Poznańskie Studia Polonistyczne. Seria Literacka
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Rysunki w średniowiecznych rękopisach – rekonesans
Full text linkThe aim of the article is to draw the readers’ attention to the decorative and illustrative elements present in almost all medieval manuscripts. Based on the example of three groups of codices: Opera medica, Opera varia, Sermones, the author analyses the drawings collected for a few dozens of manuscripts found in the Jagiellonian Library. Since contemporary subject literature does not include an appropriate scientific research that would characterise and classify such elements of medieval codices, the author describes them in the pragmatic context, especially in relation to the ways of organising the text and commenting on its content. The decorative and illustrative layer is yet to be comprehensively analysed, but the reconnaissance shows how vast in terms of quantity and how rich in forms it is.The aim of the article is to draw the readers’ attention to the decorative and illustrative elements present in almost all medieval manuscripts. Based on the example of three groups of codices: Opera medica, Opera varia, Sermones, the author analyses the drawings collected for a few dozens of manuscripts found in the Jagiellonian Library. Since contemporary subject literature does not include an appropriate scientific research that would characterise and classify such elements of medieval codices, the author describes them in the pragmatic context, especially in relation to the ways of organising the text and commenting on its content. The decorative and illustrative layer is yet to be comprehensively analysed, but the reconnaissance shows how vast in terms of quantity and how rich in forms it is
Grabież mienia w świetle prawa – działalność Feliksa Blümela z antykwariatu „Caesar Mann” w Poznaniu w latach 1939–1943
Full text linkBefore 1939, there were about 10 antique shops in Poznań offering works of art and antiques, one of which, Caesar Mann, was owned by the Germans Erika and Feliks Blümels. In late 1939 and early 1940, this antique shop played a key role in the shutdown of Polish antiques trade in Poznań through raids and takeover of Polish stores. Those activities were legitimised by Izba Przemysłowo-Handlowa (the Chamber of industry and trade) in Poznań, which appointed Feliks Blümel as the trustee (German: Treuhänder) of Poznań’s antique stores. The Caesar Mann company stole works of art in Poznań with the approval of the local museum (Kaiser Friedrich Museum Posen) and university (Reichsuniversität Posen) communities. In October 1942, Blümel moved his business to Łódź and worked there with German customers, moving items, among others, to the benefit of the Führermuseum in Linz. After the war, he settled in Munich, where he continued to work in the antiques trade.Before 1939, there were about 10 antique shops in Poznań offering works of art and antiques, one of which, Caesar Mann, was owned by the Germans Erika and Feliks Blümels. In late 1939 and early 1940, this antique shop played a key role in the shutdown of Polish antiques trade in Poznań through raids and takeover of Polish stores. Those activities were legitimised by Izba Przemysłowo-Handlowa (the Chamber of industry and trade) in Poznań, which appointed Feliks Blümel as the trustee (German: Treuhänder) of Poznań’s antique stores. The Caesar Mann company stole works of art in Poznań with the approval of the local museum (Kaiser Friedrich Museum Posen) and university (Reichsuniversität Posen) communities. In October 1942, Blümel moved his business to Łódź and worked there with German customers, moving items, among others, to the benefit of the Führermuseum in Linz. After the war, he settled in Munich, where he continued to work in the antiques trade
Doświadczenie krajobrazu w pismach podróżniczych Dyzmy Bończy Tomaszewskiego
Full text linkThis article focuses on selected travel writings by Dyzma Bończa Tomaszewski who, though little known for his poetic achievements, was remembered primarily as an opponent of the May 3rd Constitution of 1791. This stance notwithstanding, his work offers research material worthy of in-depth consideration, enabling us to trace the processes of aesthetic and literary transformation that occurred during the Polish Enlightenment. The issues raised in this analysis concern literary methods of representing landscape: motifs, strategies, and conventions employed to convey the “gaze of the viewing subject” as simultaneously observer but also co-creator of the seen landscape. Tomaszewski drew from, among other things, classical traditions, employing, for instance, the motif of Hercules at the crossroads. At the same time, he remained open to emerging literary trends and, more broadly, to the culture of the more mature later stages of the Age of Light.This article focuses on selected travel writings by Dyzma Bończa Tomaszewski who, though little known for his poetic achievements, was remembered primarily as an opponent of the May 3rd Constitution of 1791. This stance notwithstanding, his work offers research material worthy of in-depth consideration, enabling us to trace the processes of aesthetic and literary transformation that occurred during the Polish Enlightenment. The issues raised in this analysis concern literary methods of representing landscape: motifs, strategies, and conventions employed to convey the “gaze of the viewing subject” as simultaneously observer but also co-creator of the seen landscape. Tomaszewski drew from, among other things, classical traditions, employing, for instance, the motif of Hercules at the crossroads. At the same time, he remained open to emerging literary trends and, more broadly, to the culture of the more mature later stages of the Age of Light
The "Przemyśl Meditation" in relation to "Catena aurea" by St. Thomas Aquinas
Full text linkThe purpose of this article is to identify parts of the Przemyśl Meditation (Rozmyślanie przemyskie, RP) that are potentially based on the text of Catena aurea. Another important component of the work is the analysis of the way in which these parts of the text functioned and of the purpose for which they were used in the Old Polish apocryphal work. It is first indicated for what purpose the author of RP may have made use of the text of Thomas Aquinas’ compilation. Analyses are then conducted concerning the way in which the translator worked with the source text. This is followed by an indication of the arrangement of the source in the apocryphal text. The ordering of quotations from the Church Fathers is not accidental, but corresponds to the ordering found in Catena aurea, and this may serve as confirmation of the assumption that Aquinas’ anthology was indeed one of the sources for RP. This work has not only proved the relatedness of the Old Polish apocryphal work to Aquinas’ text, but also draws attention to the need for continued research in this area
„Obudź się więc i pracuj”. Nowe spojrzenie na „Parnas we śnie” Tymona Zaborowskiego
Full text linkThis article presents Tymon Zaborowski’s poem “Parnassus in a Dream” as serving primarily as a means of self-presentation and self-promotion for the young poet. Contrary to earlier opinions about this work, which by and large viewed it as an expression of the author’s aesthetic and literary beliefs, attention is drawn to its humorous nature. Examples of comic passages are shown, at times juxtaposed with “serious” fragments, thus highlighting the poet’s tendency to adopt an external perspective on his own ideas. The key issue here is the author\u27s attitude toward the epic, a genre previously attempted, without much success, by Voltaire and Ignacy Krasicki, who acted as guides to the narrator’s dream of Parnassus. As the author of this article points out, Zaborowski himself announced at the end of the poem his intention to ascend the “epic mountain”.This article presents Tymon Zaborowski’s poem “Parnassus in a Dream” as serving primarily as a means of self-presentation and self-promotion for the young poet. Contrary to earlier opinions about this work, which by and large viewed it as an expression of the author’s aesthetic and literary beliefs, attention is drawn to its humorous nature. Examples of comic passages are shown, at times juxtaposed with “serious” fragments, thus highlighting the poet’s tendency to adopt an external perspective on his own ideas. The key issue here is the author\u27s attitude toward the epic, a genre previously attempted, without much success, by Voltaire and Ignacy Krasicki, who acted as guides to the narrator’s dream of Parnassus. As the author of this article points out, Zaborowski himself announced at the end of the poem his intention to ascend the “epic mountain”
Rzymski okres biografii Stanisława Poniatowskiego w krzywym zwierciadle Giuseppego Gioachina Bellego
Full text linkIn his book I Poniatowski e Roma (1971), Andrea Busiri Vici recalled a meeting between the young Giuseppe Gioachino Belli (1791–1863), who would later become a master of Italian dialect poetry, and the older Stanisław Poniatowski (1754–1833), nephew of King Stanisław August. The two men were connected by both professional and personal ties. Their relationship came to an end due to a court intrigue involving suspicions of an affair between Belli and Cassandra Luci, the prince’s wife. Busiri Vici described the matter in detail, drawing on numerous literary sources. This article aims to reconstruct that relationship from the perspective of the Italian poet by way of literary scholarship tools such as textual interpretation, translation studies, literary history, and comparative literature.In his book I Poniatowski e Roma (1971), Andrea Busiri Vici recalled a meeting between the young Giuseppe Gioachino Belli (1791–1863), who would later become a master of Italian dialect poetry, and the older Stanisław Poniatowski (1754–1833), nephew of King Stanisław August. The two men were connected by both professional and personal ties. Their relationship came to an end due to a court intrigue involving suspicions of an affair between Belli and Cassandra Luci, the prince’s wife. Busiri Vici described the matter in detail, drawing on numerous literary sources. This article aims to reconstruct that relationship from the perspective of the Italian poet by way of literary scholarship tools such as textual interpretation, translation studies, literary history, and comparative literature
La presenza di Gustaw Herling-Grudziński sui quotidiani italiani
Full text linkThe Italian language Herling used after his move to Italy in 1955 was not only the language of everyday communication; it was also the language in which, from a certain point on, he wrote all his articles for Italian magazines and newspapers. The author retained Polish for the novels, essays, and short notes in his Dziennik (Journal written at night), as if to connect his native language with “real writing”; at the same time, he utilized Italian in his journalistic works. Yet, the texts Herling wrote in this language offer truly exceptional material for analysis. They allow us to trace the successive stages of his rapprochement with the Italian world, as well as the influence Herling had (or not) on Italian public opinion. Furthermore, comparing the Italian writings with the Journal written at night reveals how often certain articles were repeated in both languages in similar, if not identical, form; this attests to the importance of certain themes in his work.The Italian language Herling used after his move to Italy in 1955 was not only the language of everyday communication; it was also the language in which, from a certain point on, he wrote all his articles for Italian magazines and newspapers. The author retained Polish for the novels, essays, and short notes in his Dziennik (Journal written at night), as if to connect his native language with “real writing”; at the same time, he utilized Italian in his journalistic works. Yet, the texts Herling wrote in this language offer truly exceptional material for analysis. They allow us to trace the successive stages of his rapprochement with the Italian world, as well as the influence Herling had (or not) on Italian public opinion. Furthermore, comparing the Italian writings with the Journal written at night reveals how often certain articles were repeated in both languages in similar, if not identical, form; this attests to the importance of certain themes in his work
Errare humanum est – o kategorii „błędu” w średniowiecznych polskich manuskryptach. Prolegomena
Full text linkAnalysing the category of “error” in medieval Polish manuscripts, the authors of the article question the usability of contemporary definitions and typology of errors in the context of Old Polish source material. They argue that due to their specificity – multilingualism, the presence of Latin sources, genological multilayering and formulaic nature – it is difficult to determine clearly what is an error and what is a conscious stylistic device. The authors indicate that often an “error” is only an interpretation of the contemporary researcher rather than an objective phenomenon.Analysing the category of “error” in medieval Polish manuscripts, the authors of the article question the usability of contemporary definitions and typology of errors in the context of Old Polish source material. They argue that due to their specificity – multilingualism, the presence of Latin sources, genological multilayering and formulaic nature – it is difficult to determine clearly what is an error and what is a conscious stylistic device. The authors indicate that often an “error” is only an interpretation of the contemporary researcher rather than an objective phenomenon
Od Knuta Hamsuna do Hansa Christiana Andersena. Przyczynek do badań nad przekładami Czesława Kędzierskiego – zarys bibliografii
Full text linkThis article presents the translations of Czesław Kędzierski, one of the more interesting and prominent co-creators of Poznań’s cultural scene in the interwar period. This once famous and now almost forgotten editor, journalist, fairy tale writer was also a translator most renowned for his translations of the Norwegian writer Knut Hamsun, published by Wydawnictwo Polskie.This article presents the translations of Czesław Kędzierski, one of the more interesting and prominent co-creators of Poznań’s cultural scene in the interwar period. This once famous and now almost forgotten editor, journalist, fairy tale writer was also a translator most renowned for his translations of the Norwegian writer Knut Hamsun, published by Wydawnictwo Polskie