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SŁOWIAŃSKIE, PSEUDOSŁOWIAŃSKIE, NIESŁOWIAŃSKIE? WAMPIRY W POLSKIEJ LITERATURZE

Author(s): Marta Błaszkowska-Nawrocka / Language(s): Polish Publication Year: 0

Although the term “vampire” and the earliest legends about these creatures are considered these days to be of eastern origin, Slavonic culture and vampires appear to have many connections. “Slavic vampires” have a less pronounced sexual aspect, which is important in many classic vampire stories, and, instead, deal more with the concept of a “bad death” and the disease/illness category. This paper is an attempt to examine the shape and anthropological meanings of vampire figures in Polish literary texts.

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MROCZNY OBIEKT POŻĄDANIA, CZYLI NIEDOBRA MIŁOŚĆ ZOFII NAŁKOWSKIEJ

Author(s): Joanna Świątek / Language(s): Polish Publication Year: 0

Niedobra miłość (Bad love) is a novel by Zofia Nałkowska, a Polish writer. It tells the story of a love triangle between a young married couple and a friend of the female protagonist. When Agnieszkaʼs husband starts cheating on her, she develops a kind of neurosis and depression and, as a result, is unable to function normally or go about her life as she used to. The situation developments are followed and commented on by the inhabitants of a small provincional town somewhere in Poland where the story takes place. The novel offers several readings: a psychological portait of an abandoned woman who is still deeply in love, a semi-autobiographical narrative of Nałkowska’ life (based on her diaries), a socio-cultural novel about the post-World War I Poland or as an example of womenʼs writing.

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Johannes Vermeer: Mlékařka – Wisława Szymborska: Vermeer

Author(s): Veronika Kubecová / Language(s): Czech Publication Year: 0

Obraz Mlékařka od Johannese Vermeera, holandského barokního malíře známého (nejen) díky dílu Dívka s perlou, byl vytvořen kolem roku 1660. Právě toto výtvarné dílo je základem pro báseň Vermeer polské básnířky Wisławy Szymborské, která svou ekfrázi vydala roku 2009 v rámci sbírky Tutaj (česky Okamžik. Dvojtečka. Tady, 2009, přeložila Vlasta Dvořáčková).

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Vítězslav Nezval: Po smršti

Author(s): Lucie Petreková / Language(s): Czech Publication Year: 0

Součástí sbírky Absolutní hrobař (1937) Vítězslava Nezvala je mimo jiné i oddíl Dekalkomanie, v němž můžeme najít sedm dekalků a básní, kromě těchto také dva texty teoretické, z nichž při úvaze o básni Po smršti budeme vycházet. Absolutní hrobař je jednou z posledních Nezvalových sbírek v jeho vrcholném surrealistickém období a uzavírá tak básníkovu triádu Žena v množném čísle, Praha s prsty deště a Absolutní hrobař. V teoretickém úvodu Dekalkomanie se o obrazech, které básník vytvořil rok před jejich zbásněním a vydáním, dočteme, že se jednalo o umělecký popud „maniakální“, o dílo náhody, která však byla nutností, o surrealistickou hru s imaginací a dosud netušenou touhou a snem (Nezval 2012: 379). Dekalky jsou spolu s automatickým psaním, technikou frotáže nebo například fototypů neodmyslitelně spojeny se surrealismem a experimentálním obdobím třicátých let 20. století, dle André Bretona jsou dekalky oknem k nejkrásnějším krajinám a světům (Effenberger 1969: 56–57). Tuš rozlitá na hedvábný papír, pomalu rozpitá a obtisklá na druhý povrch, vytvořila natolik podmanivé nahodilé obrazce, že v básníkově mysli rozehrály celou řadu spontánních básnických obrazů, jež následně využil při psaní Absolutního hrobaře. Sedm z těchto dekalků bylo však natolik svérázných a suverénních, že se ve stejném zápalu pokusil o jejich verbální zpracování. Slovy autora samého jde o „slovní interpretaci“ obrazů, dekalků, které ho vyburcovaly k „aktivnímu a paranoickému myšlení“ (Nezval 2012: 399–400).

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O „miejscach pamięci” w poezji Juliusza Słowackiego

Author(s): Grażyna Halkiewicz-Sojak / Language(s): Polish Publication Year: 0

The topic of the article is the analysis of “places of memory” in selected works by Słowacki. The examples have been juxtaposed in such a way as to show, on the one hand, the evolution of motifs and, on the other, to reveal certain permanent features of the author’s poetic imagination. The selection criterion was also the relationship of the interpreted “places of memory” to the poet’s childhood and youth; hence the preference for lyricism, in which the poetic images of Krzemieniec and Warsaw appear: "Godzina myśli" (“An Hour of Thought”), "Uspokojenie" (“Calm”). The subject of interpretation are both youthful works and those written at the end of life – in the mystical period. The interpretations allowed to show the work of the poet’s memory and imagination, thanks to which the literary images become more and more dynamic, gradually detach from memories and become fragments of an apocalyptic vision.

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Księżyc nad miastem

Author(s): Agnieszka Górska / Language(s): Polish Publication Year: 0

This article is devoted to the city of Vilnius represented in the early poem "Księżyc" (“The Moon”) by Juliusz Słowacki. The image of the city is evidently inspired by one of the first books he read, "The Arabian Nights", particularly by the story of Aladdin and his enchanted lamp. In the 18th and 19th centuries "The Arabian Nights" were one of the most important books in Europe, especially their French translation by Antoine Galland, a French orientalist. Słowacki, having drawn on the story of Aladdin, represented Vilnius as fairy-tale-like place, full of wonders and oriental delights. The memory of his home town was connected to the city illumination in 1822. The poet as a teenage boy perceived the city lights and the thousands of lanterns as an extraordinary and fairy-tale-like event. Słowacki’s memory of the illuminated city intertwined with the memory of the book he had read in his childhood. In this lyrical description of the city an important feature of Słowacki’s memory already became noticeable: for the poet a veristic view was not as important as the view seen in his imagination inspired by the Arabian tales.

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Raptularz podróży wschodniej Juliusza Słowackiego – przestrzeń pamięci poetyckiej

Author(s): Zbigniew Przychodniak / Language(s): Polish Publication Year: 0

The retrieval of the manuscript of Juliusz Słowacki’s notebook from his travels to Greece, Egypt and Palestine (1836‒1837) allows us to resume the analysis of this many-texted written document, called "Raptularz Wschodni" (“The Eastern Travel Diary”). It contains travel notes, ready-to-publish creations, drafts and plans of many literary pieces – among others, ["Listy poetyckie z Egiptu"] (“[Poetic Letters from Egypt]”), "Podróż do Ziemi Świętej z Neapolu" (“Voyage to the Holy Land from Napoli”). The question of genesis and timeframe of the entries, the composition rules, its mnemonic function and the role of the notebook in the opus of Juliusz Słowacki is reconsidered. The comparison to other notebooks of the poet points to a special character of this traveller’s silva rerum, and its role as a sort of poetic memory on hand. “The Eastern Travel Diary” by Juliusz Słowacki is a heterogeneous, palimpsest document, an open work with a rich net of internal correlations and both literary and semantic interconnections. It was a space for an intensive poetry-creating work, drawing strongly from the Greek formula of poetic art as poieín.

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„Znudzeni wonią kwiatów”

Author(s): Paulina Abriszewska / Language(s): Polish Publication Year: 0

The aim of the article is to analyse and interpret Juliusz Słowacki’s "Godzina myśli" (“An Hour of Thought”) in order to show how its play of memory and imagination is rooted in its intense sensuality. The stress is particularly put on those fragments where one finds totality of senses that make a sort of sensual panorama, synesthesia, and surprisingly important role granted by the poet to smell.

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Juliusza Słowackiego „pamięć florystyczna”

Author(s): Ewa Grzęda / Language(s): Polish Publication Year: 0

This article analyses selected biographical episodes and representative poetical works by Juliusz Słowacki which confirm the significance of floristic memory both in his individual perception of physical phenomena and artistic imagination. The kind of memory put forward in this text is a synthesis of autobiographical and landscape memory. These memory types have been clearly defined in contemporary scholarship. The notion of floristic memory employed in the context of Słowacki’s studies is postulative and purely functional. This particular memory type may also follow from his special relationship with the natural environment in childhood and youth, which determined Słowacki’s individual identity. The nineteenth-century philosophical and aesthetical tendencies are considered to be additional modelling factors.

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„I dzwoni cicha dusza muzyczna”

Author(s): Małgorzata Łoboz / Language(s): Polish Publication Year: 0

The paper attempts to answer the question whether Słowacki possessed musical memory and whether the said fact can be proved. In his poem "Anioł ognisty – mój anioł lewy..." (“Angel of Fire – My Left Angel…”) Słowacki showed the problem of the musical soul as a result of the expressive function of poetry. The issue was also presented as an analysis of individual experience – every recipient can discover their own musical soul and Słowacki was well aware of the fact. In his poetic vision the Polish poet perfectly captured the said phenomenon. The question is whether in Słowacki’s works the ability to listen to the musical soul is connected with the ability to remember specific tones, rhythm, melodic tempo? Based on the fragments of his correspondence, it can be stated that interpretation and reproduction became the most important aspects of the sound reality he created. Recognizing the intriguing phenomena of the world of sound, Słowacki assigned them to certain emotions. The mentioned feelings presented recollection as a form of preservation of memory. There is no doubt that in Słowacki’s case one can speak of musical memory as a form of consolidating specific musical predispositions (the so-called musical hearing, sense of rhythm, the ability to shape the articulation of the sound). One can also distinguish a type of memory phases in music, when particular audio phenomena provoke the poet to remember specific events from the past.

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"Anhelli" – pamięć i tożsamość

Author(s): Wacław Pyczek / Language(s): Polish Publication Year: 0

The character of the hereby presented essay is an aspectual interpretation of Juliusz Słowacki’s narrative poem Anhelli, where the perspective of observation is set by the category of memory viewed in the context of identity. Memory motifs, important in the epoch of Romanticism, perform a significant and complex role in the described narrative poem. They are present in numerous layers of the literary work. First of all, they determine the nature and destiny of literary characters, they also shape the narrative mode, the image of the historic and religious alignment of the literary work. For the author of the presented considerations it was more important to concentrate upon the existential contexts than the political ones, so often underlined earlier. The presented interpretation of the Siberian narrative poem memory was pointed out as a value and, at the same time, a factor forming the identity of the characters and especially the title character. Complexity of the topic is revealed in the very multitude of memory types – narrative (biographical and autobiographical), intimate, individual, collective and also biblical. Introducing the particular categories and their description allowed determining more closely the layers of the basic meanings of the narrative poem and also the image of the exile culture marked with the tragic stigma.

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„Nie tworzę prawie nic, lecz przypominam”

Author(s): Olga Taranek-Wolańska / Language(s): Polish Publication Year: 0

The article discusses various mechanisms of memories in "Beniowski" by Juliusz Słowacki, which are typical of associative discourse in a digressive poem. Therefore, anamnestic memory is distinguished, which in "Beniowski" is subordinated to irony and defines Słowacki’s attitude to tradition, including the literary one, and is associated with the language crisis experienced by the poet. The basis for Słowacki’s cryptomnesia memory is also pointed out, which is associated not only with his erudition and the phenomenal ability to remember. Nowadays, it is interpreted as a manifestation of the poet’s intertextuality, his struggle with the influence of his predecessors and searching for his romantic idiom. The article gives examples of associations related to Jaszuny that Słowacki visited in his youth. The article also explores associations with Ludwika Śniadecka, Słowacki’s youthful love. Finally, cryptomnesia and anamnesis are shown as figures of memory, subordinated in "Beniowski" to different types of irony, which breaks the course of a digressive poem, and in a broader perspective – disrupts the reference function of the language.

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Pamięć epistemiczna Juliusza Słowackiego jako źródło wiedzy o podmiotowych relacjach

Author(s): Ewa Hoffmann-Piotrowska / Language(s): Polish Publication Year: 0

Juliusz Słowacki can be called a poet of memory, especially the memory of himself. He wants to talk about himself, about the subjective and objective reality in which he participates. To a large extent, the poet does this to save himself from oblivion. The article deals with the epistemic memorial of brother Juliusz, which takes on a new meaning due to its relationship with metempsychosis concepts present among the Tovians. It will be individual but also social memory, focusing on the experience of the generation of the oldest ghosts, among which Słowacki included himself. The article reflects on the cognitive memory of the mystical poet in the context of personal relationships, which this memory helps the poet to interpret. The textual source of considerations here are the poet’s letters to Joanna Bobrowa.

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Juliusza Słowackiego pamięć ciała (przyczynek do refleksji nad stosunkiem poety do materii w okresie genezyjskim)

Author(s): Anna Rzepniewska-Kosińska / Language(s): Polish Publication Year: 0

The paper concerns the manner in which Juliusz Słowacki referred to the body (primarily his own) in the correspondence from the 1840s. The article contains a review of current research proposals, largely shaped under the influence of the still vivid stereotype of this poet, who after a spiritual change would begin to despise the material sphere of life. Based on the interpretation of his letters, it was possible to verify this stereotype and show Słowacki as an artist struggling with the issue of corporeality, having an ambivalent attitude towards it, but without any contempt. The conclusions indicate that the poet’s correspondence as well as his literary texts can be read as a multi-threaded treatise on the body and its place in the Genesian system.

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Pamięć a życie pozagrobowe

Author(s): Ewa Szczeglacka-Pawłowska / Language(s): Polish Publication Year: 0

The article addresses the issue of memory in the lyric, which in the editions of Juliusz Słowacki’s poems is titled "Do Franciszka Szemiotha" (“To Franciszek Szemioth”), but in his notebook ["Raptularz 1843‒1849"] ([“Diary 1843‒1849”]) begins with the words: ["Nie zapominaj, że kiedyś ubogi…"] ([“Do not forget that once a poor…”]). The analysis of this manuscript is conducted taking into account other texts from the notebook, including the note about Homer’s "Odyssey".

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Testament ducha

Author(s): Olaf Krysowski / Language(s): Polish Publication Year: 0

The article is an interpretation of the lyric "Wspomnienie pani de St. Marcel z domu Chau[mont]" (“The Remembrance of Madame de St. Marcel nee Chau[mont]”) by Juliusz Słowacki. In the poetic reminiscence of the deceased woman, life is intertwined with death, space with time, the real with misty afterimages. It can be noticed that Słowacki’s poem does not tell about the shape of the remembered past, but rather goes towards the present where the act of remembering occurs. The words “remember the broken parliaments”, addressed to the heroine of the poem, seem to be a testamentary message, containing a hint on how to fight for salvation or how individual spirits should lead to salvation. In the poem, veto can be a synonym of opposition to stagnation – according to the ideas of progress and freedom, which this measure of individual objection was to serve in the parliamentary system of former Poland, and at the same time in spite of the infamous tradition of using it to stop social or political reforms.

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Pastereczka i cyganiątko, czyli pod jakimi warunkami jest możliwa komparatystyka tekstów genezyjskich?

Author(s): Karol Samsel / Language(s): Polish Publication Year: 0

The study heads to frame the Genesian Juliusz Słowacki’s lyric "Do pastereczki siedzącej na druidów kamieniach w Pornic nad Oceanem" (“To Shepherdess, sitting on Druid’s Stone in Pornic over the Ocean”) in the perspective of numerous intertexts corresponding with each other, creating peculiar for the poem system of comparative relations locating the Słowacki’s “Shepherdess” in the field of the most representative children’s-epiphanic poems of William Blake ("Songs of Innocence: Little Girl Lost. Little Girl Found"), William Wordsworth ("Ode. Intimations of Immortality from Recollections of Early Childhood and To a Highland Girl") as well as Matthew Arnold ("To a Gypsy Child by the Seashore"). Multi-faceted and referring to many intertexts at the same time, realised and accomplished in that way, comparing of Słowacki’s Genesian pieces enables to look at all Genesian works of poet not from the traditional one, idiomatic perspective as at the articulation of extremely individual and unique experience, but from the universal perspective, where Genesian text applies to widely understood phenomenas of existential and philosophical romanticism, including here the categories of maturation, initiation, transgression and transcendence, cognition and metaphysical participation of being in the world. Oriented in that way, philological and microphilological close reading of Słowacki’s poems, letters and diary, Wordsworth’s poems and letters, Blake’s letters equipped with special plates from "Songs of Innocence", finally Arnold’s poems – because of its multi-genericality and multi-facetility – can lead the comparative scholar of Słowacki much further than it was facilitated earlier in traditional comparative studies (in study represented by known and valued essay of Maria Cieśla-Korytowska about Słowacki and Wordsworth).

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Tożsamość medytującego oraz jego „wspomnienie niby”, „rewelacja” i „śnicie niby” w "Genezis z Ducha"

Author(s): Grzegorz Kubski / Language(s): Polish Publication Year: 0

"Genezis z Ducha" (“Genesis from the Spirit”) shows formal affinity with Saint Augustine’s "Confessiones" in the use of Hexaemeron and biblical figures as a figure of the subject’s personal experience. But in Słowacki’s work, the self that speaks is sylleptical. At the same time, it is both a biographical „self” and „I”, literally constructed. The subject writes down visions in the state of theopneustia, but also ostentatiously creates images of the world. He has knowledge resulting from participation in the pre-existence of the Logos, but in the meditation he will save figures of aporia. It is identical with the Logos, but shares the fate of Lucifer. “Placed” by God on the “Ocean rocks” (see Ps 40), or rather Oceanus – it is unknown whether he is only there “out of the body” (see 2 Cor 12,2‒4). Chosen by God, he is not among the chosen people, but among the Egyptians who are “deceived” by Him. In the distant forms of nature, he finds a “memory”, discovers “revelation” and prophetic dreams, but it is not known whether they are all his states as persons, or completely external to him.

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Dwie pamięci o pięknie w "Samuelu Zborowskim" Juliusza Słowackiego

Author(s): Natalia Szerszeń / Language(s): Polish Publication Year: 0

The article discusses the question of the different varieties of beauty and the forms of art in which beauty exists in Juliusz Słowacki’s Genesian system. Beauty can manifest itself in the work of human hands, in bodies, in acts and, what is the most important, in the transcendent beauty of God and the Heavenly Jerusalem. In the history of Eolion and Atessa, the aestheticisation of funeral rituals and death is a compensation: the beauty of the tomb and sarcophagus alleviate the fear of dying and uncertainty about the future. Sleeping as anticipation of the next incarnation is peaceful because coffins are full of beauty. The memory of the beautiful last moments before death allows Eolion and Atessa to find themselves disconnected in the next incarnation. All these forms of beauty are adapted to the needs of spirits entangled in matter, still making a metempsychosist journey upwards. Samuel Zborowski, as an old, wise spirit, guided in his actions not by the needs of the body, but by the care of his nation, represented a higher state of consciousness, so he was not afraid to sacrifice his life. Such a sacrifice is beautiful, and both the individual spirit and his fellowship of spirits bring him closer to God. A similar task is set by Juliusz Słowacki for Genesian art, which is to lead spirits to transfiguration (called “transformation into an angel” – “przeanielenie”).

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Pamięć i projekt kultury: "Król-Duch" Juliusza Słowackiego

Author(s): Jarosław Mariusz Ławski / Language(s): Polish Publication Year: 0

The author of the article analyses “Rhapsody I” from Juliusz Słowacki’s long mystical poem "Król-Duch" (“The Spirit King”). Contrary to numerous, well-known, and established interpretations of the poem, this one does not pose questions concerning, e.g. its mystique, the ontology of the represented world, the poet’s vision, or his view of nature. Rather, it focuses on a set of other intriguing issues: What human culture does “The Spirit King” show? What cultural picture of the poet is suggested by Słowacki? And last but not least: what type of human culture is required from the reader of the mystical poem? In conclusion, it is argued that that “The Spirit King” demonstrates an escape from the framework of culture to explore the divine, “mystical world.”

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