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An Unfortunate Mistake or a Witkacy Dodge?
Get PDFIn the Poetry of Philosophers anthology (Kraków–Wrocław 1984) Wit Jaworski published 221 works by 114 authors, starting with Tales from Milet to John Paul II. Almost all known philosophers composed poetry, which often complemented their philosophical reflections or concepts. The list of names also includes Stanisław Ignacy Witkiewicz, who wrote poems from his youth until his death, although at the same time regretting that he had no poetic talent and used some of his works in his dramas as examples of a graphomaniac’s work. Many poems have a humorous and parodical, which brings them closer to his numerous grotesque drawings. They were collected and published by Anna Micińska in an album entitled Wistość tych rzeczy jest nie z świata tego (Kraków 1977), illustrated by Urszula Kenar. In the anthology, under the name of Witkiewicz, there is a poem which begins with words: “Otom jest zwyciężony/ Ginę zgubą wszelkiego żywego stworzenia”. There is no doubt that this is the beginning of the third stanza of the well-known poem by Czesław Miłosz entitled St. Ign. Witkiewicz, published in the volume Ocalenie (Warsaw 1945). Is it an unfortunate mistake on the part of the author of the anthology, a seasoned critic and experienced editor, or is it his fortune to confuse the censor, who did not allow Miłosz’s texts to be published and thus to “smuggle” his poem in under the guise of Witkiewicz? The puzzle remains unresolved. The mistake is inscribed in the history of Witkacy’s so-called “dodges”, which he did to his friends and acquaintances, and then to those who dealt with his life and work. To attribute to him the authorship of Miłosz’s excellent work would certainly make him happy.In the Poetry of Philosophers anthology (Kraków–Wrocław 1984) Wit Jaworski published 221 works by 114 authors, starting with Tales from Milet to John Paul II. Almost all known philosophers composed poetry, which often complemented their philosophical reflections or concepts. The list of names also includes Stanisław Ignacy Witkiewicz, who wrote poems from his youth until his death, although at the same time regretting that he had no poetic talent and used some of his works in his dramas as examples of a graphomaniac’s work. Many poems have a humorous and parodical, which brings them closer to his numerous grotesque drawings. They were collected and published by Anna Micińska in an album entitled Wistość tych rzeczy jest nie z świata tego (Kraków 1977), illustrated by Urszula Kenar. In the anthology, under the name of Witkiewicz, there is a poem which begins with words: “Otom jest zwyciężony/ Ginę zgubą wszelkiego żywego stworzenia”. There is no doubt that this is the beginning of the third stanza of the well-known poem by Czesław Miłosz entitled St. Ign. Witkiewicz, published in the volume Ocalenie (Warsaw 1945). Is it an unfortunate mistake on the part of the author of the anthology, a seasoned critic and experienced editor, or is it his fortune to confuse the censor, who did not allow Miłosz’s texts to be published and thus to “smuggle” his poem in under the guise of Witkiewicz? The puzzle remains unresolved. The mistake is inscribed in the history of Witkacy’s so-called “dodges”, which he did to his friends and acquaintances, and then to those who dealt with his life and work. To attribute to him the authorship of Miłosz’s excellent work would certainly make him happy
“The Editor’s Hell”, or on Witkacy’s Letters to His Wife
Get PDFS.I. Witkiewicz’s correspondence with his wife, Jadwiga née Unrug comprises 1278 letters, postcards,
picture postacards and telegrams, which were written from 21 March 1923 to 25 August
1939. This is an exceptional evidence of the complicated emotional bond of these two people,
whose marriage suffered difficult moments, but still stood the test of time. It is also an invaluable
source of information on Witkacy’s life and work and at the same time an authentic psychological
document showing the unusual personality of man and artist. Preparation of the critical edition of
the letters is an exceptionally complex task, performing of which can be metaphorically described
as going through “the editor’s hell”. The author discusses the most varied difficulties (“circles of
the hell”), which pile up before the editor of this correspondence
On Różewicz’s margin notes (and not only)
Get PDFTadeusz Różewicz moved from Gliwice to Wrocław in 1968. He lived near South Park for many
years and he regularly met there with the author of this article. They talked about many different
things and current events, and especially about Stanisław Ignacy Witkiewicz, i.e. more specifically
about his service in the tsarist army, the battle that took place near the Stokhid in June 1916 in
which he was severely wounded as well as about the causes of his suicide in September 1939. In
2003 Różewicz moved to a house on Promień Street, which is located in a remote area of the city.
When he was moving to the new place he came across Witkacy’s 1919 treatise titled Nowe formy
w malarstwie i wynikające stad nieporozumienia [New Forms in Painting and the Misunderstandings
Arising Therefrom], which he had bought in October 1945 at a street stall in Warsaw. After
a careful reading of the treatise (as evidenced by numerous underlines in the text), he decided to
enroll in the Academy of Fine Arts in Cracow. The quotes that are presented in the article show
that Różewicz paid particular attention to Witkacy’s main philosophical concepts (“metaphysical
anxiety”) and statements about the end of metaphysics in the 20th century. Many notes and annotations
in the margins, some of which are cited in the present article, are evidence of Witkacy’s
critical reading of Leon Chwistek’s “Wielość rzeczywistości w sztuce” i inne szkice literackie [The
Multiplicity of Realities in Art and Other Literary Sketches]. In 1975 Anna Micińska published,
based on a manuscript that had been discovered, the sociocultural study Niemyte dusze
[Unwashed Souls] which Witkacy wrote in 1936 but which he did not manage to publish. Różewicz
regarded this study as one of Witkacy’s most interesting works because it showed a whole
different side of the artist – a citizen who was concerned about the condition of Polish society and
the Polish state.2111221Przestrzenie Teori
„Trup mój siedzi w tym koszu”, czyli tajemnice daru pani C. K.
No full textThe archives of Górnośląskie Museum in Bytom contain the correspondence between Ignacy Witkiewicz and Tadeusz Dobrowolski, the head of Śląskie Museum in Katowice. It concerns two matters: the museum’s purchase of Witkacy’s Autoportret and his donation of “Miss C.K.’s gift”. In June 1938, during his stay with Maria and Ignacy Grabski in Katowice, he painted Autoportret with smoking factories in the background, which he sold for 200 zł to Śląskie Museum. The information about it reached the Tax Chamber in Zakopane, which decided to seize the fee as a credit towards due taxes amounting to 1200 zł. Witkacy was trying to stop it by revoking the decision to sell the painting, which however resulted in a tax inspector’s visit at “Witkiewiczówka” with the intention of seizing all Witakcy’s paintings. After the payment of half of the amount due, made by cousin Dziudzia and a friend Tadeusz Langier, and seizing the fee for Autoportret, the Tax Chamber remitted the remaining part of the debt. In March 1938 Czesława Oknińska-Korzeniowska broke her 9-year relationship with Witkacy. She found out that he was having an affair with a 17-year-old manicurist, lover of a barber from Zakopane. She sent back to him all the gifts she had received, his books with dedications torn out, as well as a package of paintings. He did not manage to convince her to reconcile and get back to him. Attempts of mediation by friends (among others, Hans Cornelius), were also unsuccessful. Witkacy, believing the breakup to be definite, donated the collection of paintings sent back to him to Śląskie Museum as “Miss C.K.’s gift’. It contained, among others, three of his self-portraits, astronomical compositions, an oil painting entitled Wnętrze lasu (which he had painted at the age of seven), as well as works by Rafał Malczewski, Tadeusz Langier, Antoni Waśkowski and Brunon Schulz. During the war most of them were destroyed or went missing. Among the ones that survived, there was Autoportret, which was in Górnośląskie Museum after the war, and in 1988 was donated to Śląskie Museum. The breakup with Czesia, which led Witkacy to severe depression and suicidal thoughts, lasted for almost five months. In August 1938 she agreed to return to him. Witkacy, however, never fully recovered mentally, and suicidal thoughts were to accompany him forever – until 18 September 1939.W archiwum Muzeum Górnośląskiego w Bytomiu zachowała się korespondencja Stanisława Ignacego Witkiewicza z Tadeuszem Dobrowolskim, dyrektorem Muzeum Śląskiego w Katowicach. Dotyczy dwóch spraw: kupna przez muzeum Autoportretu Witkacego oraz przekazania przezeń „daru pani C. K.”. W czerwcu 1938 roku podczas pobytu u Marii i Ignacego Grabskich w Katowicach wykonał on Autoportret na tle dymiących fabryk, który sprzedał za 200 zł Muzeum Śląskiemu. Informacja o tym dotarła do zakopiańskiej Izby Skarbowej, która postanowiła skonfiskować honorarium na poczet zaległych podatków w wysokości 1200 zł. Witkacy próbował temu zapobiec, odwołując decyzję o sprzedaży obrazu, co jednak miało ten skutek, że do „Witkiewiczówki” przyszedł urzędnik Izby Skarbowej z zamiarem rekwizycji wszystkich obrazów Witkacego. Po wpłaceniu przez kuzynkę Dziudzię i przyjaciela Tadeusza Langiera połowy zaległej sumy oraz przejęciu honorarium za Autoportret, Izba Skarbowa umorzyła pozostałą część długu.W marcu 1938 roku Czesława Oknińska-Korzeniowska zerwała łączący ją od dziewięciu lat związek z Witkacym. Dowiedziała się, że ma on romans z siedemnastoletnią manicurzystką, kochanką zakopiańskiego fryzjera. Odesłała Witkacemu wszystkie podarunki, jego książki z wyrwanymi dedykacjami oraz pakę z obrazami. Nie udało mu się skłonić jej do zgody i powrotu. Nie powiodły się także próby mediacji przyjaciół (m.in. Hansa Corneliusa). Witkacy przekonany, że zerwanie jest ostateczne, przekazał Muzeum Śląskiemu odesłaną kolekcję obrazów jako „dar pani C. K.”. Były w niej m.in. trzy jego autoportrety, kompozycje astronomiczne, obraz olejny Wnętrze lasu (namalowany przezeń w wieku siedmiu lat), a także prace Rafała Malczewskiego, Tadeusza Langiera, Antoniego Waśkowskiego i Brunona Schulza. W czasie wojny większość z nich została zniszczona lub zaginęła. Ocalał Autoportret, który po wojnie znajdował się w Muzeum Górnośląskim i w 1988 roku został przekazany do Muzeum Śląskiego.Rozstanie z Czesią, które doprowadziło Witkacego do poważniej depresji i myśli o samobójstwie, trwało prawie pięć miesięcy W sierpniu 1938 roku zgodziła się do niego powrócić. Witkacy jednak nie odzyskał już pełnej równowagi psychicznej i myśl o samobójstwie będzie mu stale towarzyszyć – aż do 18 września 1939 roku
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Four Notes on Witkacy
No full textCztery uwagi do biografii Witkacego. 1. Czy Witkacy zamierzał wrócić do tropików? 9 kwietnia 1918 roku Maria Witkiewiczowa, matka Witkacego, wysłała pocztówkę do swojej przyjaciółki, siostry Leona Chwistka, z informacją, że Witkacy planuje powrót z Piotrogrodu do Polski lub podróż na Sumatrę. Choć zafascynowany tropikalną przyrodą i naturą, po podróży z Malinowskim w 1914 roku, która wpłynęła na jego malarstwo i inną twórczość, w lipcu 1918 roku Witkacy wrócił do Polski i opisał swoje cejlońskie doświadczenia w reportażu Podróż do Tropików. 2. Zagadka Prologu do Pentemychosa i Jej Niedoszłego Wychowanka. W archiwum Jadwigi Witkiewiczowej zachowała się jedna kartka z niemieckojęzycznym wierszem będącym fragmentem prologu zaginionej sztuki Pentemychos i Jej niedoszły wychowanek, która powstała na początku 1920. Zachowany fragment pochodzi prawdopodobnie z tłumaczenia, które Witkacy zamówił u przyjaciela w 1922, po spotkaniu w Zakopanem z panią Eckert, która obiecała polecić jego sztuki producentowi teatralnemu w Hamburgu. 3. Witkacy „dzieckiem podszyty”, czyli jak samemu ulepszyć kalejdoskop. Witkacy od dziecka był zapalonym kolekcjonerem. Zbierał laski i różne osobliwości, które umieszczał w swoich "albumach osobliwości". Dla kalejdoskopu, swojej ulubionej zabawki, napisał szczegółową zabawną instrukcję. 4. Grotowski i Witkacy. Jako student krakowskiej szkoły teatralnej Jerzy Grotowski planował wystawienie Szewców na Wawelu w 1958/59 roku. Ponieważ plan nie został zaakceptowany, Grotowski rzucił szkołę i wyjechał do Opola, gdzie został kierownikiem artystycznym Teatru 13 Rzędów. Zapytany o to, czyj portret powiesiłby w swoim dyrektorskim gabinecie, Grotowski wymienił Witkacego wraz z trzema innymi „męczennikami” teatru: Artaudem, Meyerholdem i Stanisławskim.Four notes on Witkacy’s biography. 1. Did Witkacy Intend to Return to the Tropics? On 9 April 1918, Maria Witkiewiczowa, Witkacy’s mother, sent a postcard to her friend, Leon Chwistek’s sister, with an information that Witkacy was planning to return to Poland from Petrograd or to travel to Sumatra. Though fascinated with tropical wildlife and nature, after his travel with Malinowski in 1914, which has influenced his painting and other creative work, in July 1918 Witkacy returned to Poland and described his Ceylon experiences in the reportage Podróż do Tropików (A Voyage to the Tropics). 2. The Puzzle of Prologue to Pentemychos i Jej Niedoszły Wychowanek. The Jadwiga Witkiewiczowa archive contains a single page with a German-language piece of verse which is a fragment of the prologue of the now lost play Pentemychos i Jej niedoszły wychowanek (Pentemychos and Her Would-be Pupil), written at the beginning of 1920. The surviving fragment probably comes from a translation that Witkacy commissioned from a friend in 1922, after meeting in Zakopane with Ms. Eckert who promised to recommend his plays to a theatre producer in Hamburg. 3. Witkacy “Honeycombed with Childishness,” or a DIY Way of Improving One’s Kaleidoscope. Witkacy had been a passionate collector since childhood. He collected walking sticks and various curios, which he put in his “albums of curiosities.” For a kaleidoscope, his favorite toy, he wrote a detailed funny manual. 4. Grotowski and Witkacy. As a student of the Cracow theatre school, Jerzy Grotowski planned to put on The Shoemakers at Wawel in 1958/59. Since the plan was not approved, Grotowski dropped out of school and went to Opole where he became the artistic manager of the 13 Rzędów Theatre. When asked whose portrait he would hang up in his directorial office, Grotowski mentioned Witkacy along with three other “martyrs” of the theatre: Artaud, Meyerhold, and Stanislavsky
Witkacy—Our Contemporary
No full textZakazany w latach 1949-1955, Witkacy został odzyskany dla polskiej kultury w procesie zmian politycznych w 1956 roku. Jego twórczość ma niezwykłą zdolność do odnawiania znaczeń i rezonowania z tym, co dzieje się w danym momencie, w zmieniających się kontekstach politycznych, społecznych i artystycznych. Wydaje się, że w powojennej recepcji jego twórczości widać pewien wzorzec: zainteresowanie nią wzrasta za każdym razem, gdy ma miejsce ważne wydarzenie, po którym następuje poważna zmiana polityczna (grudzień 1970, sierpień 1980, grudzień 1981, czerwiec 1989). Sceniczna historia Szewców, jego najwybitniejszej sztuki politycznej, potwierdza tę tezę. Jedną z głównych postaci dramatu jest Gnębon Puczymorda (Pugnatsy Jawbloatski w tłumaczeniu Daniela Geroulda), ucieleśnienie wad polskiej szlachty, które zdaniem Witkacego doprowadziły do upadku Polski w 1794 roku i których pozostałości wciąż wykrywał w życiu społecznym i intelektualnym Polski. Witkacy opisał je i ostro zaatakował w wydanym w 1936 roku studium Niemyte dusze, choć za jego życia żadne wydawnictwo nie zdecydowało się na publikację tego tekstu. Jego historiozofia opierała się na wizji szczęścia ludzkości w egalitarnym, doskonale zorganizowanym społeczeństwie przypominającym mrowisko, w którym panuje dobrobyt, równość i sprawiedliwość, ale nie ma miejsca na przejawy indywidualizmu. Choć Witkacy zdawał sobie sprawę z nieodwracalności tego procesu, uważał, że obowiązkiem artysty jest próba jego zatrzymania lub przynajmniej spowolnienia.Banned in 1949–1955, Witkacy was reclaimed for Polish culture in the process of political change in 1956. His work has the extraordinary capacity to renew meanings and to resonate with what is happening at a given moment, in changing political, social, and artistic contexts. There appears to be a pattern to the post-war reception of his oeuvre: there is a surge of interest in it whenever an important event followed by some major political shift occurs (December 1970, August 1980, December 1981, June 1989). The stage history of The Shoemakers, his most outstanding political play, confirms that assertion. One of the main characters of the play is Gnębon Puczymorda (Pugnatsy Jawbloatski in Daniel Gerould’s translation), an embodiment of the vices of Polish nobility which Witkacy thought to have caused the downfall of Poland in 1794 and whose remnants he still detected in the social and intellectual life of Poland. Witkacy described and attacked them fiercely in his 1936 study Niemyte dusze (Unwashed Souls), though no publishing house decided to publish it in his lifetime. His historiosophy turned on a vision of happiness enjoyed by the humanity that would be achieved in an egalitarian, perfectly well organized society resembling an anthill where there was prosperity, equality, and justice but no room for expression of individualism. Although Witkacy realized that the process was irreversible, he thought it was an artist’s duty to try to stop or at least slow it down
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