Poznańskie Studia Polonistyczne. Seria Literacka
Not a member yet
599 research outputs found
Sort by
Maria Seweryna z Trojackich Pawlikowska jako „Maciuś” na kartach dziennika Maryli Wolskiej z I wojny światowej
Full text linkThe subject of the article is Maryla Wolska’s diary from World War I preserved in the form of a typescript in the National Library of Poland (BN 15273). The document was created between August 15 1914 and April 12, 1918; from June 21, 1915 it was written as a continuous letter to “Maciuś”. This pseudonym referred to Maria Seweryna née Trojacka, the first wife of Michał Pawlikowski, the writer’s a long-time collaborator. The key subject of research is the relation between Wolska and Maria Seweryna – “Maciuś” – preserved in the diary and immersed in the perspective of the author’s World War I experiences. Some of the questions asked in the article are: who is “Maciuś” as a character in Wolska’s text, why “Maciuś” was chosen by the diary’s author as the addressee of her entries and what are the meaning behind the pseudonym given toTrojacka.The subject of the article is Maryla Wolska’s diary from World War I preserved in the form of a typescript in the National Library of Poland (BN 15273). The document was created between August 15 1914 and April 12, 1918; from June 21, 1915 it was written as a continuous letter to “Maciuś”. This pseudonym referred to Maria Seweryna née Trojacka, the first wife of Michał Pawlikowski, the writer’s a long-time collaborator. The key subject of research is the relation between Wolska and Maria Seweryna – “Maciuś” – preserved in the diary and immersed in the perspective of the author’s World War I experiences. Some of the questions asked in the article are: who is “Maciuś” as a character in Wolska’s text, why “Maciuś” was chosen by the diary’s author as the addressee of her entries and what are the meaning behind the pseudonym given toTrojacka
„Homo novus" między młotem reklamy a kowadłem krytyki. Przypadek „Alberta, wójta krakowskiego"
Full text linkThe article presents the analysis of the press reception of the drama Albert, wójt Krakowski by Stanisław Gabriel Kozłowski as well as the methods of creating Kozłowski’s image as the winner of the drama contest in memory of Wojciech Bogusławski in Warsaw. The dynamics of changes of the overall view on the drama, from almost instant acceptance to equally-fast dismissal of it by the literary critics may be perceived as a tool for diagnosing the literary hierarchy and the relationship between authors of award-winning texts, the reviewers and the juries. This analysis might also help to present the influence that the knowledge about the success of a text in a contest has on its critical perception.The article presents the analysis of the press reception of the drama Albert, wójt Krakowski by Stanisław Gabriel Kozłowski as well as the methods of creating Kozłowski’s image as the winner of the drama contest in memory of Wojciech Bogusławski in Warsaw. The dynamics of changes of the overall view on the drama, from almost instant acceptance to equally-fast dismissal of it by the literary critics may be perceived as a tool for diagnosing the literary hierarchy and the relationship between authors of award-winning texts, the reviewers and the juries. This analysis might also help to present the influence that the knowledge about the success of a text in a contest has on its critical perception
Cenzurowanie „Pamiętnika Literackiego” przed i w czasie stanu wojennego (1980–1983)
Full text linkThe article discusses the censorship of the magazine “Pamiętnik Literacki” (Literary diary) between 1980 and 1983. The investigation is based on selected archive materials from the Central Control Office of the Press, Publications and Public Performances and on the analysis of the content of individual volumes of the magazine. The research shows that the censorship editing within this period reflects the speed and violence of the political changes under martial law and in the months directly preceding its introduction. Based on the changes regarding “Pamiętnik Literacki”, the author managed to track and confirm both the partial lifting of the restrictions imposed by the institutional control during the so-called “carnival” of the Solidarity movement (August 1980–December 13, 1981), and the introduction of the repressive “wartime” censorship, gradually eased until the lifting of martial law. The theme most thoroughly investigated by the censorship office, and the gauge of the level of censorship, was Czesław Miłosz and his writings, since he was banned from being published in the Polish People’s Republic for almost thirty years.The article discusses the censorship of the magazine “Pamiętnik Literacki” (Literary diary) between 1980 and 1983. The investigation is based on selected archive materials from the Central Control Office of the Press, Publications and Public Performances and on the analysis of the content of individual volumes of the magazine. The research shows that the censorship editing within this period reflects the speed and violence of the political changes under martial law and in the months directly preceding its introduction. Based on the changes regarding “Pamiętnik Literacki”, the author managed to track and confirm both the partial lifting of the restrictions imposed by the institutional control during the so-called “carnival” of the Solidarity movement (August 1980–December 13, 1981), and the introduction of the repressive “wartime” censorship, gradually eased until the lifting of martial law. The theme most thoroughly investigated by the censorship office, and the gauge of the level of censorship, was Czesław Miłosz and his writings, since he was banned from being published in the Polish People’s Republic for almost thirty years
Pisma Józefa Goldszmita w kontekście wyborów życiowych Janusza Korczaka
Full text linkThe article is an attempt to answer the question of what influence attorney Józef Goldszmit (1844–1896) had on the life path chosen by his son Henryk Goldszmit, known as Janusz Korczak. Through an analysis of selected articles and pamphlets by Józef Goldszmit, published mainly in the post-Haskalah press, the author attempts to reconstruct Korczak’s father’s views on the role of the Jewish intelligentsia in the life of the Israeli nation, and the model of the personal pattern of a Jewish citizen inherent in his works.The article is an attempt to answer the question of what influence attorney Józef Goldszmit (1844–1896) had on the life path chosen by his son Henryk Goldszmit, known as Janusz Korczak. Through an analysis of selected articles and pamphlets by Józef Goldszmit, published mainly in the post-Haskalah press, the author attempts to reconstruct Korczak’s father’s views on the role of the Jewish intelligentsia in the life of the Israeli nation, and the model of the personal pattern of a Jewish citizen inherent in his works
„Requiem", czyli testament Stanisława Wyspiańskiego
Full text linkThis paper is devoted to Requiem, a Stanisław Wyspiański’s work from 1901 (published by Dariusz Kosiński in 2010) which, treated marginally until now – as a footnote to the work of the Young Poland artist, is recognized as a full-fledged and relevant work that, in a sense, is central to Wyspiański’s artistic activity and at the same time crowns it. The author places the work between the staging of Dziady according to Wyspiański and his Wyzwolenie, pointing out the key character of the discussed work in the context of considerations referring to the artist’s entire oeuvre. Requiem, read as a dramatic text, also turns out to be an attempt at a total work of art and a realization of the formula of “immense theatre” understood as a combination of greatness and intimacy. Moreover, the manuscript, published posthumously, is a specific artistic testament of Wyspiański.This paper is devoted to Requiem, a Stanisław Wyspiański’s work from 1901 (published by Dariusz Kosiński in 2010) which, treated marginally until now – as a footnote to the work of the Young Poland artist, is recognized as a full-fledged and relevant work that, in a sense, is central to Wyspiański’s artistic activity and at the same time crowns it. The author places the work between the staging of Dziady according to Wyspiański and his Wyzwolenie, pointing out the key character of the discussed work in the context of considerations referring to the artist’s entire oeuvre. Requiem, read as a dramatic text, also turns out to be an attempt at a total work of art and a realization of the formula of “immense theatre” understood as a combination of greatness and intimacy. Moreover, the manuscript, published posthumously, is a specific artistic testament of Wyspiański
Józef Wojciechowski (pseud. Józef z Mazowsza). Zalążki opowieści historycznoliterackich
Full text linkThe article presents the figure of Józef Wojciechowski (1840–1879), a Warsaw poet who wrote under the pseudonym Józef from Mazovia during and after the January Uprising. The author presents several germs of history of literature stories which could discuss the biography and works of Wojciechowski. The focus is primarily on how Wojciechowski is present in his historical epoch and modern research, on biographical legends that can be constructed based on the source material, and on the appreciation of his work using categories characteristic of 19th-century research. The end of the article discusses Wojciechowski\u27s views on positivism. The poet does not exclude the idealist tradition from the new era, which, according to the author of the article, can be treated as the germ of a new story about the second half of the century.The article presents the figure of Józef Wojciechowski (1840–1879), a Warsaw poet who wrote under the pseudonym Józef from Mazovia during and after the January Uprising. The author presents several germs of history of literature stories which could discuss the biography and works of Wojciechowski. The focus is primarily on how Wojciechowski is present in his historical epoch and modern research, on biographical legends that can be constructed based on the source material, and on the appreciation of his work using categories characteristic of 19th-century research. The end of the article discusses Wojciechowski\u27s views on positivism. The poet does not exclude the idealist tradition from the new era, which, according to the author of the article, can be treated as the germ of a new story about the second half of the century
„Nie myśl wiele, ciskaj śmiele”. Kultura zabawy i przepowiadanie przyszłości na szlacheckim dworze w świetle sortilegium Seweryna Bączalskiego „Fortuna albo Szczęście"
Full text linkThe article provides an analysis of Fortuna albo Szczęście (Fortune or Luck) published around 1644–1646, first under the title Kształt Fortuny (Shape of Fortune) in 1609, which is an example of Polish fortune-telling book written by Seweryn Bączalski, an early-17th century author. His position in the baroque Kraków literary environment is analysed by means of Bourdieu’s theory of literary field. The textual base helps to state that Bączalski was switching between high-artistic and popular modes of writing in order to attract the readers. Fortuna… is put in the context of European and Polish tradition of lottery books and it is scrutinized in terms of its composition and two ways of its reception (as a game and as a divination tool). An analysis of the ludic representation of the goddess Fortuna and the sketch image of szlachta mentality inscribed in the texts of oracles helps to conclude that Bączalski transposed the cultural emblems to the popular horizon of thought in order to create a game that was a source of aesthetic pleasure.The article provides an analysis of Fortuna albo Szczęście (Fortune or Luck) published around 1644–1646, first under the title Kształt Fortuny (Shape of Fortune) in 1609, which is an example of Polish fortune-telling book written by Seweryn Bączalski, an early-17th century author. His position in the baroque Kraków literary environment is analysed by means of Bourdieu’s theory of literary field. The textual base helps to state that Bączalski was switching between high-artistic and popular modes of writing in order to attract the readers. Fortuna… is put in the context of European and Polish tradition of lottery books and it is scrutinized in terms of its composition and two ways of its reception (as a game and as a divination tool). An analysis of the ludic representation of the goddess Fortuna and the sketch image of szlachta mentality inscribed in the texts of oracles helps to conclude that Bączalski transposed the cultural emblems to the popular horizon of thought in order to create a game that was a source of aesthetic pleasure
Dwa listy Kazimierza Przerwy Tetmajera do Józefa Jankowskiego
Full text linkThe article is an editorial work on two letters from Kazimierz Przerwa Tetmajer to a catholic poet and journalist, Józef Jankowski. The letters complement to some extent the biographical knowledge about Tetmajer, especially his participation in the literary life of the Young Poland and the interwar period.The article is an editorial work on two letters from Kazimierz Przerwa Tetmajer to a catholic poet and journalist, Józef Jankowski. The letters complement to some extent the biographical knowledge about Tetmajer, especially his participation in the literary life of the Young Poland and the interwar period
Nie(do)czytany Gomulicki – nowelistyka poety. Prolegomena
Full text linkThe paper discusses three volumes of Wiktor Gomulicki’s short stories: Kolorowe obrazki (Colourful pictures), Z otchłani (From the abyss) and Przy słońcu i przy gazie (By the sunlight and gaslight). The author proves how the style and theme of short stories changes in time. The article proposes a new interpretation of Przy słońcu i przy gazie using the category of arabesque which was one of the genres popular in nineteenth-century European and Polish literature.The paper discusses three volumes of Wiktor Gomulicki’s short stories: Kolorowe obrazki (Colourful pictures), Z otchłani (From the abyss) and Przy słońcu i przy gazie (By the sunlight and gaslight). The author proves how the style and theme of short stories changes in time. The article proposes a new interpretation of Przy słońcu i przy gazie using the category of arabesque which was one of the genres popular in nineteenth-century European and Polish literature