1,356,044 research outputs found
Presentation: Matthew Sienkiewicz
No full textIn this audiovisual recording from Wednesday, March 30, 2011, as part of the 42nd Annual UND Writers Conference: (Inter)National Affairs, Matthew Sienkiewicz gives a presentation discussing the inspiration and production of his film, Live from Bethlehem. Sienkiewicz discusses the role language, culture, and his Jewish heritage played in the filmmaking process and the physical and cultural difficulties of filming in the Middle East. Sienkiewicz also discusses his current projects, which primarily consists of his dissertation, a project about Palestinian car racing, and a documentary about Erik Buell Racing, an American motorcycle designer and manufacturer based in Wisconsin.
Introduced by Kyle Conway
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
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
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
Sienkiewicz dans le temps et dans l’espace
No full textLe succès universel de Quo vadis ? a quelque peu figé l’image de son auteur, Henryk Sienkiewicz (1846-1916) et occulté la richesse et la diversité de son œuvre. Les auteurs de Sienkiewicz, voyageur dans le temps et dans l’espace, armés des outils de la critique contemporaine, en nuancent et approfondissent la portée ; ils n’oublient pas l’aventure de l’homme Sienkiewicz qui, tout en étant de son temps et de son milieu, sut s’affranchir des contraintes. Avec beaucoup de liberté, ce nouvel homo viator infatigable, sillonna en effet Amérique, Europe, Afrique... Attentif au comportement de l’individu et à l’organisation de la société dans des pays « lointains », il observe, imagine, médite, raconte. Ses voyages d’un continent ou d’une époque à l’autre témoignent, dans la description des faits comme dans les emportements romanesques, d’une authentique empathie pour tout ce qui est humain. On découvre aussi que l’ironie, si présente dans les textes de Sienkiewicz, est plutôt une défense devant l’irrésistible et angoissant mouvement de l’Histoire. Le lecteur rencontrera ainsi le témoin d’une époque où le désenchantement du monde commence à se déployer et il pourra suivre les confrontations de Sienkiewicz avec ses contemporains, Zola notamment ; il sera également surpris par le parallèle esquissé entre l’écrivain polonais et le romancier Houellebecq… Voyages multiples dans le temps, l’espace, les civilisations. Le volume est accompagné de larges extraits des Lettres de voyage en Amérique traduits en français
A pilgrim and a pantheist : Henryk Sienkiewicz in Athens
No full textArtykuł jest analizą epistolografii Henryka Sienkiewicza powstałą w trakcie jego pobytu w Grecji (w 1886 roku). Podstawową kategorią interpretacyjną jest figura pielgrzyma, która wykorzystana zostaje w dwóch modalnościach: (1) jako scalający i porządkujący projekt autobiograficzny i (2) jako opis konkretnej wędrówki do miejsca świętego (tu: Akropolu). W pierwszym wypadku podróż do Grecji będzie próbą powrotu do siebie samego z okresu studiów filologicznych; w drugim - odprawieniem prywatnego rytuału na ruinach świątyń. Drugi aspekt zostanie poddany wnikliwej analizie pod kątem: (a) wrażeń, (b) wyobrażeń i (c) wyjaśnień, które uruchamia pobyt na Akropolu. W wyniku dociekań stwierdzona zostaje u Sienkiewicza postawa estetycznego panteizmu, która uzyskuje zabarwienie stoickie. W konkluzjach wskazana zostaje różnica między tym stanowiskiem a doświadczeniem ściśle religijnym, które podlega tu wyraźnemu wyparciu.The article is an analysis of Henryk Sienkiewicz's epistolography written during his stay in Greece (in 1886). The basic interpretive category is the figure of the pilgrim, which is used in two modalities: (1) as a unifying and organizing autobiographical project and (2) as a description of a specific journey to a sacred place (here: the Acropolis). In the first case, the trip to Greece will be an attempt to return to the self from the period of philological studies; in the second one - to perform a private ritual on the ruins of ancient temples. The second aspect will be analysed in depth in terms of: (a) impressions, (b) imaginings and (c) explanations that are triggered by a stay on the Acropolis. As a result of the inquiry, the presence of an attitude of aesthetic pantheism, which acquires a Stoic tinge, is established in Sienkiewicz. In the conclusion, the difference between this stance and a strictly religious experience is indicated, which is subject here to a clear suppression
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
Emigrants Do Read Sienkiewicz. Some Reflections, or Maybe a Reconnaissance
No full textZdigitalizowano i udostępniono w ramach projektu pn. Rozbudowa otwartych zasobów naukowych Repozytorium Uniwersytetu w Białymstoku – kontynuacja, dofinansowanego z programu „Społeczna odpowiedzialność nauki” Ministra Edukacji i Nauki na podstawie umowy BIBL/SP/0040/2023/01.T he article concerns the reception of works by Henryk Sienkiewicz and the impact he had in the emigration circles. The author proposes to divide the reception into two types. The first of them, the emotional/identity one, is bipolar: it embraces both the apologists of Sienkiewicz and the resolved opponents of his writing. The second type is called aestheticising reception. It refers to professional or quasi-professional reflection on different aspects of his writing and the long-term influence, unknown biographical facts, world reception etc. The conclusion of the article includes the analysis of emigration writers' responses given in a famous survey organised by "Wiadomości Literackie" (1961), clearly predicting the decline of Sienkiewicz's popularity.Projekt został sfinansowany ze środków NCN na podstawie decyzji DEC-2012/06/A/HS2/00252.24527
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