and eschatons play in them. The starting point of this paper could be called “eschatology of the Absurd” or “immortality deconstructed”. Meaninglessness, as the value of absolute meaning, the meaning (Sinn) and significance (Bedeutung) of Death in the Theatre of the Absurd, is also discussed. As a method of research, he proposes a short “collective phenomenological analysis”. To analyse the issue from a broad perspective, the author takes into account the relationships between the writers and their times, and refers to cultural sources, specifically the Paradox of Death in the Theatre -particularly in the Theatre of the Absurd.

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„Przemówił dziad do obrazu” – historia pewnej polemiki

Author(s): Magdalena Sadlik / Language(s): Polish Issue: 18/2018

The following paper is a recollection of a series of articles by Tadeusz Kudliński, published in ”Ilustrowany Kurier Codzienny” (1936–37). “Teatralne mielizny” were very popular with readers, especially young playwrights, supported by the critic. The articles written by the Cracow „teatrał” (theatre man) aroused a heated discussion in the press, and the initiative to create Studio 39 can be regarded as its aftermath. Contrary to previous assurances concerning the final conclusion of the ”sandback” dispute, Kudliński took up the topic again nine months after the publication of the last part of the series, and his text “Przemówił dziad do obrazu” provoked the response by Tadeusz Boy-Żeleński. Thus, the whole discussion on the articles, as well as the theatre initiative brought to life by their soul, ends with three polemical texts, published in press, whose main character has, unexpectedly, become the hero of an old Polish proverb.

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Tadeusza Kudlińskiego lektura Biblii…, czyli Gniew o Soszannę

Author(s): Maria Jolanta Olszewska / Language(s): Polish Issue: 18/2018

The novel Gniew o Soszannę was wriitten in the period 1947–1962. It came out in 1963. The writer had some difficult war and postwar experiences. First, he was repressed by the Nazis and then by the Stalinist authorities. These experiences became a source of the novel from the days of the former Israel. The story is based on the episode from the Bible, Jeph’s History. He made an unheard of Yahweh’s oath and he had to sacrifice his own daughter. However, Kudliński’s novel goes beyond the colorful of the biblical story, it carries deeper reflections on human life and relationships with Yahweh. It is also a settlement with totalitarianism. From the formal point of view, it is an apocryphal narration based on Kudlinski’s principle of «symultaneity», thus realizing the ‘three-times principle’ of spatial composition. The character becomes a collective hero. Kudliński’s work fits into the search for a modern novel form in Polish literature of the twentieth century.

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Wojenna turystyka Tadeusza Kudlińskiego

Author(s): Mateusz Rozmus / Language(s): Polish Issue: 18/2018

Can a soldier be a tourist? Can we say that touristic experiences are possible during the war from the anthropological point of view? In this article I tried to find the answers to those questions, using Smak Świata by Tadeusz Kudliński. A soldier, but also a typical tourist, hungry for new experiences, was only accidentally placed in the middle of the war by history. The Tourist Gaze by John Urry and The Image: A Guide to Pseudo-Events in America by Daniel Boorstin were very useful during my research and helped to create a new view of Smak Świata novel.

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Die Deutschen – Feinde oder Partner? Eine Übersicht über polnische Autoren des Mittelalters

Author(s): Andrzej Pleszczyński / Language(s): German Issue: 1/2019

The aim of this article was to examine the opinions of Polish medieval authors of historiographical texts about the Germans and their states: about the Empire and later German territorial states – Poland’s neighbours. Due to the large number of sources, this article only contains information on selected opinions that illustrate the main trends. In addition, the author attempted to find the cultural basis for formulated views.

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Transparentność, refleksyjność, dialog. Lampedusa wobec migracji w „Wielkim przypływie” Jarosława Mikołajewskiego

Author(s): Magdalena Horodecka / Language(s): Polish Issue: 2/2023

In her article, Magdalena Horodecka analyzes Jarosław Mikołajewski’s literary reportage Wielki przypływ [High Tide] (2015), approaching the text in the perspective of literary journalism studies and literary anthropology. Key in Horodecka’s interpretation are the tools of journalistic epistemology, particularly the concept of transparency. She also examines ethical issues and the problem of migration. In Mikołajewski’s book, an important role is played by the characteristics of the Italian people who help the refugees. A crucial aspect of his narration and perception is the art of dialogue with the direct witnesses of events. Horodecka also stresses the importance of his reflective attitude, which is stimulated by the landscape of the Lampedusa island.

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Etyka i polityka. O twórczości Pawła Smoleńskiego

Author(s): Monika Wiszniowska / Language(s): Polish Issue: 2/2023

In her article, Monika Wiszniowska looks into Paweł Smoleński’s creativeness. Smoleński is a reporter and publicist, since 1989 a journalist affiliated with „Gazeta Wyborcza”, and an author of many books in which he has written on Polish and international issues, regarded as the most important observer of Israeli and Middle East affairs. Wiszniowska focuses on Smoleński’s two roles, adequately concretized in two textual layers. The first role is that of a social and political writer, realized in this part of a text which tells the reader about the world, using the available knowledge and acting as a guide to unknown parts of the world. He tries to understand this world, and to explain the phenomena that occurr in it. In his books, Smoleński is not trying to convey or make visible his ideology but rather to present the ideas that influence the text’s structure. One can find those ideas not only in the few passages which present the author’s way of thinking, but above all in deeper layers of narration, where one can discover Smolenski’s perception of the world. The other role is that of a writer-humanist who cannot narrate any complicated events in our present day reality without concentrating on the fate on an individual human being. He listens to his protagonists’ stories as they tell about their experiences but also as they expose their individual ways of thinking. In Smolenski’s tales, not only those concerning the Middle East, we find incorporated an ethical project which is based on such European values as rationalism and the anthropocentric perspective. Both roles complement each other creating the original idiom of Smolenski’s work.

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“Forgotten Friend(s)”: Polish Literary Diplomacy in Slovenia

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“Forgotten Friend(s)”: Polish Literary Diplomacy in Slovenia

Author(s): Boštjan Udovič,Janž Snoj,Tanja Žigon / Language(s): English Issue: 04/2023

The aim of this article is to study the translation of Polish literature into Slovene to shed light on Polish literary (and cultural) diplomacy in Slovenia. Being acquainted with the culture of another nation is an important factor in forming closer political and economic relations, since literature is a source of “soft power,” which relies on attraction rather than on the power of explicit or implicit coercion. Using quantitative analysis, we surveyed how many and which works were translated from Polish into Slovene between 1865 and 2021. Our qualitative analysis based on semi-structured interviews with Slovene translators further explores who chose the texts and decided what to translate from Polish into Slovene. The key finding of the article is that strong cultural cooperation (in our case, translation of Polish literature into Slovene) can be an advantageous platform for enhancing and strengthening political and economic relations between the two countries, as well as for fostering better understanding between the two nations.

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POWIEDZIAŁ DO MNIE: „LIEBLING”. QUEEROWA LEKTURA WSPOMNIEŃ OBOZOWYCH JANUSZA KARWACKIEGO

Author(s): Aleksandra Kumala / Language(s): Polish Issue: 1/2023

As part of a relatively new notion — “queering Holocaust studies” — the article deals with the issue of nonheteronormative forms of sexuality among Polish male former concentration camp prisoners. The analysis of selected excerpts from Mieczysław Karwacki’s book Życie wśród śmierci [lit. Life among death] (1999) is conducted with the use of the queer category as well as scholarly reﬂection on the topic of wartime sexuality. This strategy shows how crucial transgressive themes (concerning the homo- and heterosexual experiences of the author, touching upon his physicality and masculinity) are for the book, and how the author challenges the constraining, binary division into “female” and “male” topics of concentration camp literature. A queer reading of the book by Karwacki — someone hitherto anonymous, unknown to both readers and researchers — reveals the need to split open the martyrological, heteronormative model of war memoirs and to incorporate this kind of content into concentration-camp discourse in Poland.

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