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Journal articles on the topic 'Iwaszkiewicz'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Papieski, Robert. "Pogrzeb królowej Jarosława Iwaszkiewicza – opracowanie edytorskie." Fabrica Litterarum Polono-Italica, no. 2 (June 30, 2020): 129–55. http://dx.doi.org/10.31261/flpi.2020.02.10.

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The article mainly quotes a previously unpublished manuscript of Jarosław Iwaszkiewicz’s novel about Bona Sforza, entitled The Funeral of the Queen, which he has worked on between the 6th of June 1949 and 1953. The editor presents the origins of the book and its development. Additionally, all documents that Iwaszkiewicz researched and collected while working on the novel are included in the book, including notes, nine versions of the first sentence of the novel, and the letters from Ludwik Kolankowski and Zofia Zarembianka, who provided Iwaszkiewicz with factual information. The conclusion of the article reveals the nature of Iwaszkiewicz’s writing, showing that a huge amount of documents he researched – instead of helping him – paralysed him.

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2

Zieliński, Jan. "Büchner’s Spirit: Some Digressions on an Oblique Quotation from Rilke." Tekstualia 1, no. 40 (2015): 77–86. http://dx.doi.org/10.5604/01.3001.0013.4484.

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In one of his essays, Piotr Mitzner reminds us that life, or being, according to Rilke, is supposed to be a theatre. This statement encourages a variety of digressions that pertain to a poem by Jarosław Iwaszkiewicz, and another by Aleksander Wat, an essay about aging by Ryszard Przybylski including a recollection of the last visit that Wat’s wife paid Iwaszkiewicz; another quote from Rilke in Ronald Harwood’s Quartet with entails references to Rilke and Jens Peter Jacobsen, Jacobsen and Iwaszkiewicz, Rilke’s English translator Karl Werner Maurer and his translation of The Death and the Ploughman by Johannes von Tepl; Rilke’s letter to the Princess Marie von Thun und Taxis-Hohenlohe about Büchner; an October 1st, 1956 entry in Iwaszkiewicz’s journal, written in Zurich, with an evocation of Paul Fenneberg, with remarks on an unfi nished Iwaszkiewicz’s short story On the balcony, about his meetings with Emil Młynarski, Grzegorz Fitelberg and Karol Szymanowski; another oblique quotation from Rilke in another Wat’s poem with comments on Rilke and Ibsen, Ibsen and Nietzsche, Leopold Staff and Rilke; fi nally, Luise Büchner’s poem on the bells in Zurich and on the grave of her brother – to name only a few.

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3

Samsel, Karol. "Transformacje wizerunku Fryderyka Chopina w Lecie w Nohant." Przegląd Humanistyczny, no. 65/4 (April 10, 2022): 23–31. http://dx.doi.org/10.31338/2657-599x.ph.2021-4.2.

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The paper analyses the character of Frédéric Chopin in the Summer at Nohant by Jarosław Iwaszkiewicz. The internal differentiation of characteristics introduced in the composer’s figure produces a new type of unity. The Summer at Nohant gains the dimension of Iwaszkiewicz’s “comedy of greatness”. Interconnections between similar or related works shape the multifaceted character of Chopin in the Summer at Nohant.

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4

Olszewska, Maria Jolanta. "Artysta zdradzony i zawiedziony. Portret Aleksandra Puszkina w Maskaradzie Jarosława Iwaszkiewicza." Przegląd Humanistyczny, no. 65/4 (April 10, 2022): 7–22. http://dx.doi.org/10.31338/2657-599x.ph.2021-4.1.

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Jarosław Iwaszkiewicz's dramatic works, diversified in terms of theme and genre, by no means occupy a marginal place in his comprehensively perceived writing oeuvre. Three of Iwaszkiewicz's plays, linked by the artist's theme, deserve a special mention: Lato w Nohant, Maskarada and Wesele pana Balzaka. The subject of analysis in this article is the play “Masquerade”. That play focuses on the character of Alexander Pushkin and his complex relationship with the environment, which lead to the self-destruction of the poet, for whom the only salvation is death. In this play, Iwaszkiewicz connected the artistic theme with the question of subjectivity and identity.

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5

Gędas, Katarzyna. "KRÓL-DUCH JULIUSZA SŁOWACKIEGO W RECEPCJI JAROSŁAWA IWASZKIEWICZA." Colloquia Litteraria 19, no. 2 (2016): 133. http://dx.doi.org/10.21697/cl.2015.2.10.

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he article addresses instances of the reception of Juliusz Słowacki’s Król- -Duch in Jarosław Iwaszkiewicz’s life and works; it is based on Iwaszkiewicz’s memoirs, diaries, reviews, literary texts, correspondence with his wife Anna, and the marginalia left on the copies of Król-Duch remaining in the poet’s archive in Podkowa Leśna. The article also includes a critical edition of the three texts on Król-Duch by Iwaszkiewicz, published in “Wiadomości Literackie” in 1924, 1925, and 1927. The first two texts critically review Słowacki’s narrative poem, the third is a literary sketch putting Król-Duch side by side with Marcel Proust’s In Search of Lost Time.

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6

Bielniak, Nel. "Rossica w listach Jarosława Iwaszkiewicza do żony z lat 1922–1926." Acta Polono-Ruthenica 4, no. XXIV (2019): 103–14. http://dx.doi.org/10.31648/apr.4876.

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This article describes parts of extensive correspondence between Jaroslaw Iwaszkiewicz and his wife, Anna, exchanged from 1922 to 1926. The letters present the initial period of their marriage and log Iwaszkiewicz’s musical, literary and philosophical interests inspired by Russian culture (S. Prokofiev, A. Scriabin, N. Nabokov, I. Stravinsky, F. Dostoyevsky, A. Pushkin, I. Turgenev, N. Berdyaev and others) and connections with Russian émigrés, whom the poet met in both Warsaw (e.g. A. Wertynsky) and Paris (e.g. N. Nabokov). There are also memoirs concerning acquaintances made in Elizavetgrad and Kiev.

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7

Mitzner, Piotr. "IWASZKIEWICZ „ROZDWOJONY W SOBIE”." Colloquia Litteraria 6, no. 1 (2009): 101. http://dx.doi.org/10.21697/cl.2009.1.05.

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8

Romanowska, Agnieszka. "“I Hate You, Romeo.” A Heretic Re-writing of Romeo and Juliet." Linguaculture 2017, no. 1 (2017): 95–107. http://dx.doi.org/10.1515/lincu-2017-0009.

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Abstract In the nineteen twenties last century a young poet and diplomat from Warsaw, Jarosław Iwaszkiewicz, was taking part in an international congress of intellectuals in Heidelberg. During his stay in Germany he wrote The Lovers of Verona (the title in Polish reads Kochankowie z Werony), a play that offers a radical reinterpretation of the main message of Shakespeare’s Romeo and Juliet. Iwaszkiewicz’s vision of the young lovers, who are infected by insurmountable enmity, was determined by his pessimistic views on the nature of love and desire, expressed also in his other plays, prose and poetry. This article discusses the circumstances behind Iwaszkiewicz’s adaptation that shed light on the reasons for this unorthodox re-writing of Shakespeare’s famous tragedy. This is done to highlight the complex interrelations between authorial writing and translation activity which in case of writer-translators are determined by a net of political, social and personal factors.

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9

Grajewski, Kacper. "Podróże Jarosława Iwaszkiewicza w kontekście etnokulturowym (dyskurs polsko-rosyjski). Na materiale „Dzienników” pisarza." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 53, no. 4 (2021): 149–72. http://dx.doi.org/10.36770/bp.650.

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Travels were an important part of Jarosław Iwaszkiewicz’s life. One of the destinations he chose was the Soviet Union. These trips were usually of an official character, and less often – private. The writer meticulously noted down his impressions in his private Dzienniki [Diaries], and sometimes shared them with the Polish reader in columns and newspaper articles. The author of Panny z Wilka [The Maids from Wilko] masterfully immortalised the realities prevailing in the Soviet Union. Iwaszkiewicz’s view of Russia, and St Petersburg in particular, is not the account of an ordinary tourist, because the writer perceived the world through the prism of literature, constantly confronting reality with literary images. This makes Dzienniki extremely interesting material for analysis. This article takes a journey across Russia, in the footsteps of Iwaszkiewicz, focuses on literary allusions, admiration of nature and architecture, and pays special attention to the absurdities of the communist state.

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10

Baranowski, Tomasz. "„Cały dzień żyję jakimś zdaniem muzycznym…”. Muzyka jako pasja życia i motyw przewodni pisarstwa Anny Iwaszkiewiczowej." Muzyka 66, no. 4 (2022): 60–73. http://dx.doi.org/10.36744/m.1069.

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Tematem artykułu jest rola muzyki w życiu i twórczości Anny Iwaszkiewicz – pisarki i tłumaczki, a nade wszystko wytrawnej melomanki i pianistki-amatorki, dla której obcowanie z muzyką stanowiło w istocie treść codziennego życia. Pomimo iż jej dorastanie upłynęło jedynie pod znakiem edukacji domowej (nigdy nie uczęszczała do żadnej szkoły), wyrosła na osobę o niezwykle szerokich horyzontach intelektualnych i wielkiej kulturze muzycznej. W polskiej historiografii muzycznej zapisała się przede wszystkim jako odkrywczyni muzyki Aleksandra Skriabina, którego Poemat Ekstazy, usłyszany w Moskwie w roku 1917, uznała za artystyczno-duchowe „objawienie”; po powrocie do Polski rok później stała się żarliwą propagatorką twórczości rosyjskiego kompozytora. W swoich Dziennikach i wspomnieniach Anna Iwaszkiewicz zawarła wiele refleksji na temat muzyki, której na co dzień słuchała, a także często wykonywała na fortepianie, grywając często na cztery ręce z Karolem Szymanowskim – kuzynem jej męża, z którym pozostawała w bardzo serdecznych stosunkach. Zacytowane w artykule wypowiedzi dają świadectwo wielkiej wrażliwości Anny Iwaszkiewicz na muzykę wielkich kompozytorów przeszłości, tj. przede wszystkim Bacha, Beethovena, Chopina i Wagnera. Nie brak tu przy tym uwag krytycznych, jakie kierowała głównie pod adresem tzw. impresjonistów francuskich, czyli Debussy’ego i Ravela. Ponadto Anna Iwaszkiewicz – w świetle Dzienników i wspomnień – dała się poznać jako znawczyni arkan interpretacji muzycznej; jej prywatne recenzje z licznych koncertów i przedstawień operowych wydają się stanowić przyczynek do kroniki życia muzycznego Warszawy pierwszej połowy minionego stulecia.

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11

Romanowska, Agnieszka. "Jarosław Iwaszkiewicz as Translator of Shakespeare." Anglica Wratislaviensia 56 (November 22, 2018): 119–32. http://dx.doi.org/10.19195/0301-7966.56.9.

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While theatre has always been the major force generating new translations of Shakespeare’s plays, the prerequisite assuring a successful i.e. theatrically functional rendering is the translator’s awareness of the theatrical potential of poetic drama. The combination of poetic and dramatic skills on the part of the translator, coupled with the interpretative reading that underlies all translation, provides a literary historian with interesting questions. How are the translator’s creative forces channelled to strike a balance between translating and playwrighting? To what extent should we perceive translated literature as an integral part of the writer–translator’s literary output? Is it possible to interpret one in the light of the other and can such interpretation enrich our understanding of the translated texts’ functioning in the target culture? Looking for answers to these questions, I focus on the blend of the poetic and playwrighting temperaments that characterise Jarosław Iwaszkiewicz’s translations of Shakespeare’s Romeo and Juliet and Hamlet.

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12

Plecinski, Jacek. "Jaroslaw Iwaszkiewicz: Jardins et autres récits." Babel. Revue internationale de la traduction / International Journal of Translation 42, no. 1 (1996): 50–52. http://dx.doi.org/10.1075/babel.42.1.10ple.

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13

Prola, Dario. "Venezia nella poesia di Jarosław Iwaszkiewicz." Italica Wratislaviensia 12, no. 1 (2021): 177–96. http://dx.doi.org/10.15804/iw.2021.12.1.10.

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14

Al-Araj, Anna. "„W ogóle jestem niechętny dźwiękom”. Muzyka w filmie Tatarak Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 117–38. http://dx.doi.org/10.14746/pt.2017.27.10.

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The aim of this article is to interpret the musical layer of Andrzej Wajda’s 2009 movie Tatarak (Sweet Rush), based on the novel by Jarosław Iwaszkiewicz. In the first part, the author attempts to depict the complex relationship between the literary and film works of these two artists and emphasizes three main motifs used by both of them: love and death, water and women’s themes. Next, Wajda’s attitude to music is analyzed. He treats sounds as an element of everyday life and, as is typical for our times, he is aware of the “dissolution” of musical works. In the next part, the author articulates the main problems of Sweet Rush, drawing attention to both Iwaszkiewicz’s novel and Wajda’s movie. The director’s adaptation, which is full of intermedia references, revolves around the theme of death and seems to underestimate the sexual aspect of Iwaszkiewicz’s work. Finally, Pawel Mykietyn’s soundtrack to Sweet Rush is interpreted. The composer used one of his earlier Shakespeare’s Sonnets (2000), which plays the role of a leitmotif, to illustrate the most enigmatic, inexplicable scenes from Wajda’s movie. Thanks to its discrete, sparing and “austere” nature, Mykietyn’s music made the artistic composition of Sweet Rush more balanced and revealed the suggestiveness of this work.

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Dowlaszewicz, Małgorzata. "In How Far is Elckerlijc Dutch? References to the Dutch Origin in the Polish Reception of the Middle Dutch Text." Werkwinkel 11, no. 2 (2016): 91–107. http://dx.doi.org/10.1515/werk-2016-0012.

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Abstract The sixteenth-century morality play Elckerlijc is one of the few texts mentioned in almost all Dutch canon lists. It is no surprise that this is one of the few medieval Dutch texts transferred into different languages and cultures. There are two Polish texts based on it, the first from 1921 by Jarosław Iwaszkiewicz (Kwidam), the second from 1933 by Stanisław Helsztyński (Każdy (Everyman): średniowieczny moralitet angielski). The text was though never directly translated into Polish from Dutch. The main issue is whether these translations have influenced the image of Dutch literature in Poland. It appears that secondary literature has seen the plays of Iwaszkiewicz and Helsztyński only as transfer of German or English literature and ideas and that it is rarely known that the original story originates from the Netherlands.

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16

Janonienė, Rūta. "Apie oberbombardyro Vaitiekaus Ivaškevičiaus 1791 m. Vilniaus piešinį." XVIII amžiaus studijos T. 6: Personalijos. Idėjos. Refleksijos, T. 6 (January 2, 2020): 323–34. http://dx.doi.org/10.33918/23516968-006015.

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ABOUT THE 1791 PICTURE OF VILNIUS BY OBERBOMBARDIER WOJCIECH IWASZKIEWICZ The article discusses a watercolour painting from a private collection authored by Wojciech Iwaszkiewicz, artillery ober-bombardier of the Grand Duchy of Lithuania. In the background of the urban landscape are objects that allow easy identification of the capital of Lithuania: partly ruined Upper Castle and the Bekesh Hill. Other objects and figures are identifiable by the inscriptions on the other side of the painting. Particularly interesting is the first plan of the drawing, which depicts the Tatar Gates and a few wooden houses standing near them. This is the only known view of the Tatar Gates of the Vilnius defensive wall. The buildings also depict a number of city dwellers, most of them being military personnel of the Grand Duchy of Lithuania (artillery officer, cannoneer, ober-feurwerker, etc., as well as the author of the painting himself ), thus the picture is also interesting as a source of research into different military uniforms. Inscriptions by the Upper Castle and Bekesh Hill reflect legends and stories, popular among Vilnians at the end of the eighteenth century. In the former case, one tower of the castle is named as the temple of the pagan god Lelum Polelum Swistum po Swistum. Yet above the Bekesh Hill is written a legend about the reckless death of this cadet on the way down while riding a horse. Through historical sources we were able to determine that W. Iwaszkiewicz enlisted into the army of the Grand Duchy of Lithuania as a cannoneer in the spring of 1790, soon was raised to the rank of the bombardier and in the spring of 1791 to the ober-bombardier, yet in the summer of 1793 he was raised to the rank of stykjunker. The painting in analysis is related to a particular event: attempts to reform and strengthen the Lithuanian artillery at the end of the eighteenth century and the amassing of the military in Vilnius. In spite of somewhat primitive style of the painting, it’s a very interesting and valuable document of urban iconography. Keywords: Vilnius, Wojciech Iwaszkiewicz, Bekesh Hill, Upper Castle, Tatar Gates, artillery.

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17

Wójcik, Tomasz. "(Nie)odczytane znaki (Marcel Proust, Gilles Deleuze, Jarosław Iwaszkiewicz)." Przegląd Humanistyczny, no. 64/4 (April 20, 2021): 51–59. http://dx.doi.org/10.31338/2657-599x.ph.2020-4.3.

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The article is an attempt to read the story The Maidens of Wilko by Jarosław Iwaszkiewicz in the light of Gilles Deleuze’s book Proust and Signs. The interpretation key is the concept of “sign” proposed and developed by the French philosopher.

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18

Jarno, Witold. "Generał Wacław Iwaszkiewicz-Rudoszański (1871–1922) – zarys biografii." Acta Universitatis Lodziensis. Folia Historica, no. 104 (August 30, 2019): 125–46. http://dx.doi.org/10.18778/0208-6050.104.08.

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Artykuł opisuje życie generała Wacława Iwaszkiewicza-Rudoszańskiego (1871–1922). Urodził się on w Omsku, w polskiej rodzinie zesłanej na Syberię po powstaniu styczniowym. Był zawodowym oficerem armii rosyjskiej, w której służył w różnych jednostkach na Dalekim Wschodzie. Brał udział w tłumieniu tzw. powstania bokserów w Chinach oraz w wojnie rosyjsko-japońskiej 1904–1905. Po wybuchu pierwszej wojny światowej dowodził 54 pułkiem strzelców syberyjskich. W 1915 r. został awansowany na stopień generała. W armii rosyjskiej służył do 1917 r., a następnie dowodził 3 Dywizją Strzelców w I Korpusie Polskim w Rosji. Po odzyskaniu przez Polskę niepodległości zgłosił się do Wojska Polskiego i kolejno dowodził: Okręgiem Generalnym nr III Kielce, Dywizją Litewsko-Białoruską, a od marca 1919 r. był dowódcą Wojsk Polskich na Galicję Wschodnią. Dowodził wówczas odsieczą dla Lwowa, która uwolniła miasto od zagrożenia ze strony wojsk ukraińskich. W latach 1919–1920 dowodził kolejno: Frontem Galicyjskim, 6 Armią oraz Frontem Południowym. Następnie – od września 1920 r. do maja 1921 r. – był dowódcą Okręgu Generalnego numer I Warszawa. Wskutek choroby został przeniesionyw stan spoczynku i niebawem zmarł w Warszawie (pochowany został we Lwowie). Jako jeden z nielicznych był odznaczony Orderem Virtuti Militari II klasy.

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19

Brazgovskaya, Elena. "Man in the “Points of Intensity”: Garden as a Space of Self- Identification." Respectus Philologicus 26, no. 31 (2014): 57–67. http://dx.doi.org/10.15388/respectus.2014.26.31.4.

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The article deals with the issue of semiotic and cognitive potential of a garden as a compositional form (“Ogrody” by Jarosław Iwaszkiewicz). Silva rerum, florilegia, hortus act as its genre presupposition in European artistic tradition. We define the semiotic potential of a “garden” through the system of symbolic meanings: garden as a collection, locus amoenus, sphere of potentiality or ordering, garden as a memory space, intellectual space, etc. The garden via a compositional form of this text and the space of thought functions as an iconic sign of memory. Each object of the past, being replaced by a sign, receives localization in our memory and becomes a “text”. This allows us “to read” the past in the absence of an immediate reception. Garden acquires the properties of textuality and a semiotic object. Hence Iwaszkiewicz considers six gardens in “Ogrody” as a model of his life. Memory is a nonlinear space. Therefore, transitions between gardens are only arbitrary, associative. At the same time garden as a compositional form becomes the cognitive tool of identity. Topology of this memory space (configuration of people, books, music, which become signs) is the cognitive map of the “self (selfhood, selfness). The self-referent structures create the illusion: I (the one who writes) is combined with that person from the past (also I), which he recalls. Nonetheless, all narratives about selfhood are only “the map, but not a territory” (A. Korzybski).

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Peroń, Małgorzata. "Nie ma domu. Krajobraz kulturowy w literaturze (wybrane przykłady)." Porównania 28, no. 1 (2021): 213–36. http://dx.doi.org/10.14746/por.2021.1.10.

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Artykuł obejmuje tematykę związaną z geografią kulturową i jej związkami z literaturą. W spotkaniu tych dziedzin powstają zagadnienia przynależne do geopoetyki,przestrzeni pamięci i narracji o tożsamości. Tekst prezentuje literackie transpozycje przeżyć osób doświadczających wspomnień związanych z utratą domu. Są oneskonfrontowane z rodzinnym krajobrazem. Utwory literackie i osobiste wspomnienia ukazują koncepcję symbolicznego rozumienia krajobrazu (Żeromski, Iwaszkiewicz, Miłosz).Monika Sznajderman w książce Pusty las odtwarza pamięć miejsc, z których ludzie zostali wysiedleni. Głos pisarza staje się głosem strażnika pamięci o ich krzywdzie. Odczytywanie ukrytych w krajobrazie znaczeń prowadzi do odkrywania biografii osobistych i historii narodów i mniejszości etnicznych

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21

Dyszak, Andrzej S. "A study on the lexis of colours in poetic juvenilia of Jarosław Iwaszkiewicz." Studia Językoznawcze : synchroniczne i diachroniczne aspekty badań polszczyzny 19 (2020): 97–114. http://dx.doi.org/10.18276/sj.2020.19-07.

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22

Sobczak, Paweł. "Plagiarism, Mystifi cation, Parody, Pseudonym. The Ways of „Concealing the Author” in the Interwar Period – An Overview." Tekstualia 2, no. 41 (2015): 39–54. http://dx.doi.org/10.5604/01.3001.0013.4455.

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The article concentrates on the strategies of hiding the authorship of a literary text in the interwar period. Many writers were interested in textual games and experiments that did not allow readers to identify the author right away. The strategies under discussion include: plagiarism (conscious and concealed appropriating another person’s work), mystifi cation (signing a text with another person’s surname), parody (imitating the style of another author) and pseudonym (signing a text with a name different from one’s own). The examples have been taken from selected works by Wacław Sieroszewski, Wincenty Rzymowski, Stefan Krzywoszewski, Jarosław Iwaszkiewicz, Jan Emil Skiwski, Ferdynand Goetel, Julian Tuwim, Konstanty Ildefons Gałczyński and others.

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23

Wieczyński, Łukasz. "„Mój Jureczku najdroższy…”. O listach Jarosława Iwaszkiewicza do Jerzego Błeszyńskiego." Acta Humana 9 (September 12, 2019): 107. http://dx.doi.org/10.17951/ah.2018.9.107-115.

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<p>Autor podejmuje problem związku między starszym wiekiem pisarzem – Jarosławem Iwaszkiewiczem a młodym mężczyzną – Jerzym Błeszyńskim. Relacja ta przeszła bowiem przez różnego rodzaju zawirowania, które miały znaczący wpływ na twórczość prozaika. Podstawą do różnych teorii opisanych w tej pracy stały się wydane niedawno listy Iwaszkiewicza do Błeszyńskiego. Autor wykorzystuje w swoim artykule także rozprawy naukowe, które poruszają kwestię homoseksualności w literaturze.</p>

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24

Sobol, Evgeniusz. "Intimate Biography of Jarosław Iwaszkiewicz: Radosław Romaniuk, Inne życie. Biografi a Jarosława Iwaszkiewicza, t. 1, Wydawnictwo Iskry, Warszawa 2012, 618 pp.; t. 2, Wydawnictwo Iskry, Warszawa 2017, 700 pp." Studia Polsko-Ukraińskie VI (December 16, 2019): 225–29. http://dx.doi.org/10.32612/uw.23535644.2019.pp.225-229.

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Brenner, Rachel Feldhay. "IDEOLOGICAL FORMATIONS OF WITNESSING THE HOLOCAUST IN WARTIME DIARIES OF JAROSŁAW IWASZKIEWICZ AND MARIA DĄBROWSKA." Journal of Modern Jewish Studies 11, no. 2 (2012): 149–67. http://dx.doi.org/10.1080/14725886.2012.684861.

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Kośny, Witold. "Der Sturz des Ikarus. Anmerkungen zu einer Bildbeschreibung in der Erzählung ‘Ikar’ von Jarosław Iwaszkiewicz." Russian Literature 33, no. 2-3 (1993): 279–87. http://dx.doi.org/10.1016/0304-3479(93)90009-h.

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Dąbrowska, Dorota. "Sceniczne użycia prozy Jarosława Iwaszkiewicza. O trzech adaptacjach Matki Joanny od Aniołów." Załącznik Kulturoznawczy, no. 8 (2021): 368–85. http://dx.doi.org/10.21697/zk.2021.8.18.

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This article contains a comparative analysis of three contemporary plays that are stagings of the short story Matka Joanna od aniołów by Jarosław Iwaszkiewicz. The aim of the analysis is to examine the relation between the plays and the text of the literary original, to ask questions about the ideological meaning of each of them and to try to determine the meaning of intertextual references and the aesthetic organization of the plays. The title category of ‘use’ of the text refers to the understanding of its interpretation as a process that takes place separately from the intention to remain faithful to the literary original. Using this category makes it possible to analyze the performances, focusing on the question of their degree of faithfulness to the original, and to reflect on the specificity of the autonomous messages they produce.

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Olaszek, Jan. "Jan Walc – Od kultury oficjalnej do kultury niezależnej." Studia Interkulturowe Europy Środkowo-Wschodniej 12 (November 15, 2019): 156–69. http://dx.doi.org/10.5604/01.3001.0013.5621.

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Jan Walc was a character with rich achievements, and at the same time colorful and interesting. He was a critic who writes about Tadeusz Konwicki and Adam Mickiewicz, secretary of Jaroslaw Iwaszkiewicz ordering his archives and at the same time one of the most severe critics of his attitude, teacher, a co-worker of weeklies “Polityka” and “Kultura”, and finally – a longtime activist of the democratic opposition and a leading publicist and printer of the second circulation in the PRL. The above calculation itself shows the originality of this character, today almost completely forgotten. In his texts he critisised party activists, militiamen, prosecutors, luminaries of Polish literature, democratic opposition leaders, former and current colleagues, and even his daughter’s teachers. In the talk I will want to show the Jan Walc’s way to participate in independent publishing movement and his role in this phenomenon.

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Szulc-Woźniak, Agata. "A Tribute to „Barocco”: The Figurativeness of Maria Morska." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 8 (December 30, 2019): 187–98. http://dx.doi.org/10.18778/2299-7458.08.20.

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The paper focuses on the figure of Maria Morska, a reciter dubbed “Skamander muse”, who had a versatile and multifaceted impact on the literary circles of her day. I am conducting the quest for the artist (elusive today in the face of scarce biographical sources) through interpreting the poems for which she was a magnet and a centre (i.e. Inwokacja by Antoni Słonimski and Groteska by Jarosław Iwaszkiewicz). The image of Morska emerging from them presents a very original figure: one that was admired and received intensely. The poetic inscriptions of the impression which the Skamander muse made often bring to mind the reception of works of art. Morska refines commonness into a metaphor. Her literary image is a testimony to a moment of delight, dazzle, and – perhaps more importantly – spontaneous, artistic co-participation. She inspires one to look for pseudonyms and roles which would be capable of expressing the impression that accompanied her – one of changeability, glimmer, being different, never being the same.

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Wyka, Ewa. "Jędrzej Śniadecki i jego dziedzictwo. Sesja Nadzwyczajna podczas 61. Zjazdu Naukowego Polskiego Towarzystwa Chemicznego." Opuscula Musealia 26 (2020): 45–49. http://dx.doi.org/10.4467/20843852.om.18.004.10997.

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Jędrzej Śniadecki and his legacy. Extraordinary Session at the 61st Scientific Meeting of the Polish Chemical Society The year 2018 marked the 250th birthday anniversary of Jędrzej Śniadecki (30 Nov 1768–11 May 1838), a renowned Polish chemist, doctor and columnist. Jędrzej, the younger brother of Jan Śniadecki, a Polish mathematician and astronomer, was born in Radlewo near Żnin in Greater Poland. His family and professional life was associated with Vilnius. From 1803, he was a professor of chemistry and medicine at the Principal School of the Grand Duchy of Lithuania, which then became the Imperial University of Vilnius. He was the author of the first chemistry textbook in Polish (1800) and an innovative work entitled Teoria jestestw organicznych (Theory of Organic Beings) (1804). The birthday of Jędrzej Śniadecki was celebrated in the three countries to which his fate was tied: Belarus, Lithuania and Poland. Celebrations in Poland: The year-long celebrations in Poland started on 28 January 2018 with a concert at the Main University Auditorium of the Adam Mickiewicz University in Poznań. It was organized by the PoznańSociety of Jędrzej Śniadecki, Karol Olszewski and Zygmunt Wróblewski. In March 2018, celebrations were inaugurated by the town of Żnin, with the event being attended by descendants of the Śniadecki family: Prof. Antonina Magdalena Śniadecki-‑Kotarska, Senator Piotr Łukasz Juliusz Andrzejewski and Krzysztof Śniadecki-Lempke. A lecture on Jędrzej Śniadecki and the Society of Rascals was delivered by Emilia Maria Iwaszkiewicz, PhD, from Vilnius University. The University of Science and Technology in Bydgoszcz (UTP) also commemorated the scholars it has chosen as its namesakes, that is Jan Śniadecki and Jędrzej Śniadecki. A report on the event and an article by Emilia M. Iwaszkiewicz, PhD, are available in Magazyn UTP Format 2.0 No. 3 from July 2018. In Kraków, during the 61st Scientific Meeting of the Polish Chemical Society, a session was organized entitled “Jędrzej Śniadecki and his legacy”. During the session, five papers were delivered which presented Jędrzej Śniadecki, his academic and journalistic output and memorabilia related to him. Celebrations in Lithuania: On 10 September 2018, Vilnius City Hall held a conference attended by Urszula Doroszewska, the Polish ambassador to Lithuania, and Edyta Tamošiūnaitė, the Deputy Mayor of Vilnius, as well as Polish and Lithuanian scholars. On 11–13 October 2018, at the Lithuanian Academy of Sciences was held the 4th Oxygenalia International Conference. Belarus: The memory of Jędrzej Śniadecki is also cherished in Belarus, especially in Gorodniki where he is buried and at the nearby school in Kolchuny, which houses a small museum commemorating him and other scholars with ties to this region.

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Wyka, Ewa. "Jędrzej Śniadecki i jego dziedzictwo. Sesja Nadzwyczajna podczas 61. Zjazdu Naukowego Polskiego Towarzystwa Chemicznego." Opuscula Musealia 26 (2020): 45–49. http://dx.doi.org/10.4467/20843852.om.18.004.10997.

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Jędrzej Śniadecki and his legacy. Extraordinary Session at the 61st Scientific Meeting of the Polish Chemical Society The year 2018 marked the 250th birthday anniversary of Jędrzej Śniadecki (30 Nov 1768–11 May 1838), a renowned Polish chemist, doctor and columnist. Jędrzej, the younger brother of Jan Śniadecki, a Polish mathematician and astronomer, was born in Radlewo near Żnin in Greater Poland. His family and professional life was associated with Vilnius. From 1803, he was a professor of chemistry and medicine at the Principal School of the Grand Duchy of Lithuania, which then became the Imperial University of Vilnius. He was the author of the first chemistry textbook in Polish (1800) and an innovative work entitled Teoria jestestw organicznych (Theory of Organic Beings) (1804). The birthday of Jędrzej Śniadecki was celebrated in the three countries to which his fate was tied: Belarus, Lithuania and Poland. Celebrations in Poland: The year-long celebrations in Poland started on 28 January 2018 with a concert at the Main University Auditorium of the Adam Mickiewicz University in Poznań. It was organized by the PoznańSociety of Jędrzej Śniadecki, Karol Olszewski and Zygmunt Wróblewski. In March 2018, celebrations were inaugurated by the town of Żnin, with the event being attended by descendants of the Śniadecki family: Prof. Antonina Magdalena Śniadecki-‑Kotarska, Senator Piotr Łukasz Juliusz Andrzejewski and Krzysztof Śniadecki-Lempke. A lecture on Jędrzej Śniadecki and the Society of Rascals was delivered by Emilia Maria Iwaszkiewicz, PhD, from Vilnius University. The University of Science and Technology in Bydgoszcz (UTP) also commemorated the scholars it has chosen as its namesakes, that is Jan Śniadecki and Jędrzej Śniadecki. A report on the event and an article by Emilia M. Iwaszkiewicz, PhD, are available in Magazyn UTP Format 2.0 No. 3 from July 2018. In Kraków, during the 61st Scientific Meeting of the Polish Chemical Society, a session was organized entitled “Jędrzej Śniadecki and his legacy”. During the session, five papers were delivered which presented Jędrzej Śniadecki, his academic and journalistic output and memorabilia related to him. Celebrations in Lithuania: On 10 September 2018, Vilnius City Hall held a conference attended by Urszula Doroszewska, the Polish ambassador to Lithuania, and Edyta Tamošiūnaitė, the Deputy Mayor of Vilnius, as well as Polish and Lithuanian scholars. On 11–13 October 2018, at the Lithuanian Academy of Sciences was held the 4th Oxygenalia International Conference. Belarus: The memory of Jędrzej Śniadecki is also cherished in Belarus, especially in Gorodniki where he is buried and at the nearby school in Kolchuny, which houses a small museum commemorating him and other scholars with ties to this region.

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Krzyżanowski, Jerzy R. "German Ritz. Jaroslaw Iwaszkiewicz: Ein Grenzgänger der Moderne. Bern and New York: Peter Lang, 1996. 290 pp. $39.95 (paper)." Canadian-American Slavic Studies 32, no. 4 (1998): 493–99. http://dx.doi.org/10.1163/221023998x00635.

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Brenner, Rachel Feldhay. "A Remarkable “Emotional Community” of Rescuers in Occupied Warsaw: The Cases of Zofia Kossak and Jarosław and Anna Iwaszkiewicz." Journal of Genocide Research 21, no. 3 (2019): 398–417. http://dx.doi.org/10.1080/14623528.2019.1631511.

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Stopka, Krzysztof. "Milites et nobiles: Ormianie a stan szlachecki Królestwa Polskiego i Wielkiego Księstwa Litewskiego od XIV do XVI wieku." Lehahayer 5 (May 15, 2019): 15–106. http://dx.doi.org/10.12797/lh.05.2018.05.02.

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Armenians and Noble Status in Kingdom of Poland and Great Duchy of Lithuania, 14th-16th CenturiesArmenians living in Kingdom of Poland and Great Duchy of Lithuania were mostly burghers, however, cases of social advancement were noted on Ruthenian territory officially belonging to the Crown. Initially, the advancement was possible only for royal court-based Armenian translators, but later also for those with merits for the country’s defence. Another way to advance socially was to marry a Polish nobleman. In such marriages religious differences rarely posed a serious problem; generally, females did not need to convert from their Christian Armenian denomination. Nevertheless, ennoblement was rarely attractive for Polish Armenians at that time; trade and other typically burgher activities brought more profit than the landownership privilege. For this reason ennobled men and their descendants often took on those activities anyway and pleaded their noble status only to escape inconvenient legal consequences or town court. A few Polish noble families of Armenian origin are dated back to that time: the Tyszkiewicz, the Siekierzyński, the Balicki, the Zwartowski, the Sołtanowicz-Chalepski, the Lenkowicz-Ipohorski, the Iwaszkiewicz, the Makarowicz, the Domażyrski, the Pleszkowski.

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Madyda, Aleksander. "Jarosław Iwaszkiewicz jako pisarz autobiografizujący (na przykładzie opowiadań: Koronki weneckie I, Koronki weneckie II, Dzień sierpniowy, Tatarak, Opowiadanie z psem)." Roczniki Humanistyczne 66, no. 1 (2018): 37–60. http://dx.doi.org/10.18290/rh.2018.66.1-4.

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Wanat, Zbigniew. "Wilfrid Stinissen OCD, Spowiedź. Sakrament odpuszczenia grzechów. Kilka myśli w obronie sakramentu pokuty, tłum. J. Iwaszkiewicz, Wydawnictwo W drodze, Poznań 2010, ss. 56." Teologia i Człowiek 21, no. 1 (2013): 171. http://dx.doi.org/10.12775/ticz.2013.011.

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Gędas, Katarzyna. "The Angel of Consolation, with His Eyes Glossy Like a Cherry in a Morning Dew. Jerzy Liebert in the Light of the Memories and Literature Criticism of Jaroslaw Iwaszkiewicz." Irydion. Literatura - Teatr - Kultura 2 (2016): 235–49. http://dx.doi.org/10.16926/i.2016.02.16.

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Romaniuk, Radosław. "Odkrywanie Iwaszkiewicza." Teksty Drugie 1 (2019): 283–86. http://dx.doi.org/10.18318/td.2019.1.19.

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Martinek, Libor. "Literature reflecting on Frederic Chopin’s visits to the spa towns of western Czechia." Acta Universitatis Lodziensis. Folia Litteraria Polonica 52, no. 1 (2019): 325–44. http://dx.doi.org/10.18778/1505-9057.52.19.

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The composer Frederic Chopin is connected with Czechia through a number of visits (in Carlsbad, Prague, Děčín, Teplice, and Marienbad) which he spent joyfully meeting his family, who lived in the Russian-occupied Poland. In Czechia, he met and fell deeply in love with Maria Wodzińska, who, unfortunately, did not reciprocate his feelings. In Prague, he became acquainted with Czech national revivalists (Václav Hanka, among others) and with famous composers of the time. In Vienna, the centre of the Habsburg monarchy, he met many Czech composers and befriended the violinist Josef Slavík. Chopin was invited to play in several Czech castles; he received a particularly warm welcome in Děčín. His music teachers in Warsaw were of Czech origin. Chopin’s numerous relationships with Czechia inspired the establishment of the Frederic Chopin Society, the international festival held in Mariánské Lázně (formerly Marienbad), and even musicological symposia. Many Czechs – poets, fiction writers, literary historians, musicians, and music scholars – emphasised how Chopin and his music influenced them. They were inspired by the many notable facts associated with Chopin’s visits and experiences in Czechia and in other locations throughout the Austrian Empire; by his romantic life, democratic thinking, personal qualities, and artistic skills. Various interesting literary works include poetry collections by Kamil Bednář, Jiří Karen, Josef Pávek, Oldřich Zemek, Karla Erbová, and a collection of three novellas by Vladislav Mareš. Apart from writing about Czech Chopin-related works and translating key Polish chopiniana into Czech, the author of this study focuses mainly on the interpretation of the relations between literature and music in the works of the these Polish writers: Jarosław Iwaszkiewicz, Tadeusz Łopalewski, Janina Siwkowska, Maria Kuncewiczowa, Juliusz Kaden-Bandrowski, Jerzy Broszkiewicz, Mira Jaworczakowa and more.

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Pietrych, Krystyna. "Iwaszkiewicz’s Venice." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 9 (December 30, 2020): 155–77. http://dx.doi.org/10.18778/2299-7458.09.07.

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The article offers an overview of Iwaszkiewicz’s Venice works, starting with his early poems from his first visit in the city on a lagoon, and all the way to a work in his final poetry collection. This overview helps one realise that the writer’s autobiography is the key to all of them. Both poems and prose works followed the writer’s rhythm of existence. The presented images not so much extract the features of the city but rather refer to the author’s age, mood, and mental disposition. Another major factor that shaped the image of Venice in Iwaszkiewicz’s works were the conventional topoi consolidated in culture which build the artistic means of symbolising actual spaces. Iwaszkiewicz’s text, which developed for nearly sixty years is a praise of art understood, per modernist principles, in an absolutist manner.

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Diachenko, Olena. ""Wieże" Jarosława Iwaszkiewicza w recepcji ukraińskiego poety Dmytra Pawłyczki." Bibliotekarz Podlaski. Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 41, no. 4 (2018): 35–48. http://dx.doi.org/10.36770/bp.61.

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Niniejszy artykuł dotyczy dwujęzycznego zbioru wierszy pt. "Wieże" (2017) Jarosława Iwaszkiewicza (1894–1980). Ważnym aspektem okazuje się proces ich translacji z oryginału na ukraiński dokonany przez Dmytra Pawłyczkę. Olena Diachenko analizuje twórczość literacką polskiego poety na podstawie jego biografii oraz pod kątem filozoficzno-estetycznym. Podaje szczegóły powstania owego tomu w języku ukraińskim i dokonuje interpretacji zawartych w nim utworów. Podejmuje też ona kwestię zgodności przetłumaczonych tekstów Iwaszkiewicza z ich literackim oryginałem.

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Makowiecki, Daniel. "Wspomnienie o Profesorze Michale Iwaszkiewiczu." Folia Praehistorica Posnaniensia 10 (November 1, 2018): 396–98. http://dx.doi.org/10.14746/fpp.2003.10.25.

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Zieliński, Jan. "Bielańska waleta." Colloquia Litteraria 16, no. 1 (2014): 135. http://dx.doi.org/10.21697/cl.2014.1.09.

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Godlewska, Joanna. "O powinowactwach biografii z mitem w "Dionizjach" Jarosława Iwaszkiewicza." Bibliotekarz Podlaski. Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 42, no. 1 (2019): 277–96. http://dx.doi.org/10.36770/bp.51.

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Dionizje na tle polskiej poezji dwudziestolecia międzywojennego stanowią przykład „ekspresjonistycznej linii modernizowania antyku”. Jednak na tle twórczości Jarosława Iwaszkiewicza jest w tym zabiegu oryginalny pomysł. Dionizje to jedyny tom poetycki Iwaszkiewicza poświęcony mitologicznej postaci. Poeta podczas swojego dynamicznego młodego życia, pośród licznych przeprowadzek i w obliczu odkrywania homoseksualnej tożsamości odnalazł w Dionizosie patrona i twórczą inspirację. Niniejszy artykuł to próba zademonstrowania, jak wiele elementów z mitu dionizyjskiego (mitemy dionizyjskie) można odnaleźć w Dionizjach i jednocześnie próba przedstawienia zbieżności tych elementów z biografią młodego twórcy.

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Igielska, Anna. "Sny Jarosława Iwaszkiewicza - subiectum w obiektywie." Przestrzenie Teorii, no. 8 (December 15, 2007): 205. http://dx.doi.org/10.14746/pt.2007.8.13.

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Szóstak, Anna. "Dendrocentryczny świat późnej poezji Jarosława Iwaszkiewicza." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 8 (December 23, 2020): 101–18. http://dx.doi.org/10.24917/23534583.8.7.

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Celem artykułu jest wskazanie na miejsce i rolę drzewa w późnej, senilnej poezji autora Brzeziny – jego znaczeń symbolicznych oraz szerokiego kontekstu kulturowo-społecznego, psychologicznego, estetycznego, i co istotne – metafizyczno-duchowego, w jakim jest sytuowane. Drzewo bowiem w poetyckim uniwersum Iwaszkiewicza to nie tylko oś i centrum rzeczywistości, lecz także – przede wszystkim – samoistne, odrębne, podmiotowe, równe ludzkiemu lub nawet doskonalsze istnienie, z którym porozumienia szuka poeta, by odkryć tajemnicę nieśmiertelności, dotrzeć do transcendentnego jądra bytu. Filozoficzny namysł nad egzystencją w drzewnej postaci przynosi niezwykle nowoczesną w swoim wyrazie, głęboką i wyrafinowaną refleksję nad obecnością i pozycją człowieka w naturze, daleką od triumfalistycznego, nieuprawnionego myślenia w biblijnych kategoriach czynienia sobie ziemi poddaną.

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Perkowska, Eliza. "Anna Iwaszkiewicz’s Internalized Translation." Tekstualia 2, no. 65 (2021): 127–40. http://dx.doi.org/10.5604/01.3001.0015.2785.

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The article analyzes Anna Iwaszkiewicz’s essay ‘My Fontainebleau’. It fi rst defi nes the ‘cultural turn’ in contemporary humanities and relates it to the theory of literary translation, which is supralinguistic and enables the translation of parts of cultural codes or literary values. The article shows how Iwaszkiewiczowa was inspired by such authors as Marcel Proust, Joseph Conrad, Thomas Mann, and uses her work to reconstruct the translation process as internalization. Through references to Iwaszkiewiczowa’s biography, especially her feeling of unproductivity and creative powerlessness, it shows how some private reasons infl uenced her literary choices and led her to write the essay under discussion

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Matracka-Kościelny, Alicja. "POLSKOŚĆ, UKRAIŃSKOŚĆ, UNIWERSALIZM W TWÓRCZOŚCI JAROSŁAWA IWASZKIEWICZA." Studia Ukrainica Posnaniensia 2 (January 1, 2014): 113. http://dx.doi.org/10.14746/sup.2014.2.10.

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Maczel, Maria. "Puszkin w Maskaradzie Jarosława Iwaszkiewicza – wizerunek poety." Język. Religia. Tożsamość. 2, no. 24 A (2021): 123–36. http://dx.doi.org/10.5604/01.3001.0015.6206.

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The subject of the article is the role of Aleksander Pushkin in Jarosław Iwaszkiewicz’s drama Masquerade. The analysis covers mainly statements by Pushkin himself and other characters relating to the Russian poet. This allowed us to show what means and how the author of the play creates a psychologically profound portrait of a great artist.

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Samsel, Justyna. "The world of scents in Jarosław Iwaszkiewicz’s short stores." Białostockie Archiwum Językowe, no. 12 (2012): 197–213. http://dx.doi.org/10.15290/baj.2012.12.12.

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