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Mur palestyński – dwie perspektywy. W stronę Jehudy Amichaja i Mahmuda Darwisza
Get PDFThe article is a reflection on the wall being built since 2002 between Israel and the Palestinian Authority. The paper presents this structure, its history and how it is reflected in poetry (Yehuda Amichai and Mahmud Darwish), reportage (Raja Shehadeh) and film. Artists’ initiatives once focussed on the Berlin Wall and more recently on the initiatives related to the Palestinian wall prompt the question how the media report on the present situation of the excluded. It is worth bearing in mind that memory or post-memory of our European wall and ghettos does not shape the discourse about the Middle-East. The preferred method of talking about walls has become geocritics (based more broadly on cultural and postcolonial studies; it is significant that the foundations of the theory of postcolonialism were put forward by a Palestinian – Edward Said)
Wspomnienia z Łańcuta
Get PDFFragmenty o czasie i miejscach pamięci [Fragments about Time and Places of Remembrance] are concerned with unpublished fragments of Kazimierz Bartoszyński’s papers (”Wstęp do książki zbiorowej o czasie” [”Introduction to a collective work on time”]), memoirs (”Wspomnienia z Łańcuta” [”Memoir of Łańcut”]) and ideas (”Fragmenty książki o czasie” [”Fragments of a book on time”]). These fragments were preserved in the form of typescripts, notes and oral accounts that had been taken down by Professor Bartoszyński’s wife.Fragmenty o czasie i miejscach pamięci [Fragments about Time and Places of Remembrance] are concerned with unpublished fragments of Kazimierz Bartoszyński’s papers (”Wstęp do książki zbiorowej o czasie” [”Introduction to a collective work on time”]), memoirs (”Wspomnienia z Łańcuta” [”Memoir of Łańcut”]) and ideas (”Fragmenty książki o czasie” [”Fragments of a book on time”]). These fragments were preserved in the form of typescripts, notes and oral accounts that had been taken down by Professor Bartoszyński’s wife
Wspomnienie Najbliższego
Get PDFThis is a memoir of Professor Kazimierz Bartoszyński which was written by his wife.This is a memoir of Professor Kazimierz Bartoszyński which was written by his wife
Zmowa kobiet? Inscenizacje feministyczne w polskim teatrze dwudziestolecia międzywojennego
Get PDFThe first wave of feminism in Poland consisted of a wide range of events. All women who were educated, independent, and professionally active and successful were regarded as feminists (regardless of their self-identification). Women of the theater, i.e., playwrights, directors, actresses and scenographers, who occupied themselves with “womanly subjects” in the 1920s and 1930s,created feminist theater which was important though it did not last long. In numerous feminist performances, theatrical productions dealt with subjects such as women in control of their own sexuality and bodies, women’s full participation in life, as well as economic independence and equal rights for women. Feminists in Polish theater, for example, Zofia Modrzewska, Maria Morozowicz-Szczepkowska, Irena Grywińska and Marcelina Grabowska, were typically not treated seriously by male critics, who were condescending, scornful, and unable to transcend their male perspective.The first wave of feminism in Poland consisted of a wide range of events. All women who were educated, independent, and professionally active and successful were regarded as feminists (regardless of their self-identification). Women of the theater, i.e., playwrights, directors, actresses and scenographers, who occupied themselves with “womanly subjects” in the 1920s and 1930s, created feminist theater which was important though it did not last long. In numerous feminist performances, theatrical productions dealt with subjects such as women in control of their own sexuality and bodies, women’s full participation in life, as well as economic independence and equal rights for women. Feminists in Polish theater, for example, Zofia Modrzewska, Maria Morozowicz-Szczepkowska, Irena Grywińska and Marcelina Grabowska, were typically not treated seriously by male critics, who were condescending, scornful, and unable to transcend their male perspective
Dziki Zachód, dziki Wschód. Western a sprawa polska
Get PDFThe article reconstructs poetics and politics of Polish westerns, focussing on the two most re-nowned examples of the genre: The Law and the Fist (1964) or The Wolves\u27 Echoes (1968). They are set in the western or eastern borderlands of post-war Poland (1945–1948) and depict the struggles of righteous militiamen against plunderers and looters. The analysis is based on classical theories formulated by A. Bazin, J. Kitses and W. Wright and aims to highlight hidden contradic-tions between the rules of film genre, the requirements of veracity, and propagandist manipula-tion. These movies reinforce the official politics of memory of the Polish People’s Republic. The Law and the Fist contribute to the discourse on the ‘Recovered Territories’ and renew the Piast concept of returning these territories to the traditional Polish homeland. In turn, The Wolves\u27 Echoes shapes the collective memory of the Bieszczady Mountains and justifies ethnic homogene-ity of this borderland
Trzecia fabryka
Get PDFVictor Shklovsky’s Third Factory is the third part of the so-called “autobiographical trilogy”, which was first published in 1926, i.e. after Shklovsky’s return from abroad, following his unwilling emigration. As a literary work, it is not easily classified. In part, it is a memoir of the three “factories” that influenced Shklovki’s development both as a writer and a witness of his time. In addition to fictional and biographical elements, Third Factory also includes anecdotes about writers, literary critics and theorists (e.g. Roman Jakobson, Yuri Tynianov, Boris Eikhenbaum, and Y. Polivanov) as well as letters and memoirs, which are published here in a Polish translation for the first time.Victor Shklovsky’s Third Factory is the third part of the so-called “autobiographical trilogy”, which was first published in 1926, i.e. after Shklovsky’s return from abroad, following his unwilling emigration. As a literary work, it is not easily classified. In part, it is a memoir of the three “factories” that influenced Shklovki’s development both as a writer and a witness of his time. In addition to fictional and biographical elements, Third Factory also includes anecdotes about writers, literary critics and theorists (e.g. Roman Jakobson, Yuri Tynianov, Boris Eikhenbaum, and Y. Polivanov) as well as letters and memoirs, which are published here in a Polish translation for the first time
O murze, którym była rzeka. Lament nad Dunajem Mihálya Kornisa
Get PDFIn the first part of the article, the author presents a few crucial political and historical events which have an association with the situation of the in 1944-45 Budapest. The politics of the Arrow Cross Party, very similar to German Nazis, led to the mass execution of Jewish citizens on the Danube river. The main purpose of the article is to analyse a short story by the Hungarian writer Mihály Kornis. In The Jewish Danube he raises the thorny issue of the memory of the murdered people, and in doing so creates a blasphemous and provocative text, in which he tries to break the taboo subject of genocide