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Journal articles on the topic 'Polish War poetry'
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1
Woldan, Alois. "Andere Stimmen – Protest gegen Krieg und Gewalt in der polnischen und ukrainischen Dichtung über den Ersten Weltkrieg." Przegląd Humanistyczny 63, no. 1 (464) (2019): 7–25. http://dx.doi.org/10.5604/01.3001.0013.4970.
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Polish and Ukrainian poetry on World War I have much in common: they were written mainly by soldier-poets, young men fighting in the Polish Legions or the Ukrainian Sich Riflemen. This poetry is, first of all, a patriotic legitimation of the war as a way of regaining political independence. Heroism and suffering for the fatherland are dominating issues. Nevertheless, besides this pathetic gesture, we can find voices that point out the horror of war and question it at all. Such criticisms is expressed by certain motives, which appear in both the Legions’ and the Sich Riflemens’ poetry, like: fratricide, lists from soldiers to their families at home, devastation of nature and culture, autumn and death, as well as pacifist notions. These voices do not form any dominant discourse in the poetry on World War I, but they are not to be ignored, as they mark a common place in the Polish and Ukrainian literature at this time, which has not been researched until now.
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Szewczyk-Haake, Katarzyna. "The Works of Marc Chagall in Polish Poetry (from the 1950s to the 1980s)." Porównania 28, no. 1 (2021): 71–99. http://dx.doi.org/10.14746/por.2021.1.4.
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The article presents a profound and artistically very successful phenomenon of the reception of Marc Chagall’s works in Polish poetry form the 1950s to the 1980s. Different from the reception of Chagall in other “Western” literatures (examples discussed in the article derive from French poetry), the Polish reception is marked first of all by the events of the Second World War and the Holocaust. As during the war almost all material and cultural traces of the Jewish presence in Poland were annihilated, the works of Chagall became a point of reference for many poets (e.g. Jerzy Ficowski, Joanna Kulmowa, Janusz S. Pasierb, Tadeusz Śliwiak), enabling them to express a part of Polish culture which was tragically deprived of its own forms of expression and existence.
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Dubyk, Halyna. "From Wolyn to "Wolyn"." Tekstualia 2, no. 33 (2013): 45–62. http://dx.doi.org/10.5604/01.3001.0013.6585.
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The article presents a rather little-known poetic group „Volyn,” founded in the 1930s by Czeslaw Janczarski. The literary work of its founder and most mature pre-war representative serves as a basis for the presentation of the group, whose members were perhaps the most convinced advocates of regionalist poetry in Polish literature of the twentieth century. In addition to pre-and post-war literary writings of Janczarski, the article also discusses works written by other members of the group, for example Podmajstrowicz and Iwaniuk.
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Aleksandra Kremer. "Polish Futurism Revisited: Anatol Stern and his Post-War Poetry Recording." Modern Language Review 111, no. 1 (2016): 208. http://dx.doi.org/10.5699/modelangrevi.111.1.0208.
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Buryła, Sławomir, and Jerzy Giebułtowski. "Representing the Warsaw Ghetto in Polish Literature." Polish Review 68, no. 1 (2023): 59–74. http://dx.doi.org/10.5406/23300841.68.1.04.
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Abstract This article discusses depictions of the Warsaw ghetto in Polish poetry, prose fiction, and drama. Of all the ghettos established by the German authorities in the former Second Republic of Poland, the Warsaw ghetto is portrayed most frequently by writers. Here, representations of the Warsaw ghetto are presented in chronological order. The article covers portrayals of the Warsaw ghetto during the war, in the immediate postwar years, in the period between the 1950s and 1980s, and after the fall of communism in 1989. The article also discusses selected literary topoi related to the Warsaw ghetto. The biggest changes in the literary portrayal of the ghetto took place after 1989 and were related to the abolition of censorship, the influence of popular culture, and the emergence of writers born after the war, including representatives of the “third generation.”
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Stachura-Lupa, Renata. "O "Polskiej pieśni niepodległej" Jana Lorentowicza." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 75–85. http://dx.doi.org/10.24917/20811853.18.6.
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The paper presents the work of Jan Lorentowicz Polska pieśń niepodległa, published before Poland regained its independence (fragments published in 1915/1916 (no. 1–2), a separate publication of the whole – 1917). This work is among those texts written by Lorentowicz which have been forgotten. Nevertheless, it is the evidence of the critic’s erudition, literateness and passion for patriotic poetry, as well as a depiction of social mood during the Great War. According to Lorentowicz, an independence song is inspired by collective experiences – of servitude, conspiracy and national liberation uprisings – shared by subsequent generations of Polish poets and poetry readers. It is a testimony of an ‘irrepressible’ Polish spirit, the faith of the nation in regaining independence and existing against all odds; it is also a record of its fight and martyrdom.
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Stanaszek, Maciej. "Życie dzielone Karla Dedeciusa (1921–2016)." Studia Interkulturowe Europy Środkowo-Wschodniej 10 (November 15, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.5765.
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The article presents the figure of Karl Dedecius (1921–2016) by exploring his activity as a translator and ambassador of Polish – but also Russian – literature and culture in German-speaking countries (mainly Germany). Having spent his youth in pre-war multicultural Łódź and – after the outbreak of WW II – having been a prisoner of war in Soviet camps, in December 1949 Dedecius moved to the GDR, from where he fled three years later with his family to West Germany. For 25 years he had divided – his life between literary translation, notably poetry, work as an insurance agent and family matters, and after retiring he managed to set up the Deutsches Polen-Institut, a non-governmental institution devoted to the popularisation of Polish literature in Germany, which he led in the years 1980–1998. As one of his close collaborators states, Dedecius’s editorial legacy comprises about 200 books which he either translated, wrote or edited, with poetry translations and literary essays being the core of his literary activity. He rendered some 3,000 poems of roughly 300 Polish poets into German and composed ca. 10 books that present and analyse – chiefly the 20th-century – Polish literature; some of them also contain essays on translation, fragments of which are cited and commented in the present article. Another important source and basis of considerations is Dedecius’s autobiography Ein Europäer aus Lodz [A European from Łódź], which explains the background of the author’s life at its different stages.
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Szewczyk-Haake, Katarzyna. "Olwid, Or the Beginnings of Polish Postcolonialism." Ruch Literacki 57, no. 4 (2016): 446–60. http://dx.doi.org/10.1515/ruch-2017-0074.
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Summary This article presents a postcolonial interpretation of Olwid’s (Witold Hulewicz’s) book of poems Flame in Hand (Płomień w garści, 1921). His poetic ‘fragments’ describing the experience of the World War are remarkably similar to the poetry of German expressionism. Whereas previous critics treated this similarity as a proof of the derivative, unoriginal nature of the Poznań expressionism, this article claims that Olwid’s was a deliberate attempt to start a rapprochement between the Polish and the German culture. After decades of colonial dependence the breakthrough of 1918 the two cultures had a chance to resume a dialogue of equals with the expressionist poetics as a new footing. Hulewicz tones down the difference between the hegemon and the victim in the spirit of the expressionistic search for common humanity. To that end he also develops a new interpretation of the Polish Romantic tradition. His endeavours mark him out as a precursor of postcolonial criticism, and more specifically that type of postcolonialism which uses the emancipatory strategy as a means to the creation of a ‘truly free man’. That high goal is pursued not because of a commitment to cosmopolitanism but in the name of absolute human values.
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Kowalczyk, Adam. "Czarny humor w twórczości Władysława Szlengla ze szczególnym uwzględnieniem wiersza „Mała stacja Treblinki”." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 121–29. http://dx.doi.org/10.24917/3927.
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Black humor in Władysław Szlengel works, with particular focus on Mała stacja Treblinki (A small station called Treblinki) Władysław Szlengel (1914–1943), was a Jewish poet writing in Polish. His works are the best example of the use of black humor in Polish poetry of World War II. War caused him to change his worldview, which is reflected in the change of humor in his works. The shift was so powerful that in fact Szlengel-commentator replaced Szlengel-satirist. He did not hesitate to use the sharpest irony both against his enemies and against other victims of the system. His poem A Small Station Called Treblinki is the most shocking instance of black humor.Key words: Władyslaw Szlengel; black humour; holocaust; humour; risus sardonicus;
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Janicka, Anna. "Tamara Karren. Próby biograficzne." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 48, no. 3 (2020): 143–59. http://dx.doi.org/10.36770/bp.523.
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The author of the article analyses the work of Tamara Karren (1918–1997), Polish writer and publicist associated after the Second World War with London’s emigration for independence. Karren is the author of two dramas, a volume of poetry, many journalistic articles, unpublished letters and Memoirs. However, her literary creation didnot manage to reach a wider audience and is poorly known in Poland. The text is therefore an introduction to the works of the writer, whose personality is determined by her biography, Jewish origin, Polish patriotism and immigrant status.
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Szwarcman-Czarnota, Bella. "Kadia Mołodowska." Studia Judaica, no. 2 (46) (2021): 390–404. http://dx.doi.org/10.4467/10.4467/24500100stj.20.019.13662.
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The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].
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Nalewajko-Kulikov, Joanna. "Rachela Fajgenberg." Studia Judaica, no. 2 (46) (2021): 380–89. http://dx.doi.org/10.4467/10.4467/24500100stj.20.018.13661.
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The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].
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Pietrych, Piotr. "Tadeusz Różewicz and Tadeusz Borowski: The Origin of a Parallel." Ruch Literacki 57, no. 6 (2016): 697–715. http://dx.doi.org/10.1515/ruch-2017-0095.
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Summary It is an entrenched habit among the critics to connect the early poetry of Tadeusz Różewicz and Tadeusz Borowski’s concentration camp stories. However, this stereotype can be backed by no good proof either in the poems Różewicz wrote in the first years after the war or in their reception. The parallel Różewicz-Borowski was put out into the world by Jan Błoński in his Szkic portretu poety współczesnego [A portrait sketch of a contemporary poet] (1956); at that time the parallel became a handy tool in the battle with Socialist Realist critics and their evaluations of Różewicz’s poetry. The matching of the two authors was made all the more plausible by Różewicz’s comeback during the Polish Thaw. It was manifested not only in a spate of new poems but also in his decisions about the choice of poems representing the postwar phase for publications like Poezje zebrane [Collected Poems] (1957). In essence, the links between Różewicz and Borowski are intertextual. Różewicz must have been familiar with Borowski’s Auschwitz stories, which came as a shock to their first readers, and he would most certainly have read Rudolf Reder’s account of the extermination camp at Bełżec camp. Those two books helped to shape Różewicz’s experience of war that can found in his work.
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Walczak-Delanois, Dorota. "Poems by Polish Female Poets and the Burning Issue of Religion." Religions 12, no. 8 (2021): 618. http://dx.doi.org/10.3390/rel12080618.
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The aim of this paper is to show the presence of religion and the particular evolution of lyrical matrixes connected to religion in the Polish poems of female poets. There is a particular presence of women in the roots of the Polish literary and lyrical traditions. For centuries, the image of a woman with a pen in her hand was one of the most important imponderabilia. Until the 19th century, Polish female poets continued to be rare. Where female poets do appear in the historical record, they are linked to institutions such as monasteries, where female intellectuals were able to find relative liberty and a refuge. Many of the poetic forms they used in the 16th, late 17th, and 18th centuries were typically male in origin and followed established models. In the 19th century, the specific image of the mother as a link to the religious portrait of the Madonna and the Mother of God (the first Polish poem presents Bogurodzica, the Virgin Mary, the Mother of Jesus) reinforces women’s new presence. From Adam Mickiewicz’s poem Do matki Polki (To Polish Mother), the term “Polish mother” becomes a separate literary, epistemological, and sociological category. Throughout the 20th century (with some exceptions), the impact of Romanticism and its poetical and religious models remained alive, even if they underwent some modifications. The period of communism, as during the Period of Partitions and the Second World War, privileged established models of lyric, where the image of women reproduced Romantic schema in poetics from the 19th-century canons, which are linked to religion. Religious poetry is the domain of few female author-poets who look for inner freedom and religious engagement (Anna Kamieńska) or for whom religion becomes a form of therapy in a bodily illness (Joanna Pollakówna). This, however, does not constitute an otherness or specificity of the “feminine” in relation to male models. Poets not interested in reproducing the established roles reach for the second type of lyrical expression: replacing the “mother” with the “lover” and “the priestess of love” (the Sappho model) present in the poetry of Maria Pawlikowska-Jasnorzewska. In the 20th century, the “religion” of love in women’s work distances them from the problems of the poetry engaged in social and religious disputes and constitutes a return to pagan rituals (Hymn idolatrous of Halina Poświatowska) or to the carnality of the body, not necessarily overcoming previous aesthetic ideals (Anna Świrszczyńska). It is only since the 21st century that the lyrical forms of Polish female poets have significantly changed. They are linked to the new place of the Catholic Church in Poland and the new roles of Polish women in society. Four particular models are analysed in this study, which are shown through examples of the poetry of Genowefa Jakubowska-Fijałkowska, Justyna Bargielska, Anna Augustyniak, and Malina Prześluga with the Witches’ Choir.
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Mitzner, Piotr. "The Return of the „Red Donkey Jacket”." Tekstualia 1, no. 48 (2017): 173–77. http://dx.doi.org/10.5604/01.3001.0013.3096.
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The article is devoted to Polish wartime poetry (1939–1945) and its later reception. The term „the third avant-guard” has been used to indicate a singular tendency. Its representatives, who disapproved of banality and stereotypes, themselves wrote texts based on stereotypes. These texts became subject to manipulation in the post-war period so as to serve ideological purposes. The article also examines the category of the patriotic song and a connection between text and music in this form.
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Zawiszewska, Agata. "Zofia Wojnarowska. Poetka dla dzieci – poetka miłości – poetka rewolucji." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 57–74. http://dx.doi.org/10.14746/pspsl.2018.32.3.
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The article discusses Zofia Wojnarowska’s (1881-1967) biography and poetry which were representative of the life path and artistic career of many other active Polish poetesses at the turn of the 19th century. The output of Wojnarowska, who made her debut in the period of Young Poland and reached her artistic maturity in the interwar period, expresses a typical situation of an artist–epigone whose mediocre talent looks for its own expression and place in the literary Parnassus in the time of, important for the national community, political, economic and cultural changes. Political facts like the country’s occupation, World War I and a difficult process of the restoration of an independent country influenced the judgments of Polish critics who rarely applied esthetic criteria to the evaluation of poetesses’, including Wojnarowska’s, output and instead appreciated their subordination to the following functions: didactic (in children’s poetry), expressive (in love poetry) and ideological (in the poetry of proletarian revolution). The situation in which systemic and individual factors like the emancipation of women, the crystallization of literary professions literary critics’ lenient approach to the artistic output of women and the ease of writing overlapped, the need of success and ideological engagement, on the one hand, made it difficult for women writers to improve their own work, to function in higher mainstream and to play the roles of culture creators and, on the other hand, made it easier for them to function in the popular mainstream and play a role of literary craftsmen.
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Mitzner, Piotr. "Why Did Józef Czapski Change His View of the Skamandrites?" Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 8 (December 30, 2019): 223–28. http://dx.doi.org/10.18778/2299-7458.08.24.
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The article applies to Józef Czapski’s – a Polish painter and essayist – personal literary choices; ones that often were contrary to the tastes of his generation. In 1942, after leaving the Soviet bloc, Czapski developed the anthology Polskie wiersze wojenne for Russian readers, and the events of the war caused him to change his opinion about the modern poetry. Poems by the Skamandrites, whom he had disregarded for a long time, now became the core of his collection. Having been found a few years back, the anthology was published in 2019.
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Stańczyk, E. M. "The Sound of Modern Polish Poetry: Performance and Recording after World War II by Aleksandra Kremer." Slavonic and East European Review 100, no. 3 (2022): 549–51. http://dx.doi.org/10.1353/see.2022.0050.
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Koniuszy, Przemysław. "All Roads Lead to Unity: Tomasz Różycki’s Litery as a Search for the Contemporary Arché. The Philosophical Dimension of Poetic Expression." Tekstualia 1, no. 56 (2019): 127–54. http://dx.doi.org/10.5604/01.3001.0013.3281.
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The article analyzes Tomasz Różycki’s poetic volume Letters in the light of selected philosophical contexts in order to demonstrate the correspondence between Różycki’s poetic imagination and Heraclitus’ philosophy and the possibility of equating the letters with a logos, a fundamental concept in the Ionian philosophy of nature. Accordingly, the letter helps to connect the poetic world and the absolute sense, from which everything else results. Secondly, the potential relations between the chaos often appearing in Różycki’s poems and the apeiron of Anaximander have been pointed out. Yet another correspondence concerns the thread of unity and the struggle of opposites, the notions crucial in Greek philosophy and in the work of the Polish poet, who wrote the poem The Eternal War of Opposites. Różycki explores the relation between man who tries to understand the world around him and the reality which undergoes a permanent process of change. Love can be seen as a force that alleviates confl icts arising from rather abstract philosophical problems in the Letters. The article additionally addresses the question of the symbolism of numbers and letters in Różycki’s poetry. The connection between his poetry and the artistic creativity and world view of Stéphane Mallarmé constitutes a special context in this respect. In Różycki’s Letters, the philosophical thought often provides a key to the poet’s most important concerns: the human condition in (post)modernity, the actual shape of objects, and the forces behind the image of the moment experienced in space-time.
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Krzywy, Roman. "Polska epika bohaterska przed i po „Gofredzie”." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 97–122. http://dx.doi.org/10.24917/20811853.20.6.
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The article is a review of the most important trends in the development of the Polish epic in the 16th and 17th centuries. In the absence of significant traditions of knightly works, the creation of Polish heroic poetry should be associated primarily with the humanistic movement, whose representatives set a heroic epic at the top of the hierarchy of genres and recognized 'Eneid' as its primary model. The postulate proposed first by the Renaissance and later by the Baroque authors did not lead to the creation of a ‘real’ epic in Poland. The translations of: the Virgil’s epic poem (1590) by Andrzej Kochanowski and Book 3 of 'The Iliad' by Jan Kochanowski can be regarded as the genre substitutes. These translations seem to test whether the young Polish poetic language is able to bear the burden of an epic matter. Then again, the works of Maciej Kazimierz Sarbiewski on the Latin 'Lechias' (the 1st half of the 17th century), which was to present the beginnings of the Polish state, were not completed. Polish Renaissance authors preferred themes from modern or even recent history, choosing 'Bellum civile' by Lucan as their general model but they did not refrain from typically heroic means in the presentation of the subject. This is evidenced by such poems as 'The Prussian War' (1516) by Joannis Vislicensis or 'Radivilias' (1592) by Jan Radwan. The Latin epic works were followed by the vernacular epic in the 17th century, when the historical epic poems by Samuel Twardowski and Wacław Potocki were created, as well as in the 18th century (the example of 'The Khotyn War' by Ignacy Krasicki). The publication of Torquato Tasso’s 'Jerusalem delivered' translation by Piotr Kochanowski in 1618 introduced to the Polish literature a third variant of an epic poem, which is a combination of a heroic poem and romance motives. The translation gained enormous recognition among literary audiences and was quickly included in the canon of imitated works, but not as a model of an epic, but mainly as a source of ideas and poetic phrases (it was used not only by epic poets). The exception here is the anonymous epos entitled 'The siege of Jasna Góra of Częstochowa', whose author spiced the historical action of the recent event with romance themes, an evident reference to the Tasso’s poem. The Polish translation of Tasso’s masterpiece also contributed to the popularity of the ottava rima, as an epic verse from the second half of the 17th century (previously the Polish alexandrine dominated as the equivalent of the ancient hexameter). This verse was used both in the historical and biblical epic poems, striving to face the rhythmic challenge.
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Burnatowski, Jan. "Literature for God’s sake! Translation, poetry and novels. On artistic motivation for the evolution of Marian Pankowski’s writing in view of his correspondence with Jerzy Giedryć." Tekstualia 3, no. 46 (2016): 63–88. http://dx.doi.org/10.5604/01.3001.0013.4204.
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Bilingualism as the strength which converts individual literary programs is exampled by Marian Pankowski’s literary work from the 1950s and his correspondence with Jerzy Giedroyc. The article discusses three research questions: 1. the sources of artistic transition of Marian Pankowski works; 2. the reasons of suspending cooperation with the monthly “Kultura”; 3. the circumstances surrounding the formation of the Polish contemporary literature canon. Bilingualism which resulted from decision to remain in Belgium after the Second World War allowed not only for the participation in the artistic and intellectual life of the country but also for cooperation with “Kultura” of Jerzy Giedroyc. The contact with the Belgium culture, which signifi cantly differed form Polish, fostered Pankowski’s translations from Polish to French and French to Polish. Belgian avanguard artist, Michel de Ghederode, whom Pankowski met in 1955 (when preparing translation of drama “Hop Signior”) had a formative infl uence on the author of “Matuga”. Due to this process of changing the artistic assumptions was triggered. That kind of literary invention, the inner move of Marian Pankowski writing, which was heavily infl uenced by the Belgian elements, was opposite to Polish tradition and it resulted in the marginalization of Pankowski’s status in the Polish culture. The conclusion concerning artistic reasons for suspending cooperation with “Kultura”, based on studies on letters between Pankowski and Giedroyc, challenges the predominant political interpretation.
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Pereginchuk, Taras M. "Ukrainian and Polish Source Literature on Volunteerism and the Russian-Ukrainian War of 2014." Echa Przeszłości, no. XXIII/1 (July 1, 2022): 197–218. http://dx.doi.org/10.31648/ep.7947.
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The article analyzes Ukrainian and Polish source literature on the war over the control of Donbas that has been waged by Russia and Ukraine since 2014, and military volunteers who participated in the conflict. The evolution of Ukrainian military volunteerism as a way of life of the ethnos and a cultural phenomenon merits further ethnological research in Ukraine and Poland. For this reason, historical literature, literature on sociology and social pedagogy, journalistic sources and other source literature should be analyzed to explore difficult war circumstances, new military traditions and volunteerism. The establishment and evolution of military volunteerism in contemporary Ukraine as a social and cultural phenomenon has not yet emerged as a major topic of ethnological research in Ukraine or Poland. The article draws upon literary sources that lay the historical foundations for volunteerism through mutual assistance and acts of good will on behalf of Ukrainian citizens. Scientific literature and journalistic sources concerning volunteerism should also be reviewed.
 Academic papers (reports from scientific conferences, political negotiations, dissertations), opinion journalism (memoirs and interviews) and literary works (novels, essays, short stories and poetry) published in contemporary Poland and Ukraine constitute important sources of information about the armed forces and military volunteers.
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Kandziora, Jerzy. "Odwoływanie granic (Biograficzne i poetyckie przekroczenia Jerzego Ficowskiego)." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 8, 2017): 79–93. http://dx.doi.org/10.24917/20811853.16.6.
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Revoking boundaries (Jerzy Ficowski’s biographical and poetic transcension) The article describes the phenomenon of “revoking” or transcending boundaries, present both in the family tradition and biography of Jerzy Ficowski and in his artistic choices. The biographical reflection focuses especially on the figure of the poet’s father, a bearer of the multicultural experiences of Polish communities in pre-revolutionary Russia, the post-war contacts Ficowski had with emigrant authors and the Jewish diaspora, as well as on the poet’s transcending the boundaries of state-censored works in the mid 1970s. At the same time, the article is looking for a iunctim between the openness encoded in Ficowski’s biography and his poetic language. In doing so, it describes the latter’s qualities, such as meaning inconstancy, semantic opalization of words, homonyms and antonyms incessantly destabilizing the boundaries of word and verse, that seem to be an equivalent of the discussed openness. In particular, attention is drawn to the influence the 1970s had on boosting the semantic potential of Ficowski’s poetry.Key words: Jerzy Ficowski; Tadeusz Ficowski; multiculturalism; hieroglyph; history in poetry; immigration literature;
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Buszewicz, Elwira. "Mistrz i uczeń albo sekrety humanistów Dialog Jana z Wiślicy z Pawłem z Krosna na kartach Wojny pruskiej / The Master And His Apprentice , or the Secrets of the Humanists : The Dialogue of Jan of Wiślica (Joannis Vislicensis ) And Paweł of Krosno in the Bellum Prutenum (1516)." Ruch Literacki 53, no. 6 (2012): 663–78. http://dx.doi.org/10.2478/v10273-012-0041-z.
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Summary The article contains the original text and the Polish translation of two Latin elegies from the Bellum Prutenum (The Prussian War) by Jan of Wiślica (Joannis Vislicensis), published in Cracow in 1516. The first is a plea addressed to the author by Paweł of Krosno (Paulus Crosnensis Ruthenus) to start his book with an appropriate epigram; the latter is a reply to that request. This description, however, does not exhaust the meaning of the two poems. Their full, more complex significance can be unlocked with help of the conventions and codes of the Humanist discourse. Interpreted in the light of the 16th-century thinking about poetry and the process of learning, this versified dialogue appears to be a record of a master-pupil relationship, which, after Jan of Wiślica’s apprenticeship ceremony, is transformed into a bond of friendship. The poems also contain a string of timely reflections on the nature of the poetic craft.
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Hołobut, Agata. "Images of Irreverence: Nonsense Poetry in Translation as Exemplified by Edward Lear’s Poem “The Akond of Swat”." Przekładaniec, Special issue 1/2022 (December 30, 2022): 144–78. http://dx.doi.org/10.4467/16891864epc.22.007.16521.
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This article discusses selected “rewritings” of Edward Lear’s nonsense poem “The Akond of Swat”, focusing specifically on the translators’, illustrators’, adapters’ and editors’ attitudes towards the allusive nature of the poem – and specifically the reference it makes to the historical figure of the Pashtun religious leader Abdul Ghaffūr, also known as the Akond (or Wali) of Swat or Saidū Bābā, which may be viewed as orientalist or parodistic from a contemporary viewpoint. Recent translated and illustrated versions of the poem inscribe it with new aesthetic and ideological values. Two Polish translations considered in this article, produced by Andrzej Nowicki and Stanisław Barańczak respectively, demonstrate changing approaches to the nonsense genre evidenced in Polish literary circles (revealing a gradual transition from pure to parodistic nonsense). Graphic representations of the poem discussed in the article testify to the artists’ interpretive powers in redefining the genre of Lear’s poem, rebranding it as an infantile fairy tale on the one hand and a disturbing reflection on tyranny and “the war on terrorism” on the other.
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Węgrzyniak, Anna. "Tuwim: Years After." Acta Universitatis Lodziensis. Folia Litteraria Polonica 36, no. 6 (2017): 7–23. http://dx.doi.org/10.18778/1505-9057.36.02.
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The subject of the article is to present an outline of the reception of Julian Tuwim’s works in the last decade. “The Prince of Poets” of the interwar period, well known in the post-war era, is less and less known today. Post-war generations of poets made no particular references to Tuwim and his poetry, and even though many critical works are being published about him, Tuwim’s works do not engage critics who would be able to reconnect his writing with the contemporary world. Tuwim is disappearing from school literary curricula, contemporary readers remember only his children’s poems and one can doubt whether this situation can be changed by an extensive, multifaceted work by Piotr Matywiecki Twarz Tuwima (Tuwim’s face), the comprehensive and readable biography of the poet. It is an important book which tackles a number of vital questions concerning for instance the tragic alienation of the Polish Jew who lived between two cultures and wanted to be excluded from neither.
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Sylwestrzak, M. "WŁADYSŁAW SZLENGEL’S POETRY IN CONTEXT OF WORKS OF THE GHETTO UNPROFESSIONAL POETS." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 336–46. http://dx.doi.org/10.17721/2075-437x.2019.35.32.
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The article analyzes the works of Władysław Szlengel and non-professional poets of the Warsaw ghetto. Władysław Szlengel is the most popular author of the Warsaw ghetto who wrote his works in Polish. He is the author of a volume of poems Co czytałem umarłym. Non-professional poets are those Jewish authors who wrote one or more poems dedicated to the Holocaust. The author of the article is focused on the poetics of texts wrote by Szlengel and other Polish-Jewish poets. A comparative analysis of the works of Szlengel and non-professional poets is conducted to show different models of the functioning of the same topos and motives of the Holocaust in texts of a professional poet and in the work of unknown authors. The article also deals with the most important motifs of the Warsaw ghetto literature, such as a wall, a window to the Aryan side, death, a child, etc. The presence of these motifs in both professional and amateur works indicates the development of a similar language of expression in texts written by Jews imprisoned in the ghetto during World War II. However, these motifs are used in the works of various authors in more or less interesting ways. The artistic quality of the text is determined by the originality of the development of Holocaust motifs. The author of the article pays special attention to the analysis of the motif of a window and a wall, which define the specificity of the ghetto space in the lyrics of the ghetto. The window and wall also have a symbolic function as a metaphor for enslavement and violence.
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Lewandowski, Michał. "Stanisław Kryński – przyczynek do biografii." Acta Iuridica Resoviensia 33, no. 2 (2021): 67–80. http://dx.doi.org/10.15584/actaires.2021.2.5.
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As a young man Stanisław Kryński, our Polish scholar, intended to devote his life to Roman Law. The fact may be surprising as Kryński received a great deal of attention thanks to his Polish translations of English poetry and the first volume of The history of the decline and fall of the Roman Empire by Edward Gibbon. The first archival research shows that in his youth Kryński was really into Roman Law and was even going to do his doctorate on “Iudicum familiae erciscundae in a Classic Roman Law”. He became the assistant of the professor Ignacy Koschembahr-Łyskowski while studying at the Faculty of Law and State Science at the University of Warsaw. The professor became his academic mentor and enabled him to serve an academic apprenticeship in Rome in 1938. The outbreak of the Second World War pulled the rug from under Kryński’s feet. But still, the skills and knowledge acquired in Warsaw were extremely valuable when he lectured Roman Law at the Polish Faculty of Law in Oxford in the years 1944–1946. After returning to Poland, he became a higher education lecturer at SGH Warsaw School of Economics and at Catholic University of Lublin. He did not carry on the research into Roman Law.
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Hołobut, Agata. "Obrazy niepowagi: O tłumaczeniu poezji nonsensu na przykładzie wiersza The Akond of Swat Edwarda Leara." Przekładaniec, no. 40 (2020): 205–39. http://dx.doi.org/10.4467/16891864pc.20.010.13173.
Full textAbstract:
Images of Irreverence: Nonsense Poetry in Translation as Exemplified by Edward Lear’s Poem The Akond of Swat The paper deals with selected “rewritings” of Edward Lear’s nonsense poem The Akond of Swat, focusing specifically on the translators’, illustrators’, adapters’ and editors’ attitudes towards the allusive nature of the poem – the reference it makes to the historical figure of the Pashtun religious leader Abdul Ghaffūr, also known as the Akond (or Wali) of Swat or Saidū Bābā, which may be viewed as problematic from a postcolonial viewpoint. Recent translated and illustrated versions of the poem inscribe it with new aesthetic and ideological values. Two Polish translations considered in the paper, produced by Andrzej Nowicki and Stanisław Barańczak respectively, demonstrate changing approaches to the nonsense genre displayed in Polish literary circles (gradual transition from pure to parodistic nonsense). Graphic representations of the poem discussed in the paper testify to the artists’ interpretive powers in redefining the genre of Lear’s poem: rebranding it as an infantile fairy tale on the one hand and a disturbing reflection on tyranny and “the war on terrorism” on the other.
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Zieliński, Jan. "OD PÓŹNEGO WORONICZA DO WCZESNEGO WITTGENSTEINA. KARIERA PIEŚNI O WIKLEFIE I WIKLEFA W XIX-WIECZNEJ POLSCE." Colloquia Litteraria 20, no. 1 (2017): 29. http://dx.doi.org/10.21697/cl.2016.1.3.
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The article is interested in following the history of the reception of the exceptional example of fifteenth-century poetry in Polish Pieśń o Wiklefie by Jędrzej Gałka of Dobczyn in the period between the discovery of the text in 1815 and the beginning of the First World War. The author discusses the reception of Pieśń o Wiklefie in later works of the Enlightenment poets as well as in texts by Mickiewicz and Norwid (the latter was friends with the poet Antoni Czajkowski, whose father first published Pieśń o Wiklefie). The article concludes with a discussion of the intellectual contacts between the logician Michał Dziewicki – one of the publishers of Wycliffe’s works – and Wittgenstein, who served in the military in Cracow.
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POTULNYTSKYI, Volodymyr, and Heorhii POTULNYTSKYI. "Polish-Lithuanian Commonwealth in the Context of Its Historical Relations with Ukraine in Omeljan Pritsak's Academic Research." Ukraine-Poland: Historical Heritage and Public Consciousness 12 (2019): 151–64. http://dx.doi.org/10.33402/up.2019-12-151-164.
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Analyzing the creative heritage by Omeljan Pritsak on the history of Poland, the authors concludes that the historian began to explore the issues of medieval and early New Poland as early as in the pre-war period, the earliest period of his formation as a scholar, and continued into his American and Ukrainian periods. Based on the number of archival documents and printed works, the authors of the article claims that while in his pre-war period the scholar was engaged in debunking the mythical legends existing in Polish historiography about Hetman Ivan Mazepa and wrote several reviews on the works by Polish historians, in his American period, the scholar wrote a range of papers of historiosophic character. Pritsak concludes that these were the Lithuanians who caused the changes in the leadership elite and the interruption in the historical tradition of Ukraine, and that with the transition of Ukrainian lands from Lithuania to Poland, for the first time since the Kyiv period, Ukrainian territory began to produce its own, conscious political rights and privileges. It was during the Polish times, according to Pritsak, that a new political phenomenon, namely the homeland of Rus, began to emerge. Demythologizing the myths about the destructive nature of the Mongols and the Ukrainian character of the Grand Duchy of Lithuania, Pritsak characterizes the Ukrainian "registry" Cossacks as a new type of Ukrainian elite. In his lectures written in the American period, the scholar constructs a historiosophical synthesis of syllabic ties in the context of exploring the role played by Poland in Eastern Europe and examines the peculiarities of the economic and socio- political situation of the Ukrainian lands under the Polish domination. In this respect, he estimates the special significance that such phenomena as reformation, counter-reformation, mercantilism, the Magdeburg law, and the creation of Polish literary poetry by Mikołaj Rej and Jan Kochanowski had for the Polish literary language. In his Ukrainian period, Pritsak supplemented Harvard lectures with new material and visions of the Commonwealth in the context of its relations with Ukraine. It substantiates four major groups of problems that caused the fall of the Commonwealth as a state and emphasizes the special role of counter-reformation and the Jesuits, as well as the manorial economy with special functions of magnates and Jews, which, in his opinion, eventually caused the uprising led by Bohdan Khmelnytsky. Thus, Pritsak examined the history of Poland and the Polish people during three periods of his life: pre-war, American and Ukrainian. The subjects he touched upon in the articles differed, since the scholar set various goals in different periods. It is important to emphasize that almost all research papers on the history of Poland were not conducted by the historian outside the Ukrainian context. Pritsak’s historiosophic vision of the key problems of the history of the old Polish-Lithuanian Commonwealth and of modern Poland is an important contribution to the study of the essential aspects of the common subjects of the Polish and Ukrainian history in Eastern Europe. Keywords research heritage, main trends of research activity, Polish-Lithuanian Commonwealth, the myths of Polish historiography, historiosophical synthesis, syllabic ties, mutual relations.
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Donlon, Anne, and Evelyn Scaramella. "Four Poems from Langston Hughes's Spanish Civil War Verse." Publications of the Modern Language Association of America 134, no. 3 (2019): 562–68. http://dx.doi.org/10.1632/pmla.2019.134.3.562.
Full textAbstract:
Langston Hughes traveled to Spain in 1937, during that Country's Civil War. He saw the Republic's Fight against Franco as an international fight against fascism, racism, and colonialism and for the rights of workers and minorities. Throughout the 1930s, Hughes organized for justice, at home and abroad, often engaging with communist and other left political organizations, like the Communist Party USA's John Reed Club, the League of Struggle for Negro Rights, and the International Workers' Order (Rampersad, Life 236, 286, 355; Scott). When the war in Spain began, in 1936, workers and intellectuals who were engaged on the left came from around the world to fight against Franco's forces; these volunteers, the International Brigades, included approximately 2,800 Americans known as the Abraham Lincoln Brigade, of which about ninety were African American (Carroll vii; “African Americans”). Hughes went to Spain to interview black antifascist volunteers in the International Brigades and write about their experiences for the Baltimore Afro-American, VolunteerforLiberty, and other publications. Much of Hughes's writing from Spain sought to explain to people at home why men and women, and African diasporic people especially, had risked their lives to fight in Spain. Hughes profiled African Americans fighting for the first time alongside white comrades in the International Brigades, including Ralph Thornton, Thaddeus Battle, and Milton Herndon (“Pittsburgh Soldier Hero,” “Howard Man,” “Milt Herndon”). In addition to writing articles, he wrote poetry, gave radio speeches, and translated poems and plays from Spanish into English. Much of Hughes's work from the Spanish Civil War has been collected in anthologies. However, so prolific was Hughes, and so fastidious was he in saving drafts and ensuring they reach his collection at Yale University's Beinecke Rare Book and Manuscript Library, that many unpublished works exist in archives. The four poems here represent different poetic registers and levels of polish, and they illuminate the dynamic range of Hughes's literary production during his time in Spain.
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L’vova, Irina V. "The Image of Russia in Beat Culture." Imagologiya i komparativistika, no. 16 (2021): 207–24. http://dx.doi.org/10.17223/24099554/16/13.
Full textAbstract:
The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.
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Maroshi, Valerij V. "“The Russian Bayonet” in the Russian Literature of the 18th-20th Centuries: The Magic Weapon of the Empire." Imagologiya i komparativistika, no. 16 (2021): 225–43. http://dx.doi.org/10.17223/24099554/16/14.
Full textAbstract:
The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.
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Pilipowicz, Denys. "Oeuvre of Grigory Skovoroda in polish scientific thought." Filosofska dumka (Philosophical Thought) -, no. 4 (2022): 66–90. http://dx.doi.org/10.15407/fd2022.04.066.
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The article is devoted to present Polish research on the literary work and philosophical thought of Hryhorii Skovoroda. The scientific reflection on Skovoroda’s legacy was initially carried out on the historical and literary level. It was initiated by Adam Honory Kirkor in 1874. In the context of the history of Ukrainian literature, Józef Tretiak, Ivan Franko and Bohdan Lepkyi presented the general characteristics of Skovoroda’s work, seeing in it only the original style and compilation character of thoughts. Ivan Mirtchuk started his research on Skovoroda’s thoughts from the history of national philosophy, seeing in Skovoroda’s philosophy the features charac- teristic of Ukrainian philosophy, differing it fundamentally from Russian philosophy. As part of the research, it was possible to find an extensive article by Jarosław Ulwański, Philosophy of G.S. Skovoroda, published in 1930, in which the author presented arguments for a pantheistic interpretation of the Ukrainian philosopher’s thoughts. A breakthrough event was the publication of a monograph by Dmytro Tschižewskij, who formulated a view on the mystical philosophy of Skovoroda similar to the Western European mysticism of the 17th and 18th centuries. The interwar period ends with the work of Czesław Jastrzębiec-Kozłowski, in which the work of Skovoroda was analyzed against the background of Józef Hoene-Wronski’s messianic philosophy. After World War II and the 1990s, research on Skovoroda’s legacy was conducted primarily by philologists. Ryszard Łużny and Włodzimierz Mokry treated Skovoroda’s work as a Christian philosopher. In the 21st century, Polish research increasingly refers to philosophical interpretation. Denys Pilipowicz researched the ancient and patristic sources of Skovoroda’s mystical thought and compared it with the teachings of Paisij Velyczkovskyi. Iryna Betko analyzed his poetry from the perspective of Jung’s theory of archetypes. Michał Handzel conducted an in-depth historical and philosophical analysis of Skovoroda’s philosophy, seeing Skovoroda as a representative of the panentheistic trend, and Pavlo Snopkov examined the concept of Skovoroda’s self-knowledge from the perspective of Jung’s and Maslow’s psychological theories.
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Kuliniak, Radosław, and Mariusz Pandura. "Poeta sam na sam z sobą – dziennik osobisty Romana Witolda Ingardena." Konteksty Kultury 18, no. 1 (2021): 149–59. http://dx.doi.org/10.4467/23531991kk.21.010.13540.
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W Archiwum Rodziny Ingardenów zachował się liczący ponad 400 stron pamiętnik Romana Witolda Ingardena. Ten osobisty dokument nie jest zupełnie nieznany w polskiej literaturze fachowej na temat życia i twórczości fenomenologa. Ingarden jako autor dzieła autobiograficznego nie był z pewnością wyjątkiem w swoich czasach. Na przełomie XIX i XX wieku wiele osób pisało pamiętniki i inne narracje życiowe. Warto wspomnieć, że osobiste dzienniki (później opublikowane lub pozostające do dziś w formie rękopiśmiennej) tworzyli Kazimierz Twardowski, Władysław Tatarkiewicz i inni polscy filozofowie. Ponadto niezwykle popularna była praktyka pisania listów, a także poezji noszącej znamiona autobiograficzne. Należy zaznaczyć, że tekst ten nie powstał pierwotnie jako dokument autobiograficzny filozofa, ale jako zapis życia niedoszłego artysty. Ingarden był poetą przez dużą część swojego życia i pisał wiersze również po drugiej wojnie światowej. Poet Confronted with Himself – Personal Journal of Roman Witold Ingarden The Ingarden family archive includes the diary of Roman Witold Ingarden, over 400 pages long. This personal document is not completely unknown in Polish specialist literature dealing with the life and work of the phenomenologist. As an author of an autobiographical work, Ingarden was certainly not an exception in his times. At the turn of the 19th and the 20th century, many people wrote diaries and other life narratives. It is worth noting that personal journals (some later published and some still available only in handwritten form) were written by Kazimierz Twardowski, Władysław Tatarkiewicz, and other Polish philosophers. It was also enormously popular to write letters and poetry bearing autobiographical traces. It should be noted that the text analysed in the article was not originally created as an autobiographical document of a philosopher, but as an account of the life of an aspiring artist. Ingarden was a poet for a large part of his life and continued to write poetry even after the Second World War.
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Kluczewska-Wójcik, Agnieszka. "modernité "orientale"." Manazir Journal 3 (March 7, 2022): 110–30. http://dx.doi.org/10.36950/manazir.2021.3.8.
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Oriental influences present in Polish culture since the Middle Ages and incarnated by the idea of “sarmatisme” were re-evaluated or outright rejected by the young modernist generation. In fact, at the turn of the nineteenth and twentieth century the traditional Polish “Orientality” was replaced by a wave of interest for the aesthetics of Islamic art, a reflection of the European “Oriental renaissance”. The Polish imaginarium had long associated the art and culture of Islam uniquely to the Middle East and its craft. The romantic epoch brought with it a new interest for medieval Spain, Granada in particular, its history and monuments, reflected in the poetry of Adam Mickiewicz and the museographic realisations of Izabela Czartoryska at Puławy or Tytus Działyński at Kórnik. If architectural projects, principally of “Moorish” synagogues and internal decorations for aristocratic and bourgeois palaces still belong to a nineteenth century oriental current, they do however already reveal a will typical of pre-war decades by virtue of granting significance to Islamic decorative principles. In the first decades of the twentieth century, “à l’orientale” motifs recurrent in fashion and the visual universe, as witnessed by contemporary novels, found a sort of counterpoint in propositions made by representatives of the Polish applied art revival movement, successful hybridization of European, oriental and popular models: fabrics, carpets, metal and leather objects of artists from the Warsztaty Krakowskie (Cracow workshops, founded 1913) such as Józef Czajkowski, Wojciech Jastrzębowski, Bonawentura Lenart, and Karol Tichy, “javano-cracovian” batiks of young workshop apprentices or even the glazed ceramics of Stanisław Jagmin. Displayed at the 1925 Exhibition of Modern Decorative and Industrial Arts in Paris, the Cracow Workshop adherent’s productions draw the attention of the European public and critics on this peculiar breed of national “primitivist” style tainted with Orientalism.
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Gieba, Kamila. "A Post-German City as a Palimpsest in Contemporary Prose of the Lubuskie Land." Polish Review 67, no. 2 (2022): 50–63. http://dx.doi.org/10.5406/23300841.67.2.03.
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Abstract The article concerns contemporary Polish literature about post-war migrations caused by the change of the border between Poland and Germany in 1945. The main topic of this article is the literary representation of a post-German city. Selected works by three authors associated with the Lubuskie Land are analyzed. They are: the novels Grünberg [Green town] by Krzysztof Fedorowicz, Stacyjka na wschodzie i zachodzie [The train station in the east and in the west], and Klucze do rzeki [Keys to the river] by Maria Sidorska-Ryczkowska; and a volume of poetry by Janusz Werstler, Ocalone w słowie: Odejście Marii, odejście Anny [Survived in a word: Maria's departure, Anna's departure]. The decision to focus on Lubuskie-themed works has been prompted by a shortage of scholarly studies of the literature of this region in comparison with literary studies on other regions of an area known as the Regained Territories. The interpretation of the images of the post-German city is based mainly on the palimpsest category.
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Jarzębski, Jerzy. "Obszary Ameryki w „Świetle dziennym” Czesława Miłosza." Ruch Literacki 53, no. 3 (2012): 295–304. http://dx.doi.org/10.2478/v10273-012-0018-y.
Full textAbstract:
Summary Daylight has a special place in Miłosz’s poetic work: it is the first volume of poetry after his defection to the West, but it contains texts written during his first visit to the United States in the late 1940s. At that time he held a post at the Polish Embassy and looked at America from the other shore of ideology and personal experience. The article examines the author’s selection of poems for the successive editions of Daylight. The first, full edition of that volume is critical of both European nihilism and American primitivism (the latter refers to lack of concern about the horrors of war). In the following editions the poet’s perspective begins to change. The ‘American’ poems now foreground his experience of the continent’s natural landscape. Its primeval magnificence offers shelter and, through a sense of ecstatic communion with the sources of being, new strength. Likewise, the denunciation of European cynicism, which dominates the verse selected for the first edition, is later allowed to fade away. Eventually the experiences on both sides of the Atlantic are brought into balance. In the subsequent, slimmer editions of Daylight it is the ‘Song about china’ that represents the key tone of the volume. Although it may look slight, it manages to contrast the brutality of history and the vulnerability of an individual life with remarkable precision and poetic lightness. One clear stanza can take more weight / Than a whole wagon of elaborate prose.
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Kudyba, Wojciech. "Norwid w poezji współczesnej. Formy obecności." Studia Norwidiana 39 Specjalny (2021): 189–215. http://dx.doi.org/10.18290/sn2139s.7.
Full textAbstract:
The article attempts to establish the character of references to Norwid in texts by poets representative of Polish modernity, accounting for functions of intertextual allusions, initially in the area of collective consciousness. As it turns out, during the interwar period and the Second World War works by the Romantic master were referenced at all stages of developing a distinct literary identity. Poets would not just read Norwid’s texts, but in fact regard themselves in the mirror of his works. However, after 1956 Norwid’s presence in literary life was rooted in the needs of literary scholars rather than in actual intertextual references. This tendency also manifests in studies of works by individual authors. It does happen – especially when we speak of implicit traces of Norwid in contemporary poetry – that the plane of relations between authors is not addressed by interpreters. Sometimes, dialogue as a research category disappears from their view, while the body of Norwid’s works is treated merely as a context, becoming a kind of mirror meant to display more fully a certain theme or characteristic of somebody’s writing. However, the most important forms of Norwid’s functioning in contemporary times are ones that facilitate meetings(successfulor not), as demonstrated by the fascination with Norwid’s poetry recognizable in texts by authors such as Mieczysław Jastrun, Julian Przyboś and Tadeusz Różewicz.
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Krupowies, Walentyna. "Alien City: The Vilnius Jewish Ghetto in Polish Texts of the Interwar Period." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 2 (2021): 205–16. http://dx.doi.org/10.15826/izv2.2021.23.2.035.
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This article analyses the cultural images of the Vilnius ghetto and the methods of its categorisation in Polish-language texts of the interwar period in tourist guides, feuilletons, and poetry. In the texts of the Vilnius authors, Julisz Kłos, professor of Vilnius University, poets Witold Hulewicz and Konstanty Gałczyński, the ghetto is defined in terms of modernity as a medieval and chaotic urban space that requires modernisation; in terms of pictorialism as a picturesque part of the city; in terms of heterogeneity as an alien space creating an urban heterotopia, and as a space of everyday life, specific for the whole of Vilnius. The article emphasises the fact that the image of Vilnius as an urban heterotopia was shaped by foreigners, including authors of German guides of the World War I years and subsequently by foreign guests visiting Vilnius in the interwar period. In their texts, the ghetto appears as an intriguing part of the city space. Noticed by a foreigner who played the role of the “other”, the specificity and originality of the ghetto influenced the perceptions of the city by some representatives of the Polish intelligentsia. The textual image of the Vilnius ghetto reveals the beliefs, worldviews, images, ideology, and to some extent the aesthetic inclinations of the authors for whom the ghetto was an alien city. A different attitude was represented by Jerzy Wyszomirski, a writer and journalist who comprehended the space of the ghetto, its languages, Yiddish and Hebrew, and treated the Jewish world with kindness as neighbourly and familiar, thus eliminating the structures of otherness that allowed the ghetto to be incorporated into the general idea of the city.
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Sikorski, Tomasz. "„Klatka Ezry”. Między poezją a polityką." Studia nad Autorytaryzmem i Totalitaryzmem 38, no. 3 (2017): 53–73. http://dx.doi.org/10.19195/2300-7249.38.3.4.
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EZRA’S CAGE”. BETWEEN POETRY AND POLITICSEzra Pound 1885–1975 was, next to Thomas Stearns Eliot, the most prominent American poet of modernist. He was considered the creator of vorticism and imagism — modern trends in art and world culture. In his works he reached to different eras and cultural trends. He was as well fascinated by medieval Provençal, Spanish and Italian literature, and Japanese art of haiku. On his work also had an impact scholasticism, Confucianism and Far East literature. In addition to poetry, Pound was also involved in literary criticism, painting and sculpture, he wrote historiosophical essays and dramas. The greatest fame brought him, however, written for many years, „Canto”. During his stay in the British Isles he also dealt with politics and economics. He was considered a supporter of the theory of Social Credit of Hugh Douglas Clifford, aBritish engineer and economic theorist. In the early twenties Pound went to Italy. Here he became fascinated with fascism and the person of Benitto Musollini. In his works including his poetic works appeared clear fascist and anti-Semitic accents. He criticized Jewish international financiers and banking critique of usury. During World War II he gave propaganda „talks” in the Italian radio. He praised the organization of the fascist state and fascism as an idea, and at the same time warned the threat from international Jewish conspiracy. His views meant that he was accused of collaboration and treason. He was arrested and imprisoned in the US prison camp near Genoa. He spent almost amonth in aclosed cage. During his stay in the camp he had nervous breakdown. After transportation to the United States for many years he was locked out in hospital for mentally ill. After leaving the hospital, he returned to public space. Still creative, he was nominated for the most prestigious literary awards. His works have been translated into many languages around the world, including Polish. He died in Italy in 1975.
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Dziedzic, Stanisław. "„Zapowiada się nadzwyczajny aktor”. Karol Wojtyła w podziemnym Teatrze Rapsodycznym." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 153–71. http://dx.doi.org/10.18290/rh.2068s-11.
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Karol Wojtyła’s decision to start Polish Philology at the Jagiellonian University after graduating from the State Marcin Wadowita Secondary School was no surprise to those who knew him in Wadowice. His theatrical interests and talents, mainly acting and directing, were widely known. He helped found a high school theatrical group, acted in the Amateur Universal Theatre run by Mieczysław Kotlarczyk, and on the stage of the Catholic House. His mentor in the field of the theatre was Mieczysław Kotlarczyk. As a secondary school student, Wojtyła had already started writing poetry, and possibly his Beskid Ballads had already been created. He wanted to become an actor, but also developed as a writer. Cracow, with its creative environment and student peers, supported his theatrical and literature endeavours. Besides his university studies, he also developed his acting skills in the Studio 39 theatre group. During the Nazi occupation of Poland, Studio 39 members continued their underground activities. After Mieczysław Kotlarczyk arrived in Cracow in 1941, the Studio was transformed into the Rhapsodic Theatre. Wojtyła participated in all 7 premiere performances. With his talent and acting capabilities, together with his deep theatrical knowledge, he was a rising hope for his underground companions in the field of acting. His skills were appreciated by such famous actors as Juliusz Osterwa. Osterwa, the chief Polish actor of those times, stated “We seem to have an extraordinary actor” after Juliusz Słowacki’s Król-Duch was performed with Wojtyła starring. He intended to employ Wojtyła after the war. However, the time to make definitive choices finally arrived and Karol Wojtyła entered the Higher Seminary for Priests in 1942. His rhapsodic experience and literary achievements were to be the measurement of his charismatic call to millions of followers and believers as the future Pope.
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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.
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The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.
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Radyszewśkyi, Rostyslaw. "Węgiersko-polskie dialogi w twórczości Lwa Węglińskiego." Studia Slavica Academiae Scientiarum Hungaricae 65, no. 2 (2022): 327–40. http://dx.doi.org/10.1556/060.2020.00026.
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Artykuł dotyczy twórczości Lwa Węglińskiego (1827–1905), poety z pogranicza polsko-ukraińskiego, który wydał 6 zbiorów w języku ukraińskim pisanych alfabetem łacińskim i 7 książek w języku polskim, w których dominował materiał oparty o reminiscencje z historii i kultury różnych narodów, a także przekłady poezji i folkloru ludowego. Zbiór Snopek z niw słowiańskich i obcych (1885) jest w całości poświęcony przekładom z folkloru słowiańskiego: są w nim zawarte ukraińskie (42), morawskie (69), węgierskie – „obce pole” (21), niemieckie (60) pieśni ludowe. We wstępie Lew Węgliński określił pieśni węgierskie jako „ogniste, dowcipne, namiętne”, a następnie przytoczył przekłady węgierskich pieśni wojennych Erotki wojskowe – Na placu ćwiczeń, Pod czas marszu, Epikurejka i innych.Lew Węgliński informował, że jego przekłady węgierskich pieśni ludowych stanowiły Suplementum (załącznik) do tomu drugiego. Zawartość zbioru Echo z-za Tatr i Karpat (1885) jest przedstawiona bardzo szczegółowo i w całości poświęcona historii, folklorowi i literaturze Węgier, które autor uważa za najbardziej przyjazny Polsce kraj sąsiedzki. Po arkadyjskich epigramatach w języku niemieckim, Słowie wstępnym i Objaśnieniach porównuje on pieśni węgierskie z folklorem innych, w tym słowiańskich, narodów. Lew Węgliński opisuje pozytywne zjawiska dialogu polsko-ukraińskiego, w szczególności przywołuje i cytuje mowę Do parlamentu Węglińskiego petycja o wyswobodzenie Polski. Materiał poetycki zbioru podzielony jest na dwie części: „oryginalne” utwory (44 wiersze) i Pieśni erotyczne oparte na motywach węgierskich (prawie 100 wierszy), natomiast drugi dział Wolne przekłady i naśladownictwa podzielony jest również na części Z węgierskich pieśni ludowych i Z Sándora Petőfiego (50 wierszy).Oryginalny wiersz autorstwa Lwa Węglińskiego Węgierska kraina sławi główne symbole tej krainy – Cisę, Dunaj, Karpaty i Tatry, wino, źródła lecznicze itp. Symbole te w poetycki sposób przedstawiają historię i kulturę Węgier. Autor wspomina o węgierskich „luminarzach” literatury, a szczególną uwagę poświęca najsłynniejszemu lirykowi, „rycerzowi i bardowi” Sándorowi Petőfiemu. W artykule rozważane są przekłady wierszy Petőfiego Przy kominku, Zwaliska czardy, Bachusowe pieśni, a także wierszy patriotycznych Życzenia i Szózat. Te fakty dotyczące polskiej recepcji Sándora Petőfiego powinny zostać uwzględnione w przyszłych badaniach.The paper deals with the work of Lew Węgliński (1827–1905), a poet of the Polish–Ukrainian borderland, who published 6 collections in the Ukrainian language written in the Latin alphabet, and 7 books in Polish, which were dominated by the imaginary material created through appeals to the history and culture of different nations as well as translations of national poetry and folklore. The collection Snopek z niw słowiańskich i obcych (1885) is entirely devoted to translations of Slavic folklore: Ukrainian (42), Moravian (69), Hungarian – “the foreign field” (21), German (60) folk songs. In the introduction, Lew Węgliński described Hungarian songs as “fiery, witty, passionate”, and then cited the translations of Hungarian war songs called Erotki wojskowe – Na placu ćwiczeń, Pod czas marszu, Epikurejka and others.Lew Węgliński informed that his translations of Hungarian folk songs were a Suplementum (the attachment) to volume two. The contents of the collection Echo z-za Tatr i Karpat (1885) are presented in great detail and entirely devoted to the history, folklore, and literature of Hungary, which the author considers to be the most friendly neighbouring country to Poland. After the Arcadian epigraphs in German, the Introductory Word and the Explanations, he compares the Hungarian songs with the folklore of others nations, including Slavic. Lew Węgliński describes the positive facts of the Polish–Ukrainian dialogue, in particular refers and cites the speech Do parlamentu Węglińskiego petycja o wyswobodzenie Polski. The poetic material of the collection is divided into two parts: “original” works (44 poems) and Erotic songs based on Hungarian motifs (almost 100 poems), while the second section Free translations and imitations is also divided into parts From Hungarian folk songs and From Sándor Petőfi (50 poems).The original poem written by Lew Węgliński Hungarian Land, which celebrates the main symbols of this land – the Tisza, Danube, Carpathian and Tatra mountains, wine, medicinal springs, etc. These symbols poetically represent the history and culture of Hungary. The author mentions the Hungarian “luminaries” of literature, and pays a great attention to the most famous lyricist “knight-bard” Sándor Petőfi. Translations of Petőfi’s poems Przy kominku, Zwaliska czardy, Bachusowe pieśni as well as patriotic poems Życzenia and Szózat are considered in the paper. These facts of Polish perception of Sándor Petőfi are to be included in future studies.
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Bankauskaitė, Gabija. "Respectus Philologicus, 2011 Nr. 19 (24)." Respectus Philologicus, no. 20-25 (April 25, 2011): 1–284. http://dx.doi.org/10.15388/respectus.2011.24.
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CONTENTS
 I. PROBLEMS AND SOLUTIONSMichał Mazurkiewicz (Poland). Sport versus Religion... 11Natalia А. Kuzmina (Russia). Poetry Book as a Supertext... 19Jonė Grigaliūnienė (Lithuania). Possessive Constructions as a Purely Linguistic Phenomenon?... 31
 II. FACTS AND REFLECTIONSAleksandras Krasnovas, Aldona Martinonytė (Lithuania). Symbolizing of Images in Juozas Aputis Stories...40Jūratė Kumetaitienė (Lithuania). Tradition and Metamorphosis of Escapism (Running “from” or “into”) in the Modern and Postmodern Norwegian Literature...51Natalia V. Kovtun (Russia). Trickster in the Vicinity of Traditional Modern Prose...65Pavel S. Glushakov (Latvia). Semantic Processes in the Structure of Vasily Shukshin’s Poetics...81Tatyana Kamarovskaya (Belarus). Adam and the War...93Virginija Paplauskienė (Lithuania). Woman’s Language World in Liune Sutema’s Collection “Graffiti....99Jolanta Chwastyk-Kowalczyk (Poland). The Models of e-Comunication in the Polish Society of Britain and Northern Ireland...111Vilma Bijeikienė (Lithuania). How Equivocation Depends on the Way Questions are Asked: a Study in Lithuanian Political Discourse...123Viktorija Makarova (Lithuania). The One Who Names the Things, Masters Them: Ruskij vs. Rosijanin, Ruskij vs. Rosijskij in the Discourse of Russian Presidents...136Dorota Połowniak-Wawrzonek (Poland). Idioms from the Saga Film “Star Wars” in Contemporary Polish Language...144Ilona Mickienė, Inesa Birbilaitė (Lithuania). Women’s Naming in Telsiai Parish in the First Dacades of the 18th Century...158Liudmila Garbul (Lithuania). Reflection of Results of Interslavonic Language Contacts in the Russian Chancery Language of the First Half of the 17th Century (Synchronic and Diachronic Aspects). Part II...168Vilhelmina Vitkauskienė (Lithuania). Francophonie in Lithuania... 179Natalia V. Yudina (Russia). On the Role of the Russian Language in the Globalizing World of the XXI Century...189Maria Lojko (Belarus). Teaching Legal English to English Second Language Students in the US Law Schools...200
 III. OPINIONElena V. Savich (Belarus). On Generation of an Integrative Method of Discourse Analysis...212Marek Weber (Poland). Lexical Analysis of Selected Lexemes Belonging to the Semantic Field ‘Computer Hardware’...220
 IV. SCIENTISTS ABOUT SCIENTISTSOleg Poljakov (Lithuania). On the Female Factor in Linguistics and Around It... 228
 V. OUR TRANSLATIONSBernard Sypniewski (USA). Snake in the Grass. Part II. Translated by Jurga Cibulskienė...239
 VI. SCIENTIFIC LIFE CHRONICLEConferencesTatiana Larina (Russia), Laura Alba-Juez (Spain). Report and reflections of the 2010 International Conference on Intercultural Pragmatics and Communication in Madrid...246Books reviewsAleksandra M. Ponomariova (Russia). ЧЕРВИНСКИЙ, П. П., 2010. Номинативные аспекты и следствия политической коммуникации...252Gabija Bankauskaitė-Sereikienė (Lithuania). PAPLAUSKIENĖ, V., 2009. Liūnė Sutema: gyvenimo ir kūrybos keliais...255Yuri V. Shatin (Russia). Meaningful Curves. ГРИНБАУМ, О. Н., 2010. Роман А.С. Пушкина «Евгений Онегин»: ритмико-смысловой комментарий... 259Journal of scientific lifeDaiva Aliūkaitė (Lithuania). The Idea of the Database of Printed Advertisements: the Project “Sociolinguistics of Advertisements”...263Loreta Vaicekauskienė (Lithuania). The Project “Vilnius is Speaking: The Role of Vilnius Language in the Contemporary Lithuania, 2010”...265Daiva Aliūkaitė (Lithuania). The Project “Lithuanian Language: Fractures of Ideals, Ideologies and Identities”: Language Ideals from the Point of View of Ordinary Speech Community Members...267
 Announce...269
 VII. REQUIREMENTS FOR PUBLICATION...270
 VIII. OUR AUTHORS...278
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Mazur, Elżbieta. "Piosenka literacka i hymny pokoleniowe drugiej połowy XX wieku… na lekcjach języka polskiego w szkole średniej. Estetyka – tematy – wartości." Annales Universitatis Paedagogicae Cracoviensis. Studia ad Didacticam Litterarum Polonarum et Linguae Polonae Pertinentia 12, no. 330 (2021): 259–71. http://dx.doi.org/10.24917/20820909.12.17.
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The article concerns the post-war literary song in Polish language education in secondary schools, i.e. the place of authors and texts representing poetic songs, poems set to music, author’s song and the opinion of a generation at the Polish language classes. Besides such authors as Ewa Demarczyk, Agnieszka Osiecka, Wojciech Młynarski, Jacek Kaczmarski (perceived not through the prism of intertextual measures: painting or biblical one, but as a bard of “Solidarity”, i.e. the author of “The Walls”), Grzegorz Ciechowski’s work ‘Do not ask about Poland ‘ was considered. On the example of the poems by Kamil Baczyński which were sung by Demarczyk, texts written by Kaczmarski and Ciechowski, they were discussed the artistry, the topics and evaluation of poetic song from the perspective of educational axiology.
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Bela, Teresa. "Images of Love, Womanhood and Childhood in the Poems by Anna Swir and Wislawa Szymborska." Armenian Folia Anglistika 4, no. 1-2 (5) (2008): 80–100. http://dx.doi.org/10.46991/afa/2008.4.1-2.080.
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The article reveals the similarities and differences in the English translations of the poems by two Polish women-writers on the same topic – A. Swir and W. Szymborska. The analysis rests on comparison and contrast. Both writers present the post-war reality in Poland using different methods of description, different poetic images which help demonstrate the authors’ individual attitude to female issues.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.
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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Waysband, Edward. "Vladislav Khodasevich's "on Your New, Joyous Path" (1914–1915): The Russian Literary Empire Interferes in Polish-Jewish Relations." Slavic and East European Journal 59, no. 2 (2015): 246–69. http://dx.doi.org/10.30851/59.2.005.
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This paper contextualizes Khodasevich’s unfinished poem “On Your New, Joyous Path” (1914–1915) as his poetic response to his precarious Russian-Polish-Jewish self-awareness as well as to contemporary Polish-Jewish tensions. I argue that for both predicaments, Khodasevich proposes an identical solution: the redemptive assimilation into Russian imperial, supranational culture. This vision crystallized during World War I. At that time, the key dichotomy underlying Khodasevich’s imperial project – between the national and the imperial – took the form of opposition between Polish particularism and the universalism of Russian culture. Yet an attempt to realize this vision in the poem discussed underscores its inner ambiguity, since it reinforces clear-cut imperial narratives of Russia as the epitome of humanitarian values while leaving the logic of imperial power struggle untouched. Conflicting Jewish and Polish identities and the historical circumstances of the Polish-Jewish tensions are considered as a context for the poem’s vision of Russian messianic superiority. In conclusion, I discuss the reception of Khodasevich’s assimilatory project by his target audience.