Poznańskie Studia Polonistyczne. Seria Literacka
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Haupt postromantyczny? O czterech prozach i dwóch wierszach
Full text linkThe article is devoted to the relationship between Zygmunt Haupt’s prose and the romantic worldview, more precisely to the references to Juliusz Słowacki’s works clearly visible in Haupt’s prose. The issue, which has been previously pointed out by other researchers, required verification by means of close analysis of the specific kind of game that Haupt plays with Słowacki’s texts: Beniowski, Lilla Weneda, the poems Do pastereczki… (To a shepherdess…) and Patrz nad grotą… (Look, above the grotto…), and a fragment of Raptularz (Notebook). Seemingly simple references turn out to be part of a design of making a modern attempt at challenging the incommunicable by means of referring to both Słowacki’s text and his biography, together with an ambiguous, and suspended between repetition and ironic distance, attitude towards the romantic diagnoses of existence. Haupt’s prose, referring to many other traditions as well, presents a Mannerist creative design in which the romantic tradition plays a significant role, yet is not the only point of reference.The article is devoted to the relationship between Zygmunt Haupt’s prose and the romantic worldview, more precisely to the references to Juliusz Słowacki’s works clearly visible in Haupt’s prose. The issue, which has been previously pointed out by other researchers, required verification by means of close analysis of the specific kind of game that Haupt plays with Słowacki’s texts: Beniowski, Lilla Weneda, the poems Do pastereczki… (To a shepherdess…) and Patrz nad grotą… (Look, above the grotto…), and a fragment of Raptularz (Notebook). Seemingly simple references turn out to be part of a design of making a modern attempt at challenging the incommunicable by means of referring to both Słowacki’s text and his biography, together with an ambiguous, and suspended between repetition and ironic distance, attitude towards the romantic diagnoses of existence. Haupt’s prose, referring to many other traditions as well, presents a Mannerist creative design in which the romantic tradition plays a significant role, yet is not the only point of reference
Kryzys powieści, powieść kryzysu. Projekt wyjścia z „naturalistycznego impasu” w powieści Là-Bas Jorisa-Karla Huysmansa
Full text linkThis article attempts to reconstruct the key aspects of the criticism of literary naturalism present in J. K. Huysmans’ 1891 novel Là-Bas. The analysis is based on the opening dialogues of the characters and the following aesthetic considerations which appear to express not only the creative and spiritual transformation of the author himself, but also the ambience of anti-positivist turn of fin de siècle which, entering modernity, tries to free itself from the reductionist frames of naturalism and reveals an increasing interest towards the unconscious.This article attempts to reconstruct the key aspects of the criticism of literary naturalism present in J. K. Huysmans’ 1891 novel Là-Bas. The analysis is based on the opening dialogues of the characters and the following aesthetic considerations which appear to express not only the creative and spiritual transformation of the author himself, but also the ambience of anti-positivist turn of fin de siècle which, entering modernity, tries to free itself from the reductionist frames of naturalism and reveals an increasing interest towards the unconscious
„Tymczasem palono Żydów”… Kilka uwag o stosunku Gustawa Herlinga-Grudzińskiego do żydowskości
Full text linkFor Gustaw Herling-Grudziński, the question of his own roots was a very private matter; he treated them as if they were not present in his life and wrote explicitly about Jewishness or Shoah only in his non-fiction work. Nevertheless, the themes of the historical anti-Judaic persecution and conversion to Christianity are constantly present in his literary work, with allusions to the twentieth century’s massacres. Numerous characters of Jewish origin, belonging to a harassed and destroyed community, appear in many of his literary texts. Certain victims, especially males, are infected by evil, others resist it: over the years, the opposition between these two categories became increasingly noticeable, while the topic of Shoah is faced in a more veiled way. It is indeed not a coincidence that Herling’s first tale about the persecutions of Jews, The Second Coming, was written in 1961, at the time of the Eichmann trial, and that later Don Ildebrando, The Bell-Ringer’s Toll and The Legend Of A Converted Hermit, showing Jewish opposing strategies toward evil, were composed after his visit to Majdanek in 1991. Herling looks at the post-Arendt discussion on complicity in evil, polarizing the opposition between good and bad victims alreadyexpressed in his narration of the Gulag: he does not envisage any intermediate category analogous to Levi’s Grey zone and does not examine in depth the manipulation of the victims in extreme conditions. He prefers to grasp some analogies between persecutions in different historical ages, showing them in a universal perspective of a human “dormant” tendency to evil. Based on Herling’s narrative work, intimate diary, essays and the Journal Written at Night, my article treats his tormented relationship with Jewishness not so much as an isolated case, but rather associates it with some strategies of drastic distancing from Jewishness by members of pre-WWII assimilated Jewish intelligentsia who yearned to be seen as more Polish than Poles themselves.For Gustaw Herling-Grudziński, the question of his own roots was a very private matter; he treated them as if they were not present in his life and wrote explicitly about Jewishness or Shoah only in his non-fiction work. Nevertheless, the themes of the historical anti-Judaic persecution and conversion to Christianity are constantly present in his literary work, with allusions to the twentieth century’s massacres. Numerous characters of Jewish origin, belonging to a harassed and destroyed community, appear in many of his literary texts. Certain victims, especially males, are infected by evil, others resist it: over the years, the opposition between these two categories became increasingly noticeable, while the topic of Shoah is faced in a more veiled way. It is indeed not a coincidence that Herling’s first tale about the persecutions of Jews, The Second Coming, was written in 1961, at the time of the Eichmann trial, and that later Don Ildebrando, The Bell-Ringer’s Toll and The Legend Of A Converted Hermit, showing Jewish opposing strategies toward evil, were composed after his visit to Majdanek in 1991. Herling looks at the post-Arendt discussion on complicity in evil, polarizing the opposition between good and bad victims alreadyexpressed in his narration of the Gulag: he does not envisage any intermediate category analogous to Levi’s Grey zone and does not examine in depth the manipulation of the victims in extreme conditions. He prefers to grasp some analogies between persecutions in different historical ages, showing them in a universal perspective of a human “dormant” tendency to evil. Based on Herling’s narrative work, intimate diary, essays and the Journal Written at Night, my article treats his tormented relationship with Jewishness not so much as an isolated case, but rather associates it with some strategies of drastic distancing from Jewishness by members of pre-WWII assimilated Jewish intelligentsia who yearned to be seen as more Polish than Poles themselves
Obraz kobiety włoskiej w literaturze XIX wieku i jego realizacja w Półdiablęciu weneckim Józefa Ignacego Kraszewskiego
Full text linkThe type of la donna Italiana, the statuesque woman with dark hair, light skin and large, black, hypnotic eyes was popularized among the European men of letters in the nineteenth century. This stereotype had already been solidified in eighteenth-century Italian phraseology, but it was later brought into general use by Madame de Staël and George Byron. The Italian poet of the late nineteenth century, Annetta Ceccoli Boneschi, gathered and described the most distinctive features of the female citizens of different regions of Italy used by foreign writers to create their heroines. Among others, the Venetians were supposed to be the most beautiful and seductive women, with their soft accent and smouldering gaze. In Poland, this type of heroine appeared in Józef Ignacy Kraszewski’s novel The Half-Demon of Venice, which is the main focus of this article. The creation of an Italian donna in this romance uses the stereotypes formed during the nineteenth century, but it also uses the individual observations made by Kraszewski himself during his tour through Italy.The type of la donna Italiana, the statuesque woman with dark hair, light skin and large, black, hypnotic eyes was popularized among the European men of letters in the nineteenth century. This stereotype had already been solidified in eighteenth-century Italian phraseology, but it was later brought into general use by Madame de Staël and George Byron. The Italian poet of the late nineteenth century, Annetta Ceccoli Boneschi, gathered and described the most distinctive features of the female citizens of different regions of Italy used by foreign writers to create their heroines. Among others, the Venetians were supposed to be the most beautiful and seductive women, with their soft accent and smouldering gaze. In Poland, this type of heroine appeared in Józef Ignacy Kraszewski’s novel The Half-Demon of Venice, which is the main focus of this article. The creation of an Italian donna in this romance uses the stereotypes formed during the nineteenth century, but it also uses the individual observations made by Kraszewski himself during his tour through Italy
“Nato nella medesima terra irrigua”. Gabriele D’Annunzio, the Last Heir of Ovid
No full textThroughout Gabriele d’Annunzio’s vast and multiform productions, Ovid’s presence shines through with the strength of a model both ancient and modern. Since his years at the “Cicognini”, he feels bound to Ovid by a similarity “in lyrical ways” and by a relationship of “consanguinity” based on their common origins. The assiduity in Ovid’s readings, testified to by the large number of volumes of the Augustan poet in the library of the Vittoriale, is reflected in a dense network of echoes – some perspicuous, others subtle – that can be found in the Vate’s most famous works. During his twilight years, d’Annunzio’s nocturnal exploration finds singular affinities with the Ovidian elegies of exile to which he feels attracted the most. Even in the nascent silent film industry, d’Annunzio, creator and forerunner of fashions, sees a prodigious form of visual art that has in Ovid a millenary antecedent. Beyond the unavoidable differences separating the two temporally distant authors, the paper attempts to outline an overall profile of the correspondences and possible equations between d’Annunzio and Ovid without pretense of exhaustiveness. In the wake of perspectives inaugurated by distinguished masters, it is an attempt to offer cues for interpreting, from the vestiges of classicism, d’Annunzio’s art within the Ovidian framework.Throughout Gabriele d’Annunzio’s vast and multiform productions, Ovid’s presence shines through with the strength of a model both ancient and modern. Since his years at the “Cicognini”, he feels bound to Ovid by a similarity “in lyrical ways” and by a relationship of “consanguinity” based on their common origins. The assiduity in Ovid’s readings, testified to by the large number of volumes of the Augustan poet in the library of the Vittoriale, is reflected in a dense network of echoes – some perspicuous, others subtle – that can be found in the Vate’s most famous works. During his twilight years, d’Annunzio’s nocturnal exploration finds singular affinities with the Ovidian elegies of exile to which he feels attracted the most. Even in the nascent silent film industry, d’Annunzio, creator and forerunner of fashions, sees a prodigious form of visual art that has in Ovid a millenary antecedent. Beyond the unavoidable differences separating the two temporally distant authors, the paper attempts to outline an overall profile of the correspondences and possible equations between d’Annunzio and Ovid without pretense of exhaustiveness. In the wake of perspectives inaugurated by distinguished masters, it is an attempt to offer cues for interpreting, from the vestiges of classicism, d’Annunzio’s art within the Ovidian framework.Throughout Gabriele d’Annunzio’s vast and multiform productions, Ovid’s presence shines through with the strength of a model both ancient and modern. Since his years at the “Cicognini”, he feels bound to Ovid by a similarity “in lyrical ways” and by a relationship of “consanguinity” based on their common origins. The assiduity in Ovid’s readings, testified to by the large number of volumes of the Augustan poet in the library of the Vittoriale, is reflected in a dense network of echoes – some perspicuous, others subtle – that can be found in the Vate’s most famous works. During his twilight years, d’Annunzio’s nocturnal exploration finds singular affinities with the Ovidian elegies of exile to which he feels attracted the most. Even in the nascent silent film industry, d’Annunzio, creator and forerunner of fashions, sees a prodigious form of visual art that has in Ovid a millenary antecedent. Beyond the unavoidable differences separating the two temporally distant authors, the paper attempts to outline an overall profile of the correspondences and possible equations between d’Annunzio and Ovid without pretense of exhaustiveness. In the wake of perspectives inaugurated by distinguished masters, it is an attempt to offer cues for interpreting, from the vestiges of classicism, d’Annunzio’s art within the Ovidian framework
Clandestine Transmission: Rosenzweig and Arendt
Full text linkThe text deals with the question whether Hannah Arendt was influenced by Franz Rosenzweig’s Der Stern der Erlösung (1921) before writing Der Liebesbegriff bei Augustin (1929). Instead of building general analogies, I studied two very specific topics – the world and birth – to demonstrate that Arendt repeated almost verbatim Rosenzweig’s entire peculiar argumentation which played the notions of God and nature against each other to combat their overwhelming power and to make room for the contingency of the world and the novelty of each birth. Facing the helplessness of a philosophy which ignored mortality, Rosenzweig cried out the lament of the finite being. Philosophy, with its predilection for totality, lost adequate proportions to reflect on life. Arendt revived this paradigmatic reorientation, but with a significant twist: for her, birth and the world meant more than God for Rosenzweig. Both thinkers projected a language between philosophy and theology, inciting the two idioms to a fruitful debate.The text deals with the question whether Hannah Arendt was influenced by Franz Rosenzweig’s Der Stern der Erlösung (1921) before writing Der Liebesbegriff bei Augustin (1929). Instead of building general analogies, I studied two very specific topics – the world and birth – to demonstrate that Arendt repeated almost verbatim Rosenzweig’s entire peculiar argumentation which played the notions of God and nature against each other to combat their overwhelming power and to make room for the contingency of the world and the novelty of each birth. Facing the helplessness of a philosophy which ignored mortality, Rosenzweig cried out the lament of the finite being. Philosophy, with its predilection for totality, lost adequate proportions to reflect on life. Arendt revived this paradigmatic reorientation, but with a significant twist: for her, birth and the world meant more than God for Rosenzweig. Both thinkers projected a language between philosophy and theology, inciting the two idioms to a fruitful debate
W Zatoce Syreny: Lawinia i Strefa komfortu Tomasza Różyckiego
Full text linkAn expression used in the title of my paper refers to several places in contemporary and ancient Italy: the Gulf of Naples, the shores of Lampedusa and Sicily, and the mouth of the Tiber River. These places form the background of the tragedy of African and Middle East refugees shown in poems by Tomasz Różycki: Lawinia (Lavinia) from the collection Litery (Letter by Letter, 2016) and Strefa komfortu (Comfort Zone) from the newest poetry book Kapitan X (Captain X, 2020). My detailed analysis of the two texts is an attempt to describe their formal and semantic complexity, especially their unique tone that mixes sharp irony with tender compassion.An expression used in the title of my paper refers to several places in contemporary and ancient Italy: the Gulf of Naples, the shores of Lampedusa and Sicily, and the mouth of the Tiber River. These places form the background of the tragedy of African and Middle East refugees shown in poems by Tomasz Różycki: Lawinia (Lavinia) from the collection Litery (Letter by Letter, 2016) and Strefa komfortu (Comfort Zone) from the newest poetry book Kapitan X (Captain X, 2020). My detailed analysis of the two texts is an attempt to describe their formal and semantic complexity, especially their unique tone that mixes sharp irony with tender compassion
Masters of Dissent: Leonardo Sciascia and the Lesson of Polish Writers
No full textThe article focuses on the intertextual presence of Polish writers in Leonardo Sciascia’s work. Highlighted in this context is the possible influence on the Sicilian writer of the peculiar expression of “dissent” by writers such as Sienkiewicz, Brandys and Lec. The article closes with a brief comparison between the protagonists of Il cavaliere e la morte by Sciascia and Odpocznij po biegu (Rest after run) by Terlecki, both restless investigators disobedient to the authorities.The article focuses on the intertextual presence of Polish writers in Leonardo Sciascia’s work. Highlighted in this context is the possible influence on the Sicilian writer of the peculiar expression of “dissent” by writers such as Sienkiewicz, Brandys and Lec. The article closes with a brief comparison between the protagonists of Il cavaliere e la morte by Sciascia and Odpocznij po biegu (Rest after run) by Terlecki, both restless investigators disobedient to the authorities