Poznańskie Studia Polonistyczne. Seria Literacka
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Skarnawalizowany świat „Tajemnicy lorda Singelworth”
Full text linkThe article is an attempt at reading Norwid’s Tajemnica lorda Singelworth (Lord Singelworth’s secret) in the light of Mikhail Bakhtin’s carnival theory. This novella exhibits three constitutive traits of the “seriousness-laughter” literature, which the carnivalesque literature stems from, as well as a number of characteristics of Menippean satire considered by Bakhtin to be the most representative genre of this literary movement. In the article, the author demonstrates that the novella also shows other features of Menippean satire presented in Bakhtin’s theory. This is followed by an analysis of the jester character, Tonin di Bona Grazia, who stands in opposition to the titular character, and by a reflection on Venice – the carnival city – and the city’s significance to deciphering the meanings hidden in the novella. These analyses support the hypothesis that Tajemnica lorda Singelworth exhibits characteristics traits of carnivalesque literature.The article is an attempt at reading Norwid’s Tajemnica lorda Singelworth (Lord Singelworth’s secret) in the light of Mikhail Bakhtin’s carnival theory. This novella exhibits three constitutive traits of the “seriousness-laughter” literature, which the carnivalesque literature stems from, as well as a number of characteristics of Menippean satire considered by Bakhtin to be the most representative genre of this literary movement. In the article, the author demonstrates that the novella also shows other features of Menippean satire presented in Bakhtin’s theory. This is followed by an analysis of the jester character, Tonin di Bona Grazia, who stands in opposition to the titular character, and by a reflection on Venice – the carnival city – and the city’s significance to deciphering the meanings hidden in the novella. These analyses support the hypothesis that Tajemnica lorda Singelworth exhibits characteristics traits of carnivalesque literature
Byronizm jako transgresja (o Wielkiej Improwizacji w „Dziadach” części III Adama Mickiewicza)
Full text linkBased on the example of Byronic themes in Mickiewicz’s works from the 1830s, the author analyses the antinomies of Byronism’s receptions, focusing on the Great Improvisation as an archetypal scene within Polish romantic literature. Konrad’s improvisation expresses both the extreme solitude of the character and his deepest relationship with his community. The Great Improvisation is also a transgression in its multiple meanings. In this scene, we can see the peak of Polish Byronism as well as the end of Byronic influence. The dynamics of the Improvisation show that Mickiewicz’s Byronism cannot be treated solely in the categories of literary motifs, psychological construction or a set of ideas. In this case, Byronism is not merely a static collection of characteristics, but a dynamic construction, an activity full of tensions; it is a constant verification of ethical and religious values and ideals, if not a review of dogmas and traditions and the process of transgressing them in order not to arrive at nothingness and evil, but – as Mickiewicz put it – to “search for higher and fundamental truths.”Based on the example of Byronic themes in Mickiewicz’s works from the 1830s, the author analyses the antinomies of Byronism’s receptions, focusing on the Great Improvisation as an archetypal scene within Polish romantic literature. Konrad’s improvisation expresses both the extreme solitude of the character and his deepest relationship with his community. The Great Improvisation is also a transgression in its multiple meanings. In this scene, we can see the peak of Polish Byronism as well as the end of Byronic influence. The dynamics of the Improvisation show that Mickiewicz’s Byronism cannot be treated solely in the categories of literary motifs, psychological construction or a set of ideas. In this case, Byronism is not merely a static collection of characteristics, but a dynamic construction, an activity full of tensions; it is a constant verification of ethical and religious values and ideals, if not a review of dogmas and traditions and the process of transgressing them in order not to arrive at nothingness and evil, but – as Mickiewicz put it – to “search for higher and fundamental truths.
„Tak, nie zna mnie nikt!”. Dziennik intymny Marceliny Kulikowskiej
Full text linkThe article attempts to return Marcelina Kulikowska to the historical and literary discourse and reconstruct her biography and worldview on the basis of diaries that she wrote from 1894 until her suicide in 1910. In the analysis, the author provides information from the original entries in the diary. She also reveals in a critical way the current interpretation of the diary, proposing another view instead that changes the superficial opinion that has grown around the poet’s work.The article attempts to return Marcelina Kulikowska to the historical and literary discourse and reconstruct her biography and worldview on the basis of diaries that she wrote from 1894 until her suicide in 1910. In the analysis, the author provides information from the original entries in the diary. She also reveals in a critical way the current interpretation of the diary, proposing another view instead that changes the superficial opinion that has grown around the poet’s work
Relacje polsko-niemieckie piórem malarza spisane na podstawie Pamiętników Juliana Fałata (1935) i Wspomnień Wojciecha Kossaka (1913/1973)
Full text linkThis article is an analysis of two autobiographical texts by famous Polish painters of the turn of the century: Julian Fałat’s Pamiętniki (Diaries) from 1935 and Wojciech Kossak’s Wspomnienia (Reminiscences) from 1913. These texts constitute a source of information not only about the life of Polish artists at the imperial court in Berlin, but also a treasury of historical knowledge about the moods prevailing in the Wilhelmine era, the Polish–German relations in particular. In both texts, the most important figure is that of the German emperor, his involvement in the affairs of art and concern for the fate of outstanding Polish painters. The analysed texts allowed, above all, for showing the difficulties in Polish–German relations at the turn of the century, the ambivalence of the German emperor in relation to the Polish issue and individual Poles, and the difficulties of Polish artists in maintaining the balance between being the court painter of the German emperor and a Polish patriot.This article is an analysis of two autobiographical texts by famous Polish painters of the turn of the century: Julian Fałat’s Pamiętniki (Diaries) from 1935 and Wojciech Kossak’s Wspomnienia (Reminiscences) from 1913. These texts constitute a source of information not only about the life of Polish artists at the imperial court in Berlin, but also a treasury of historical knowledge about the moods prevailing in the Wilhelmine era, the Polish–German relations in particular. In both texts, the most important figure is that of the German emperor, his involvement in the affairs of art and concern for the fate of outstanding Polish painters. The analysed texts allowed, above all, for showing the difficulties in Polish–German relations at the turn of the century, the ambivalence of the German emperor in relation to the Polish issue and individual Poles, and the difficulties of Polish artists in maintaining the balance between being the court painter of the German emperor and a Polish patriot
Borderline On Fire: a Historical Television Series as a Cultural Text or as an Attempt at Reconstructing the “Holy War” in Polish–German Relations of the Years 1917–1939
No full textThis article attempts to present the television series as a distinctive text which can persuasively and therefore effectively appeal to contemporary viewers, providing them with an insight into the events of a predefined period of Polish and German history, arousing certain emotions and thoughts or, in a general sense, even making them reflect on the history of both nations. With its attractive storyline based on, among other things, the dramaturgy of the presented events, this type of series can be perceived, to some extent, to be part of contemporary historical narration.This article attempts to present the television series as a distinctive text which can persuasively and therefore effectively appeal to contemporary viewers, providing them with an insight into the events of a predefined period of Polish and German history, arousing certain emotions and thoughts or, in a general sense, even making them reflect on the history of both nations. With its attractive storyline based on, among other things, the dramaturgy of the presented events, this type of series can be perceived, to some extent, to be part of contemporary historical narration
Roman Pollak i życie literackie w Poznaniu w świetle dokumentacji archiwalnej
Full text linkThe article presents the link between Roman Pollak and Poznan’s literary community in the interwar and postwar periods, and is based on the source material found in the professor’s correspondence and the documents found in the Raczyński Library in Poznan. It focuses on Roman Pollak’s relationship with Kazimiera Iłłakowiczówna, his involvement in research into the links between Poznan and Jan Kasprowicz’s works, and on the contacts that he maintained with the graduates of the university who were actively engaged in the literary community, e.g. Apolonia Załuska-Strömberg, a translator of Scandinavian literature. All of these aspects attest to Roman Pollak’s interest in the life and careers of his former students and his support of their literary and publishing aspirations.The article presents the link between Roman Pollak and Poznan’s literary community in the interwar and postwar periods, and is based on the source material found in the professor’s correspondence and the documents found in the Raczyński Library in Poznan. It focuses on Roman Pollak’s relationship with Kazimiera Iłłakowiczówna, his involvement in research into the links between Poznan and Jan Kasprowicz’s works, and on the contacts that he maintained with the graduates of the university who were actively engaged in the literary community, e.g. Apolonia Załuska-Strömberg, a translator of Scandinavian literature. All of these aspects attest to Roman Pollak’s interest in the life and careers of his former students and his support of their literary and publishing aspirations
„Dobra reprodukcja obrazów”. „Dzieło” Émile’a Zoli w przekładach Aleksandry Callierowej i Hanny Szumańskiej-Grossowej
Full text linkThe article describes a series of Polish translations of Émile Zola’s 1886 novel L’OEuvre. The translations made by Aleksandra Callierowa (1886) and by Hanna Szumańska-Grossowa (1959) were created at completely different points in history, which significantly affects both the poetics of the translations and their reception. Callierowa’s translation was contemporary to the original, it conveyed the need to quickly keep up with the fashion prevailing in literature. Szumańska-Grossowa’s work, in turn, accentuates the fact that Zola already belonged to the canon of European literature and that he deserved – in accordance with the ideological assumptions of the then communist authorities – to be read bya mass reader
Roman Pollak w świetle korespondencji z Bogdanem Zakrzewskim
Full text linkThe article presents an image of professor Roman Pollak based on a collection of letters from Bogdan Zakrzewski (from the Archive of the Polish Academy of Sciences in Poznan), Pollak’s letters to the former student of his (since 2013, held in the Special Archive of the Ossoliński National Institute) and the reminiscences of Barbara Zakrzewska (in particular, the ones not published before the fall of communism in Poland). The analysis of the subject material presents a portrait of the professor as a renowned teacher, a demanding and kind lecturer, an open-minded scientist passionate especially about the Polish-Italian relationships and a skilled organiser of academic life who remained independent under the communist regime. The article emphasises the importance of the correspondence between the two professors for understanding the history of early postwar and subsequent Polish studies in Poznan and Wrocław, the history of “Pamiętnik Literacki” (Literary Memoir) and other research of both scholars. It also underscores the value of the analysed letters for determining the fate of those who graduated from Polish studies in Poznań thanks to the fact that professor Pollak maintained contacts with them after their graduation and supported them later in life.The article presents an image of professor Roman Pollak based on a collection of letters from Bogdan Zakrzewski (from the Archive of the Polish Academy of Sciences in Poznan), Pollak’s letters to the former student of his (since 2013, held in the Special Archive of the Ossoliński National Institute) and the reminiscences of Barbara Zakrzewska (in particular, the ones not published before the fall of communism in Poland). The analysis of the subject material presents a portrait of the professor as a renowned teacher, a demanding and kind lecturer, an open-minded scientist passionate especially about the Polish-Italian relationships and a skilled organiser of academic life who remained independent under the communist regime. The article emphasises the importance of the correspondence between the two professors for understanding the history of early postwar and subsequent Polish studies in Poznan and Wrocław, the history of “Pamiętnik Literacki” (Literary Memoir) and other research of both scholars. It also underscores the value of the analysed letters for determining the fate of those who graduated from Polish studies in Poznań thanks to the fact that professor Pollak maintained contacts with them after their graduation and supported them later in life
Berlin i Niemcy w dwóch adaptacjach filmowych powieści Alfreda Döblina Berlin Alexanderplatz
Full text linkThe subject of this paper is the image of Berlin and Germany that emerges from two film adaptations of the novel Berlin Alexanderplatz. The first one, a 1980 TV series by Rainer Werner Fassbinder, closely follows the letter and spirit of the original 1929 novel; we see a faithful recreation of the material world and the mindset of German society in the final years of the Weimar Republic. In the second one, a 2021 cinema production by Burhan Qurbani, the plot is modernised. The main context of the film is the plight of refugees and economic migrants in contemporary Germany and the problems portrayed are linked to issues of race and post-colonialism.The subject of this paper is the image of Berlin and Germany that emerges from two film adaptations of the novel Berlin Alexanderplatz. The first one, a 1980 TV series by Rainer Werner Fassbinder, closely follows the letter and spirit of the original 1929 novel; we see a faithful recreation of the material world and the mindset of German society in the final years of the Weimar Republic. In the second one, a 2021 cinema production by Burhan Qurbani, the plot is modernised. The main context of the film is the plight of refugees and economic migrants in contemporary Germany and the problems portrayed are linked to issues of race and post-colonialism