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Memory is one of the essential concepts of science and it is presents in scientific works of psychology, pedagogy, sociology, linguistics, history, cultural studies, and also i.e. neurobiology or computer science...
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The author presents chosen literary works for children created in Poland between 1919 and 1949. She makes an analysis of works created by Edward Słoński (The True Fairy Tale), Kornel Makuszyński (The Two Who Stole the Moon), Maria Kędziorzyna (Behind the LittleBroken Glass, Gaptuś From the Toy Corner). Her analysis uses disability studies and Igor Saksida’s aesthetic conception of children’s literature. Another key proposal of the paper is for a new chronology inside the history of Polish children’s literature (“thirty years 1919-1949” instead of the current division between “interwar period” and “postwar period”). The author makes an attempt to present the values (tolerance, self-acceptation) which are to be found in these works. She is also focused on the universal character of these values and interesting examples of meeting with disability for the child reader. Another proposal is returning some texts to contemporary culture after the communist period as the important element of that prose is not only its educational aspect but also the aesthetic one.
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Through reading, a child learns the values that are important in one’s life. The primary environment in which value transfer takes place is the family. In it the child is influenced by their parents and what they think, what they believe, what they consider the most important, according to which rules they behave. The aim of the article is to show the axiological qualities transmitted by the books of Grażyna Bąkiewicz, especially here at home. These tales of factory children and the values associated with the family are significant: joy, free time together, common conversations. Thanks to them they build a family community. G. Bąkiewicz emphasizes the value of the family home. The presented textual expressions should shape in the minds of contemporary readers the conviction of the importance of spending time together that it is important for family members, rather than just existing side by side. For the unquestionable values that the reader finds within, the diligence, truthfulness and honesty of the book’s heroes must be recognized. They can be a pattern of behavior for both children and adults. In reading you can see the importance of attachment to a small homeland – the city of Lodz. The story of these factory children introduces a young reader into a world of values in a happy, full family. The book provides knowledge, approximates the moral and social norms of behavior, and shapes attitudes toward home and one’s own place.
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The presented considerations refer directly to two different, and not necessarily consistent, creations of Moominvalley, presented in the Moomins magazine and in comic albums, in the form of a collection of illustration strips by Tove Jansson which were published regularly in the Evening News. This article is an attempt at analysing and comparing the Moomin worlds presented in selected Polish magazines and comic books. To systematize these considerations and carry out an efficient and clear analysis of particular interpretative layers and planes, this text is divided into sections, devoted among others to the theoretical sphere, being a collection of information on the Moomin comic strips in Polish magazines and albums, and the methodological sphere, comprising a description of the way of structuring the ponderations and analysing the study material. They are crowned with conclusions which attempt to define and identify the age of the prospective readers of the analysed illustration sequences and promise to start interpretative endeavours related to the remarkable comic strips by the Finnish writer and illustrator, also known as the Moomin Mum.
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The article refers to the subject of a toy-character in literary works for children in Poland. The author begins with the theory of children’s literature as “great fun” by Jerzy Cieślikowski, then she tries to show various types of toy characters, starting from everyday objects and ending with anthropoidal creatures. She refers to both Polish and foreign literature characters important for a child-reader such as: Nutcracker, Pinocchio, Winnie the Pooh, Brave Teddy Bear, “Kichuś”, “Plastuś”, “Miś Uszatek”, etc. The author points to Pichard Schechner’s concept, as well as Roland Barthes’s contemplation, to outline the specific role of a toy character in the process of children identifying themselves with a literary character. As a result of subconscious identification with the character’s adventures, the phenomenon named “Different Me” occurs. According to the author, “Different Me” appears in the process of transferring the child recipient’s identity during the reception of a literary work. The concept, although it does not contain data from empirical research, is a part of the research on the reception of literary works by children.
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The article addresses the problem, which has not yet been analyzed in the Polish philosophical and anthropological literature, and which deals with the subject of unknowability or invisibility of God in the contemporary French phenomenology of religion. The text focuses on the ideas of transcendence, immanence and mystery as developed and further elucidated by Emmanuel Lévinas, Michel Henry and Gabriel Marcel. The author deduces from the philosophical discourse on the three concepts that the transcendence (as understood by Lèvinas) and immanence (as perceived by Henry) are the ideas which unilaterally carry out the tasks set for them by their authors, which is “to protect” God from objectification to which the phenomenological method leads when applied to the problem at stake, in particular, as it was presented by Edmund Husserl. Not only Lévinas and Henry were in opposition to this method but so was Marcel. who had used the concept of mystery for the same reason. According to the author of the article, neither the transcendence (Lévinas) nor the immanence (Henry) but the concept of mystery (as developed by Marcel) is the one which «protects» God the most efficiently against objectification. From the phenomenology of religion point of view the most important thing is that in Marcel’s thought God does not appear as a phenomenon (as Gerardus van der Leeuw and Lévinas and Henry believed), and yet that does not exclude the religious relationship between Man and God. According to Lévinas and Henry this biblically understood relation cannot exist even though their concepts also have relatively strong foundations in the Bible. Therefore, the author of the text believes that the Marcelian concept of mystery meets the expectations of a believer (homo religiosus) better than the Lévinasian concept of transcendence and the Henrian idea of immanence. The concept of God as the Mystery as developed by Gabriel Marcel allows man to enter into a religious relationship with God by the means of prayer.
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The aim of this text is to present a Polish definitional discourse on fantasy as a convention of fantastic literature, from the moment of its appearance through to the translation of Tolkien’s Lord of the Rings in the years 1961-1963. The first attempts to define this term, to the moment when the phenomenon took shape and the definitional discourse was taken over by Polish fantasy authors in the 1990s are also discussed. The selection of significant statements and their interpretation will be made with reference to Michel Foucault’s theory of discourse and Pierre Bourdieu’s field theory.
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Władysław Grodecki (1942–2018) was one of Poland’s most famous 20th century travelers. Due to his constant promotion of Polish culture and history abroad, the Polish press came to label him as the „wandering Polish ambassador”. In his homeland he was also valued as a committed promulgator of knowledge about Poland and the world. He constantly strove to create a positive image of Poles and Poland. These aspirations are particularly clearly reflected in Grodecki’s journalistic work. The purpose of this article is to examine the linguistic efforts that Grodecki used in his journalistic work to create a positive image of Poles and Poland. The analysis of the material is made with the use of linguistic tools including pragmalinguistics, the speech act theory. Following Grodecki’s texts, one can notice a certain specificity, the essence of which is the dominance of positive, approving and even praising actions. The stylistic means used to create a positive vision of the world include comparison, hyperbole, and metaphor. In this way, Poles are presented as beautiful, talented, honest people, and who love and miss their homeland. Meanwhile, Poland itself is portrayed as a country of beautiful nature and monuments, of delicious and healthy cuisine as well as of fascinating history.
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The subject of this paper is popular literary and paraliterary texts published in Gazeta Kielecka (Kielce Newspaper) in the second half of 19th century. The aim of this research is to outline the general picture of popular literature in the provincial area of the Kielce Governorate. Analyzed topics are related to the ideological formation of the journal’s program line. Furthermore, this study draws attention to the general types and genres of popular texts appearing in this periodical, which often turn out to be difficult to unambiguously assign. The author describes the role of such texts as well as the journal’s communication strategies. Morever, further research could answer questions about the similarities and differences in the role of popular literature in the province and in large urban center, which would shed new light on the center periphery relation.
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The article summarizes the current state of research devoted to the works of Joanna Mueller. The author of the text points out the critical impasse – the decline in interest in the poetry of Mueller, which seems to be caused by the reproduction of interpretive stereotypes about the nature of her works. In turn, the changes in the poet’s writing, which have not been taken into account in the reception, are shown on the example of the analysis of her latest volume, Hista & her sista, published in 2021. The article shows how Mueller’s poetry reveals its emancipatory potential, opposing accusations of excessive intellectualism and exaggerated formal sophistication, which has been said to mask the poet’s conservative worldview. It takes into account the context of Michel Foucault’s thought, whose concept of discourse Mueller draws on as she explores the multiple implications of the title’s notion of hysteria. Indeed, given its discursive and disciplinary nature, the poet performs a significant political subversion of the phenomenon. Hysterical women turn out to be subjects fighting for their own independence by transgressing the boundaries of the norm, while the supposed eternal immaturity of women, who were denied the right to rationality, is transformed into a positive value – it becomes the engine of a revolution.
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The article is devoted to the interpretation of selected motifs of Z. Po-wieść – the only strictly fictional work of the art critic and art theorist Mieczysław Porębski – in the context of Stefan Szymutko’s concepts and studies. This Silesian literary scholar was particularly interested in the works of Teodor Parnicki, with which the aforementioned “postmodern” historical novel is sometimes compared. Z. Po-wieść depicts the journey of the eponymous character, the reborn Z., through the history of European civilization. Such a plot illustrates the confrontation with “the great history” (history-being) and serves to create a certain overall vision. A comparative reading of Szymutko’s statements and Porębski’s book (as well as some of his other texts) highlights the problem of the relationship between history, reality and literature, which is particularly important for both protagonists of the article. While Szymutko clearly opposes literature (the domain of words) to empirical historical reality, Porębski vindicates the former as a tool for confronting historicity and defending individual existence. In spite of the cruelty of historical reality, artistic creation that corresponds with it allows for the achievement of catharsis and the only indelible “pleasure of history” (Szymutko’s formulation). According to Porębski, myth, like literature belonging to the so-called sphere of the third logical value, has a similar effect. And literaturę has the ability to give a mythic – timeless – actuality to what is incidental and ephemeral.
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Usytuowane na pograniczu takich dyscyplin jak historia kulinarna, historia codzienności oraz badania nad narracją, niniejszy artykuł bazujący na jakościowej analizie treści w książce kucharskiej Moniki Sheridan pt. Monica’s Kitchen analizuje różne sposoby, w jakich czas uwidacznia się w tej publikacji. Artykuł ten ma na celu ukazanie tego, że książki kucharskie mogą stanowić cenne źródło w analizie przeszłości, teraźniejszości i przyszłości, a także wzbogacić rosnącą liczbę badań skoncentrowanych na irlandzkiej historii kulinarnej XX wieku.
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Review of: Wielogłos. Polskie, czeskie i słowackie teksty o Zagładzie Handbook of Polish, Czech, and Slovak Holocaust Fiction. Eds. Elisa-Maria Hiemer, Jiří Holý, Agata Firlej, Hana Nichtbur-gerová. Berlin: De Gruyter. 2021, 514 s.
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In the 20th century, tuberculosis was already perceived as a democratic disease. An overview of tuberculosis became different and less serious. Seven-volumed press ephemerid from the interwar period, that is, Prątka Jednodniówka (Bystra Śląska) is one of the examples. This journal is gelotherapeutic. Introducing satirical, journalistic, literary and graphic genres, it used some sophisticated rhetorical and metaphorical devices to familiarize tuberculosis and made an attempt of a laughter therapy. A sense of community associated with the undertaking, placing the subject in the health resort reality and undertaking medical issues in a humorous manner: the aim of all these factors was to show the life in the sanatorium as well as tuberculosis itself in the crooked mirror of a satire.
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The subject of the analysis are texts of which main intention was to notify of the death of a person. These notifications were accompanied by a set of complementary illocutions such as: presenting the deceased per- son, highlighting his or her merits and showing respect for them. The material basis of the analysis con- sisted of texts from the four oldest Warsaw newspapers: “Merkuriusz Polski” (the beginning of 17th cen- tury), “Kurier Polski” and “Gazeta Warszawska” (18th century) and “Kurier Warszawski” (the beginning of 19th century). This genre analysis led to the formulation of a hypothesis that the press genres such as obitu- ary, memorial note, and profile (with its variants) originated in the 17th-century press texts announcing the death of a person. The primary aim, which was to inform about the death, was complemented by other goals, depending on the epoch, the communication needs of the community and other contextual conditions (e.g. the technical abilities of the press), which in time gave rise to new variants/variations of genres, and over time, to separate genre forms.
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Tadeusz Różewicz was one of the most prominent Polish writers of the 20th century: a poet, novelist, playwright and screenwriter. A soldier in the underground Home Army during the Second World War, he studied art history at the Jagiellonian University in Cracow after the war, eventually devoting himself exclusively to literary work. At the beginning of 1950, he settled in Gliwice, which, at the time, was a provincial town from the point of view of Cracow. He never joined the ranks of the Communist Party and his voluntary detachment from mainstream literary life allowed him to partially maintain his artistic autonomy. His contacts with foreign writers and publishers brought him to the attention of the communist state security authorities. During his stay in Gliwice, he was investigated by the Security Service in relation to a case code-named “Writer”. In 1968, he moved to Wrocław. The article is an attempt to reconstruct the causes, course and effects of the poet’s exposure by the Security Service against the broad background of his time in Gliwice.
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The article addresses the discussion on the two-volume novel Imiennik (vol. 1: Śladami pradziada [In the Footsteps of the Great-Grandfather], vol. 2: Miecz i pastorał [Sword and Crosier]) by the Cracow lawyer and writer Karol Bunsch, published in 1949. It describes the reign of Bolesław the Bold and the ruler’s conflict with the Bishop of Cracow, Stanislaus of Szczepanów, which ended with the latter’s tragic death in 1079. In the novel, the author combined historical facts, his own interpretations of contentious issues and extant source material, as well as fictional events; in doing so, he strongly outlined the scientifically unverifiable inner motivations of historical figures. The novel sparked a polemic between the author and his critics that took place, among others, in Tygodnik Powszechny [Common Weekly]. It mainly concerned Bunsch’s portrayal of Bishop Stanislaus, which was considered unreliable and hurtful. Critics of the book rejected the historians’ concepts on which Bunsch relied, as well as some of the information given by Gallus Anonymus, or proposed a different interpretation. At the same time, they gave preference to later sources that portrayed Bishop Stanislaus in a positive light. Bunsch defended the hypotheses of older scholars he presented in the novel, as well as many of his own thoughts, accusing his opponents of ignorance of the sources, misinterpretation and even manipulation. The dispute dragged on for many years and had an additional political dimension, becoming part of the complicated relationship between the Catholic Church and the communist government.
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Wiktor Woroszylski was one of the longest interned writers. From 13 December 1981 to 18 October 1982, he was held in detention centres in Warsaw Białołęka, Jaworze and Darłówek. On 20 February 1982, during a search, guards seized from him a 99-page fragment of a diary written in solitary confinement. An extensive fragment of the manuscript seized from the poet was handed over to Wacław Sadkowski, alias “Olcha”, a writer working in the Security Service, for analysis. The published analysis is the only trace of Woroszylski’s notes from this period. The original fragment of the diary has not been found to this day.
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Józef Mackiewicz’s Katyń – a Story Witnessed, Experienced, Researched and Guarded
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This article concerns two vocal interpretations of the poem Dwa wiatry (Two Winds) by Julian Tuwim: one comes from an actor, the other from an amateur publishing educational materials on the Internet. The aim is to explain why the actor’s interpretation seems more suggestive than the amateur one. The subject of the study is the prosodic features of both performances of the poem (tempo, sound intensity, and tone changes), treated as an iconic indicator of its cognitive and emotional content. This article is a continuation of an earlier publication in which Tuwim’s Lokomotywa (Locomotive) was examined in a similar way. In both studies, the Praat programme for acoustic analysis of sound was used for research.
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