250 research outputs found
Sienkiewicz in Paris – the Paris of Sienkiewicz
No full textThe article presents the journalistic writing of Henryk Sienkiewicz from the Paris years 1878–1879. However, from under the cover of journalist realism, the writer’s reports reveal deeper inspirational thinking which seem to have influenced both the ideological image of the author and the portrait of the city.Artykuł powstał w wyniku realizacji projektu badawczego nr DEC-2012/06/A/HS2/00252 pt. „Henryk Sienkiewicz. Obecność w kulturze polskiej XX wieku. Polskość i nowoczesność. Recepcja i nowe odczytania”, finansowanego ze środków Narodowego Centrum Nauki.Uniwersytet Marii Curie-Skłodowskiej w Lublinie37339
Henry Sienkiewicz, the great Polish author from a painting by S. Ryszkowski, a local artist.
No full textHenry Sienkiewicz, the great Polish author, from a painting by S. Ryszkowski, a local artist.https://digitalcommons.buffalostate.edu/fronczak-photo3/1034/thumbnail.jp
Noblista w ogniu krytyki. Sienkiewicz – dzisiaj (i wczoraj)
No full textThe works of Henryk Sienkiewicz, the first Polish Nobel Prize winner, awarded for literature in 1905, have been and still are broadly resonating. The author of Quo vadis and Trylogia (The Trilogy) – “der Liebling der Massen” – is the victim of his own success as the popularity of literature reduces its meanings, it creates and then replicates the stereotypes in their reading. Sienkiewicz, a Catholic writer who represented Poland in his Trilogy as “the bulwark of Christianity” was always a convenient tool for shaping conservative attitudes. The article focuses on the reception of Sienkiewicz’s works at the end of the rule of Zjednoczona Prawica (the United Right) in Poland (2015–2023). It recalls, among others, the 2019 book Sienkiewicz z nami (Sienkiewicz with us), written by the writer’s great-grandson and politician Bartłomiej Sienkiewicz, part of which is the project aimed at deconstructing the right-wing reception of Henryk Sienkiewicz’s works. The author of the article also refers to earlier evidence concerning their reception over the course of the 20th century. The focus is on the texts which were accusatory and rejecting towards them, published ever since they became widely-read (opinions by S. Brzozowski and W. Gombrowicz, among others), as well as those written by past and contemporary experts in Sienkiewicz’s writings.The works of Henryk Sienkiewicz, the first Polish Nobel Prize winner, awarded for literature in 1905, have been and still are broadly resonating. The author of Quo vadis and Trylogia (The Trilogy) – “der Liebling der Massen” – is the victim of his own success as the popularity of literature reduces its meanings, it creates and then replicates the stereotypes in their reading. Sienkiewicz, a Catholic writer who represented Poland in his Trilogy as “the bulwark of Christianity” was always a convenient tool for shaping conservative attitudes. The article focuses on the reception of Sienkiewicz’s works at the end of the rule of Zjednoczona Prawica (the United Right) in Poland (2015–2023). It recalls, among others, the 2019 book Sienkiewicz z nami (Sienkiewicz with us), written by the writer’s great-grandson and politician Bartłomiej Sienkiewicz, part of which is the project aimed at deconstructing the right-wing reception of Henryk Sienkiewicz’s works. The author of the article also refers to earlier evidence concerning their reception over the course of the 20th century. The focus is on the texts which were accusatory and rejecting towards them, published ever since they became widely-read (opinions by S. Brzozowski and W. Gombrowicz, among others), as well as those written by past and contemporary experts in Sienkiewicz’s writings
Positivists – Sienkiewicz – Gloger: three images of Christianity
No full textThe author compares two attitudes towards Christianity: that of the young Warsaw intelligentsia focused around the progressive magazine „Weekly Review” and the writer and Nobel laureate Henryk Sienkiewicz. The Warsaw positivists, seeking to modernise Polish culture after the defeat of the January Uprising, advocated also the idea of modernising Christianity, adapting it to the conditions of the contemporary world, which was characterised by the rapid progress of civilisation, creating entirely new ethical problems (the approach to the poor and the exploited classes, colonialism, the rationalisation of culture). At the same time, the writers of this circle often presented freethinking, agnostic or atheistic attitudes. In turn, Sienkiewicz, as the author of Quo Vadis, was considered almost an apologist for Christianity. At the same time, a careful reading of his works reveal the constant presence of a thread of religious scepticism (the novel Without Dogma, his epistolography). In a closer look, both the positivists and Sienkiewicz are characterised by a far-reaching complexity of attitudes, although the author of the Trilogy follows a clear preference for Christianity as part of the Polish national tradition.Anna Janicka – dr hab., prof. UwB, pracuje w Zakładzie Filologicznych Badań Interdyscyplinarnych w Instytucie Filologii Polskiej Uniwersytetu w Białymstoku. Redaktorka i współredaktorka wielu tomów, w tym: Kraszewski i nowożytność. Studia (Białystok 2015). Autorka monografii: Sprawa Zapolskiej. Skandale i polemiki (Białystok 2013, wyd. 2: Białystok 2015). Ostatnio wydała monografię: Tradycja i zmiana. Literackie modele dziewiętnastowieczności: pozytywizm i „obrzeża” (Białystok 2015). Zredagowała tom: Pozytywiści warszawscy: „Przegląd Tygodniowy” 1866–1876, Seria I: Studia, rewizje, konteksty (2016). Kieruje grantem NPRH na badania „Przeglądu Tygodniowego” (1866–1876).Zakład Filologicznych Badań Interdyscyplinarnych, Uniwersytet w BiałymstokuGloger Z., Pisma rozproszone, red. J. Ławski, J. Leończuk, T. I: 1863–1876, wstęp J. Ławski, G. Kowalski, opr. G. Kowalski, Ł. Zabielski, noty A. Janicka (t. 1-3), indeksy M. Jurkowska, M. Siedlecki, Białystok 2014; T. II: 1877–1889, wstęp A. Janicka, D. Rembiszewska, opr. Ł. Zabielski, S. Kochaniec, M. Siedlecki, G. Kowalski, indeksy M. Al-Kaber, M. Siedlecki, Białystok 2015; T. III: 1890–1910, wstęp Ł. Zabielski, M. Rutkowski, J. Ławski, opr. Ł. Zabielski, S. Kochaniec, M. Siedlecki, P. Suchodolski, indeksy M. Siedlecki, M. Al-Kaber, Białystok 2016.Ochorowicz J., Duch i mózg. Studium psycho-fizjologiczne, Warszawa 1872.Ochorowicz J., O zasadniczych sprzecznościach, na których opiera się nasza wiedza o wszechświecie. Odczyt publiczny Juliana Ochorowicza miany w Warszawie w teatrze Rappo dnia 29 października 1873, Lipsk 1874.Podgórski R. A., Ku socjologii... Filozofia pozytywistyczna w XIX wieku w recepcji Barbary Skargi, Olsztyn 2016.Sienkiewicz H., Quo vadis, Warszawa 1987.Sienkiewicz H., Humoreski z teki Worszyłły, opr. i wstęp B. Mazan, Wrocław 1988.Sienkiewicz H., Ogniem i mieczem, wstęp R. Radyszewski, Charków 2017.Sienkiewicz H., Szkice węglem, Warszawa 1948.Sienkiewicz H., Wiadomości bieżące I, w: tegoż, Dzieła, T. LI, red. J. Krzyżanowski, Warszawa 1950.Stępnik K., Sienkiewicz globalny, Lublin 2017.Surzyńska-Błaszak A., Sokołowska-Hurnowicz B., Henryk Sienkiewicz – laureat Nagrody Nobla z 1905 roku. Materiały źródłowe, „Bibliotekarz Podlaski” 1/2016.Szkiełko i oko. Humanistyka w dialogu z aktualną fizyką, red. A. Regiewicz, A. Żywiołek, Warszawa 2017.Świętochowski A., Dumania pesymisty, opr. E. Paczoska, Warszawa 2002.175
With Henryk Sienkiewicz in Odessa
No full textThe article focuses on a few things: first of all on biographical topics: his three marriages (the writer's stay in Odessa was associated with his next matrimonial plan), visits to Odessa, where the writer gave the so called Odessa interview, which the researcher found in the 19th-century Russian press published in Odessa and cited in large parts in her essay. The narrative essay links two journeys: by Sienkiewicz from 1892/1893, and by the author of this text, who in the late summer of 2013 follows in the footsteps of the writer in Odessa, examining a number of press comments about his stay, as well as the relation between Odessa and his personal life and work.JOLANTA SZTACHELSKA – dr hab., prof. UwB, kierownik Zakładu Literatury Pozytywizmu i Młodej Polski w Instytucie Filologii Polskiej Uniwersytetu w Białymstoku. Zainteresowania badawcze: historia literatury polskiej okresu pozytywizmu i Młodej Polski, poetyka historyczna (zwłaszcza genologia), historia dziennikarstwa, problematyka podróżopisarstwa i dokumentaryzmu, jak również zagadnienia komunikacji społecznej. Wydała książki: „Reporteryje” i reportaże. Dokumentarne tradycje polskiej prozy w 2 połowie XIX i na początku XX wieku (Prus, Konopnicka, Dygasiński, Reymont) (Białystok 1997) oraz Zabijanie klasyków. Studia i eseje (Białystok 2015).University of BiałystokM. z Szetkiewiczów Sienkiewiczowa, Listy, oprac. i wstęp B. Szargot, Piotrków Trybunalski 2012.H. Sienkiewicz, Listy, pod red. J. Krzyżanowskiego, w oprac. M. Bokszczanin, Warszawa 1996.M. Mądzik, Działalność handlowa Polaków w Odessie w I połowie XIX wieku, w: tegoż, Polskie inicjatywy handlowe w rosyjskich portach czarnomorskich na przełomie XVIII i XIX wieku, Lublin 1984.Zob. J. Krzyżanowski, Henryk Sienkiewicz. Kalendarz życia i twórczości, uzupełn. M. Bokszczanin, Warszawa 2012A. Urbański, Z Sienkiewiczem w Odessie, „Kurier Warszawski” 1926 nr 325.A. M. Femelidi, G. Sienkiewicz. Jego literaturnaja epocha, żizń, trudy i mysli, Odessa – Kamieniec – Petersburg – Moskva 1912.2166968
The Charm and Spell of Sienkiewicz. Studies and essays
No full textZdigitalizowano i udostępniono w ramach projektu pn. Rozbudowa otwartych zasobów naukowych Repozytorium Uniwersytetu w Białymstoku, dofinansowanego z programu „Społeczna odpowiedzialność nauki” Ministra Edukacji i Nauki na podstawie umowy SONB/SP/512497/2021.In the prelims to the book the author expounds that the ten essays and studies the volume is composed of, written in the years 1996-2003, albeit do not form a classic monograph, even accentuate their poly-subjectness, form a certain whole. This integrity stems from, in the first place, the intention of the author who endeavours to attend to the phenomenon of Henryk Sienkiewicz' s writings, secondly, because it is an attempt to unearth the writer's image apart from heretofore pursued interpretational practice, in a way, "from the inside" . The author of the studies seeks to get at the "genuine" Sienkiewicz, relieved from the masks stuck on him by a train of infatuated admirers, contending with ghastly receptional patterns reducing the significance of his multidirectional and multi-style literary output to socio-national issues, but also getting to grips with his own inadequacies - as it is difficult to imagine a writer belonging to a nation condemned to inexistence who would resist the allurement of international illustriousness and commercial success. On the one hand Sienkiewicz is indisputably such as the nineteenth-century Polish reader - thirsting for Polish word and craving for the times of glory (which he could find in the Trilogy), wanted to perceive him. On the other hand, however, also such as is preserved in private documents (letters to the family and friends), as well as his own writings, particularly when he makes use of the possibilities the confessional narrative provided (Bez Dogmatu - Without Dogma). Sztachelska reads those texts with insight, searching for their new interpretation. On the one hand she makes for exploration of the existential problems in Sienkiewicz' s output, on the other - towards the description of the cultural background of his writings and personality. She tries therefore in-depth, inward reading, focused on the "pulsation" of the meaning, recurrently demanding immense intuition in probing intertextual connections. In the first essay Czar i zaklęcie Sienkiewicza (The Charm and Spell of Sienkiewicz), the author starts with the Young Poland's perception of Sienkiewicz, which was the first to pay attention to the exceptionality of his aesthetics and attempt to reason out his extraordinary popularity with the reading public, endeavours to reach to those features of his writing which were decisive for his success. In her opinion it is a writing of great synthesis, smoothly linking the oldest, even highly outdated threads (love and adventure) and constructional schemes with elements marking the coming of a new epoch (melodramatism, grotesque) typical for so called mass culture.The second essay, "Listy z podróży do Ameryki" a XIX-wieczne tradycje polskiego reportażu ("Letters from America" and the Nineteenth-Century Tradition of the Polish Report) shows this well - known and many a times interpreted collection, unfortunately still not accessible to foreign readers, not only as a variant of the early Polish report (as a lection of the text), but also as a work of art. By emphasizing this very characteristic of young Sienkiewicz choice, the author wants to remind the readers, that it is in America, where the artist’s penmanship ripens; his literary plans and breaking with journalism finally crystallize. In the third article, Henryk Sienkiewicz - portret dekadenta (Henryk Sienkiewicz - a portrait of a decadent), Sztachelska ruminates over the image of the writer emerging from his letters and literary works on modern problems. lt is surprising, that the writer considered to be the spiritual leader of the Polish society of the times of partitions, symbolic "Father of the Nation", presents himself in these documents as a neurasthenic, a decadent, a man of shallow sensitivity, eternal seeker of thrills suffering from bovarism, a man shunning crowds and hardly suffering tremendous popularity, and at the same time dreaming about great eminence. In other words a Janus - faced writer of unrecognized countenance. The next chapter Nagie twarze i maski (Bare Faces and Masks) deepens the mentioned above problem, describing astounding relations between Sienkiewicz and his sister-in-Iaw, Jadwiga Janczewska, recorded in one of the most beautiful Polish collection of private correspondence of the XIXth century. Over 500 letters, exchanged by writer and his intimate during more than 30 years provide not only an inspiring evidence for both parties friendship, but also a kind of un discours amoureux, the more interesting perhaps being a clandestine and placed under a moral taboo (in view of relation). Janczewska besides was an exceptionally vivid personality, a kind of cultural "institution", exerting a significant influence on the Sienkiewicz's biography and writings. In his letters to her a reader can find a confirmation of the writer' s high artistic competence. The two following texts describe Sienkiewicz' s cultural background. The first one constitutes an extensive study on Słowacki's influence (Sienkiewicz wobec Słowackiego - Sienkiewicz Compared to Słowacki), from the shaping of his literary pencraft up to inspirations in historical novels and forming a particular literary attitude, susceptible to various heterogenic influences, but still preserving also internal autonomy and critical, even ironic distance. In the second, titled Dlaczego Hamlet a nie Faust? (Why Hamlet not Faustus?) the author seeks the unity of attitudes of Sienkiewicz and Goethe, pointing at the most significant differences in the choice of cultural patterns. In a way, the sketch on Goethean threads, focused mainly on Sienkiewicz's novels written after 1890 prepares to the reading of the study titled Szekspiriady Sienkiewiczowskie (Shakespearean Threads in Sienkiewicz's Works), illustrating a deep and lasting captivation of the Polish author with Shakespeare' s writings. Sztachelska reconstructs here the nineteenth - century interests in "tragic stories" by the English playwright and analyzes particular references to Shakespeare in Sienkiewicz's works. This "Shakespearian Homerid" (as the Polish author is referred to) found not only prototypes of his heroes - personalities torn by passions and tossed by contradictory feelings - in "the Bard's of Avon" works, but also picturesque and fantastic scripts of fictious events and situations. Sienkiewicz' s Shakespearism manifests itself also in an ironic attitude towards reality and changeability of human fate as well as incessant clash of sacrum and profanum, the laugh and tragedy. A category by itself, as Sztachelska points out take Shakespearean characters present in Sienkiewicz' s embodiments, above all Hamlet, situated between a romantic patterns of "a child of the century" and Nietzsche' s Dionysian Man. The sketch Dwie powieści o końcu wieku (Two Novels on the End of the Century) stresses the significance of personal myths characterizing according to Sienkiewicz basic dilemmas of a fin-de siècle-man even more. Extremely significant interpretational trope in the sketch seems to be a statement that the main text of his writing is erotism bravely linked to the problems of sacrum and national matters. The next extensive study, Sienkiewicz - Witkiewicz, czyli kładki, na których spotykają się ludzie z różnych światów (Sienkiewicz - Witkiewicz, that is two foot¬ -bridges on which people from various words meet) is a confrontation of two artistic personalities typical of the nineteenth-century Polish reality, treated also as creators of two languages (traditionalism - avant-garde) which were used by the Polish art of the era. Oddly enough, Witkiewicz - a devoted patriot, unshaken moral authority and at the same time courageous and uncompromising critic and vanguard artist highly priced Sienkiewicz and was - as it seems - his most outstanding commentator, able to read his texts in a modern, eidetic manner. Both had much in common: dire beginnings, love to the same woman, and a passion towards art and Zakopane, idea of independent Poland. They differed in nearly everything: the lifestyle, the way each of them understood career, self-attitude, and relations with other people. The last and most extensive study - Sienkiewicz - pogański i chrześcijański (Sienkiewicz - pagan and Christian) shows one of the most significant problems of Sienkiewicz writing - his attitude towards religion. The writer' s struggling with transcendence and forms of its artistic depiction are discussed here against the background of generational researches as well as based on very vast sources - from the first literary sketches of the Trilogy author to the last novels. Sztachelska's intent here is to show not a dogmatic Sienkiewicz but leaning towards traditionalism, what marks significantly in forming of his fictious world. It does not mean, of course, that Sienkiewicz is a prayer of the world without contradiction, conflict and sin - just the opposite - only a few of his texts bring the thought of shaping unanimous hierarchized world' s order with a clear system of values. In their majority the fight between contradictory man' s desires and, social compulsion and moral norms and free will still carries on. In the deep sense of loneliness of a man torn between the charm of life and sensual appearance of abundance and dramatically sensed horror of death, Sienkiewicz draws near modernism, and his anxieties revealed in imitating Hamlet characters of Płoszowski (Without Dogma) and Groński (Currents), inevitably foretell the end of the century
The historical novel according to Sienkiewicz. Theory and practice
No full textSienkiewicz had shown a keen interest in the issue of the historical novel prior to making his own first attempts at the genre. Among various reviews written by Sienkiewicz, a short analysis of Kraszewski’s Teutonic Knights 1410 (Krzyżacy 1410) is of particular significance, since Sienkiewicz stipulates there a general outline of the genre. On the other hand, while evaluating Historical Sketches (Szkice historyczne) by Ludwik Kubala, Sienkiewicz pointed to the potential literatureness of the history itself. The practical realisation of the genre of historical novel, as exercised by the author of The Trilogy, was preceded by his Tartar Captivity (Niewola tatarska), stylised for an old-Polish diary. And the famous series of novels set in the 17th century had formed the model of historical novel which was subsequently repeated in Quo Vadis and The Teutonic Knights (Krzyżacy). Sienkiewicz generalised on his writing experience in a lecture on the historical novel, in which he listed his views regarding the purpose and the form of the genre.Problematyka gatunkowa powieści historycznej zajmowała Sienkiewicza jeszcze przed przystąpieniem do uprawiana tego gatunku Wśród recenzji pisarza szczególnie ważna jest krótka ocena Krzyżaków 1410 Kraszewskiego, na podstawie której Sienkiewicz określił ogólne zarysy gatunku. Natomiast oceniając Szkice historyczne Ludwika Kubali, wskazał na potencjalną literackość samych dziejów. Praktykę na polu powieści historycznej autora Trylogii poprzedziła stylizowana na pamiętnik staropolski Niewola tatarska. Z kolei słynny cykl powieści o siedemnastym wieku uformował model powieści historycznej powtarzany potem w Quo vadis i Krzyżakach. Swoje doświadczenie pisarskie uogólnił Sienkiewicz w odczycie o powieści historycznej, w którym wyłożył swoje poglądy na cel i formę tego gatunku.Publikacja dofinansowana przez katedry literaturoznawcze Instytutu Filologii Polskiej U
The Overlooked Juvenile Correspondence of Henryk Sienkiewicz
No full textThe author reminds us the juvenile correspondence entitled Letters from Podlasia. I. In the Question of the Reform of the Education of Women by Henryk Sienkiewicz, a correspondence overlooked by bibliographers and historians of literature. The author reveals in it his standpoint towards the problems which were then broadly discussed. Those problems differed from the opinions advocated by the majority of the representatives of the generation of positivists. They call for the education of young women as regards pedagogy to prepare them to play the role of mothers in a responsible way
On some wingy words by Henryk Sienkiewicz
No full textPrzedmiotem opisu w artykule są wybrane Sienkiewiczowskie skrzydlate wyrażenia, czyli upowszechnione w języku słowa i związki wyrazowe, których obecność w polszczyźnie zawdzięczamy autorytetowi i dziełom Henryka Sienkiewicza. Jak przekonują badania, niektóre z analizowanych przykładów to twory samego pisarza, inne po raz pierwszy użyte zostały przez kogoś innego, ale uskrzydliły się za sprawą dzieł autora Krzyżaków. Przykładem inwencji językowej Sienkiewicza jest użycie nieznanego w jego czasach w polszczyźnie literackiej wyrazu mocarny w znaczeniu ‘mocny, silny; potężny’. Z kolei związki wyrazowe typu Boże, ty to widzisz i nie grzmisz czy klękajcie narody mają wprawdzie innych twórców niż Sienkiewicz, ale uskrzydlenie się zawdzięczają jego tekstom, ich poczytności i popularności.The subject of description in this article are the selected wingy expressions by Henryk Sienkiewicz, i.e. the words and collocations, commonplace in the Polish language, which entered into usage due to the authority and works by Henryk Sienkiewicz. The results of the study have shown that some of the analysed examples were coined by the writer himself, whereas the other had been used for the first time by someone else, but became wingy owing to the works by the author of The Knights of the Cross. An example of Sienkiewicz’s linguistic invention is the use of the unknown at his time in the Polish literary language word mocarny in the sense of ‘strong’, ‘powerful’, ‘mighty’. The expressions of the type God, You can see this and don’t thunder or Kneel, the nations weren’t created by Sienkiewicz himself, but became wingy as a results of the wide circulation of his writings and their popularity with readers
Recepción en Espana, poética e ideología de los relatos de Henryk Sienkiewicz
No full textThe Spanish reception, poetics, and ideology of Henryk Sienkiewicz’s short storiesHenryk Sienkiewicz is well known in the world mainly for his novel Quo vadis?. He is one of the 19th century’s masters of short stories, although this form of his creative activity is not well known outside Poland, especially in Spain. The aim of this article is to show the basic content of short narrative forms of the Polish writer, which arose between his journey to United States 1876 and the first edition of Ogniem i mieczem With Fire and Sword in 1884. The aspects of their poetics as well as ideology are also considered. The author of the article pays attention to the reception of Sienkiewicz’s works in Spain and the works of Emilia Pardo Bazán devoted to the Polish author.The Spanish reception, poetics, and ideology of Henryk Sienkiewicz’s short storiesHenryk Sienkiewicz is well known in the world mainly for his novel Quo vadis?. He is one of the 19th century’s masters of short stories, although this form of his creative activity is not well known outside Poland, especially in Spain. The aim of this article is to show the basic content of short narrative forms of the Polish writer, which arose between his journey to United States 1876 and the first edition of Ogniem i mieczem With Fire and Sword in 1884. The aspects of their poetics as well as ideology are also considered. The author of the article pays attention to the reception of Sienkiewicz’s works in Spain and the works of Emilia Pardo Bazán devoted to the Polish author
- …
