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Journal articles on the topic 'Stanislaw Witkiewicz'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Narewska, Dorota. "„622 upadki” Witkacego w listach do żony o żonach." Dydaktyka Polonistyczna 15, no. 6 (2020): 110–32. http://dx.doi.org/10.15584/dyd.pol.15.2020.7.

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The article is a view of relation that bonds Stanislaw Ignacy Witkiewicz and Jadwiga Unrug-Witkiewicz that emerges from his mails to the wife. His view of imperfect relationship of man and woman, marriage, a relation towards the sacrament, offspring, love and faithfulness contains the traces of God’s reality.

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2

Szynkiewicz, Mariusz. "Kosmos i filozofia – kilka uwag na temat „niepokoju kosmologicznego” Stanisława Ignacego Witkiewicza." Filozofia Publiczna i Edukacja Demokratyczna 1, no. 2 (July 31, 2018): 66–86. http://dx.doi.org/10.14746/fped.2012.1.2.4.

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Stanisław Ignacy Witkiewicz was one of the greatest and unconventional artists of his generation. This text pertains to philosophical aspects of S.I. Witkiewicz literature. The author’s philosophical vision of cosmos and sense of human live is examined from the perspective of a claim that philosophical contemplation is inherent in the cosmological contexts of Witkiewicz’s novels.

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3

Żmidziński, Jakub. "Motywy muzyczne w prozie tatrzańskiej Stanisława Witkiewicza." Góry, Literatura, Kultura 10 (May 25, 2017): 155–72. http://dx.doi.org/10.19195/2084-4107.10.14.

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Musical motifs in Stanisław Witkiewicz’s Tatra proseThe musicality of Stanisław Witkiewicz’s Tatra prose has so far not been studied by scholars in any detail. Following Andrzej Hejmej’s findings, the present author focuses first on musicality I, i.e. the sound layer of the text, in which ahuge role is played by extensive quotations in dialect as well as fragments of songs. This reveals one of the key principles governing Witkiewicz’s text – the principle of contrast. Next, the author examines musicality II, i.e. the level of thematisation of music. Here of considerable importance are sound images of nature, silence as well as murmur of streams, sounds of wind and stone echoes, and even of fire. The expression Witkiewicz uses here is “great music of nature”. Just as often Witkiewicz refers to highlanders’ music, especially Sabała’s playing, though it is treated more like aform of archaic, wild expression than original aesthetic quality.

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4

Schümann, Daniel. "Stanisław Witkiewicz jako malarz dźwięku." Litteraria Copernicana, no. 1(25)/ (March 29, 2018): 65. http://dx.doi.org/10.12775/lc.2018.004.

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5

Kościuszko, Krzysztof. "Stanisław Ignacy Witkiewicz wobec nieskończoności aktualnej." Humanistyka i Przyrodoznawstwo, no. 20 (August 1, 2018): 29–41. http://dx.doi.org/10.31648/hip.219.

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W artykule rekonstruuję stanowisko Witkacego wobec nieskończoności aktualnej. Jego poglądy sytuuję na tle tradycji badawczych starożytności, średniowiecza i nowożytności. Konfrontuję jego interpretację z interpretacją filozoficznych formalistów i intuicjonistów.

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6

Tarnowski, Józef. "Narodziny Witkacego z ducha Witkiewicza." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 30, no. 1 (2018): 111–21. http://dx.doi.org/10.15290/idea.2018.30.1.08.

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Stanisław Witkiewicz (1851-1915) himself taught his son Stanisław Ignacy (1885-1939), known later as Witkacy, helped by his wife and friends, among whom there were scientists, artists and professional teachers. The results of such education were amazing. At the age of eight, the boy could paint using different techniques, play the piano and compose music. His father desired for him to become a naturalist painter like himself. At a young age Witkacy became an outstanding artist, not only a painter, but also a writer. However, in opposition to his father’s teaching, when he matured artistically, he rejected naturalism and joined the artistic avant-garde. Just after the first world war he published a long philosophical essay inspired probably by the work of his father’s great intellectual enemy – the Neo-Hegelian Polish philosopher Henryk Struve. Thus, Witkacy shaped himself, both in the respect of art and philosophy, in the opposition to his father, Stanisław Witkiewicz.

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7

Olszewska, Maria Jolanta. "Stanisława Witkiewicza marzenia o Niepodległej." Litteraria Copernicana, no. 1(25)/ (March 29, 2018): 17. http://dx.doi.org/10.12775/lc.2018.002.

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8

Kuczkowski, Bartłomiej, and Mirosława Radowska-Lisak. "Dwa aforyzmy – autografy Stanisława Witkiewicza." Litteraria Copernicana, no. 1(25)/ (March 29, 2018): 125. http://dx.doi.org/10.12775/lc.2018.008.

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9

Popiel, Magdalena. "Portret Jako Jednostka Kulturowej Historii Literatury / The Portrait as a Unit of the Cultural History of Literature." Ruch Literacki 54, no. 1 (January 1, 2013): 1–14. http://dx.doi.org/10.2478/v10273-012-0051-x.

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Summary This article is concerned with the role of the literary and the photographic portrait in the cultural history of literature. It argues that a new appraisal of the history of literature should take into account the prominent role of pictorial representation in contemporary culture. In practice, getting to grips with the multimediality of literary history means not only taking note of the interaction of various modes of communication but also adopting a nonlinear perspective, liberated from the ordering hegemony of language and narration, and based on the rhythm of Warburg’s formulas of pathos. The new approach should draw freely on inspirations from the history of art and anchor its discourse in the conceptual frameworks of anthropological aesthetics, Visual Culture Studies and case studies. One can expect that it would show its exceptional worth when applied to the study of multimedia artists like Stanisław Witkiewicz and Stanisław Ignacy Witkiewicz.

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10

Kościuszko, Krzysztof. "Wstęp do metafizyki Stanisława Ignacego Witkiewicza." Humanistyka i Przyrodoznawstwo, no. 22 (August 18, 2018): 207–19. http://dx.doi.org/10.31648/hip.389.

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Autor niniejszego artykułu omawia Witkiewiczowskie pojęcie metafizycznej implikacji, spekulatywny charakter metafizyki wynikający z używania eksperymentów myślowych, metodę metafizycznej dedukcji pojęć, zadania metafizyki, stosunek metafizyki do badań empirycznych, stosunek metafizyki do nauki, krytykę fizykalizmu, stanowisko monadologiczne.

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11

Tarnowski, Józef. "Estetyka Stanisława Witkiewicza z dzisiejszej perspektywy." Litteraria Copernicana, no. 1(25)/ (March 29, 2018): 77. http://dx.doi.org/10.12775/lc.2018.005.

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12

Baraniak, Magdalena. "Wychowanie przez sztukę. Stanisław Witkiewicz i Witkacy a romantyzm." Litteraria Copernicana, no. 1(25)/ (March 29, 2018): 87. http://dx.doi.org/10.12775/lc.2018.006.

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13

Majewska-Wójcik, Anna Magdalena. "Anioł i syn – językowy portret Stanisława Witkiewicza-ojca." Zeszyty Naukowe KUL 61, no. 1 (October 20, 2020): 533–46. http://dx.doi.org/10.31743/zn.2018.61.1.533-546.

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W artykule Autorka prezentuje Stanisława Witkiewicza w jednej z jego prywatnych ról – w roli ojca. Pokazuje, jakie relacje łączyły ojca z jedynym synem – Stanisławem Ignacym, jak układały się stosunki pomiędzy tymi dwiema wybitnymi osobowościami, jak postrzegany był Witkacy przez ojca oraz jakimi priorytetami kierował się ojciec w wychowaniu jedynaka. Na podstawie korpusu listów do syna oraz innej korespondencji familijnej Autorka szkicuje portret Witkiewicza-ojca. Artykuł stanowi kontynuację tematu zapoczątkowanego przez Małgorzatę Król, dotyczącego ojców: Wincentego Pola i Gustawa Zielińskiego.

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14

Heck, Dorota. "Witkacy w perspektywie postkolonialnej." Góry, Literatura, Kultura 10 (May 25, 2017): 197–208. http://dx.doi.org/10.19195/2084-4107.10.17.

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Witkacy from the postcolonial perspectivePostcolonial studies implies negation of western canon, hegemony of the white man and his Europe. Several plays and one novel written by Stanisław Ignacy Witkiewicz Witkacy are full of exotic colonial literary motives. Postcolonial studies seems to fulfill his catastrophism as the end of western cultural heritage.

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15

Żakiewicz, Anna. "Witkacy: First of All, a Painter – Searching for an Individual Style." Tekstualia 1, no. 2 (January 2, 2014): 225–40. http://dx.doi.org/10.5604/01.3001.0013.6125.

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Nowadays, Witkacy is known as a multi-talented artist: painter, photographer, art theoretician, playwright, but also the author of four novels and a philosopher. However, ﬁrst of all, he was a painter. He painted and drew from early childhood, encouraged by his father Stanisław Witkiewicz, himself a painter, critic and theoretician of art.

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16

Nguyen, Fryderyk. "Objaśnianie marzeń sennych według Stanisława Ignacego Witkiewicza." Pamiętnik Literacki 3 (2018): 71–82. http://dx.doi.org/10.18318/pl.2018.3.5.

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17

Kościuszko, Krzysztof. "Monadologia Stanisława Ignacego Witkiewicza wobec Bertranda Russella." Studia z Historii Filozofii 10, no. 2 (July 5, 2019): 173. http://dx.doi.org/10.12775/szhf.2019.021.

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18

Sokół, Lech. "Muzyka jako Sztuka Czysta. Stanisław Ignacy Witkiewicz i Konstanty Regamey." Przestrzenie Teorii, no. 14 (January 1, 2010): 33. http://dx.doi.org/10.14746/pt.2010.14.8.

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19

Fieguth, Rolf. "Stanisław Ignacy Witkiewicz: zum Wechselverhältnis von Theorie und dramatischer Praxis." Russian Literature 22, no. 2 (August 1987): 157–72. http://dx.doi.org/10.1016/0304-3479(87)90024-x.

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20

Ługowska, Jolanta. "Róża bez kolców Zofii Urbanowskiej — między „reklamą” a idealizacją Tatr." Góry, Literatura, Kultura 13 (September 22, 2020): 193–207. http://dx.doi.org/10.19195/2084-4107.13.16.

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Zofia Urbanowska’s Róża bez kolców [Rose Without Thorns] planned and written by the author as a “fictionalised encyclopaedia of the Tatras” is a valuable source of information, which had its roots both in the Urbanowska’s own experiences associated with her visits to Zakopane filled with field studies, as it were, and meticulous note-taking, and in the literature on the subject, particularly Stanisław Witkiewicz’s Na przełęczy. It is possible to distinguish two levels of meanings in the image of the Tatras created by the author, meanings highlighted primarily in the dialogues of the protagonists, both fictional, belonging to the world presented in Róża bez kolców, and those modelled on real people (Witkiewicz, Matlakowski and others). The first of these levels of meanings is associated with an idea — journalistic in its origin — of popularising the Tatras and highland folklore, an idea defined as a “civic duty” leading, as it turns out in Urbanowska’s novel, to a kind of publicity for the (highest and most beautiful) Polish mountains. The second level is associated with a unique model — firmly established in the literary tradition — of “reading” the Tatra landscape with the help of the language of culture, for example by looking for similarities between natural objects and works of art, or in the writer’s attempts to interpret the symbolic meanings of natural images.

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21

Wójcik, Wiesław A. "„Na przełęczy” Stanisława Witkiewicza w syntezach dziejów literatury polskiej." Góry, Literatura, Kultura 10 (May 25, 2017): 173–85. http://dx.doi.org/10.19195/2084-4107.10.15.

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Stanisław Witkiewicz’s Na przełęczy in histories of Polish literatureThe overview, presented in the article, of opinions by historians of Polish literature about Witkiewicz’s writings about the Tatras, especially his flagship work — Na przełęczy [On a Mountain Pass] — clearly shows that most of them, comparing Witkiewicz’s oeuvre to that of other Polish writers at the time, appreciated his artistic and social significance, his role in building readers’ sensitivity to the beauty of the Tatra landscape, to the exoticism of the culture of Podhale highlanders. This seems to be the central idea of fragments of these studies cited in the article as examples. In addition, all of them — indirectly or explicitly — point to the untypical structure Witkiewicz’s book of the Tatras, hindering its genological typology and making it impossible to unequivocally assign it to a specific kind or genre of literature.

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22

Sajewska, Dorota. "The Postmortal Life of Savages: Witkiewicz and Malinowski Disinterred." TDR/The Drama Review 60, no. 1 (March 2016): 132–49. http://dx.doi.org/10.1162/dram_a_00528.

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In the burial rites of the Trobrianders Bronislaw Malinowski describes, a body is removed from its grave so that certain bones can be used as relics. He was joined in the tropics by Polish playwright Stanisław Ignacy Witkiewicz, whose bones, it was later discovered—after his remains were relocated twice—were nowhere to be found. The two friends were reunited in a 2011 play that shares a title with one of Malinowski’s books: The Sexual Life of Savages. The anthropologist’s demonstration of how remains achieve autonomy aptly reflects the role bones and things play in “necroperformance.”

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23

Kwiatkowski, Krzysztof. "Styl zakopiański Stanisława Witkiewicza i jego differentia specifica." Przestrzeń Urbanistyka Architektura, no. 1 (2020): 57–66. http://dx.doi.org/10.4467/00000000pua.20.004.12071.

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24

Łowejko, Marta. "Filozofia Stanisława Ignacego Witkiewicza a filozofia zdrowego rozsądku." Ruch Filozoficzny 75, no. 1 (March 30, 2019): 57. http://dx.doi.org/10.12775/rf.2019.004.

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25

Oziębłowski, Mariusz. "Dialogue or fundamental conversation? About the revolutionary potential of Stanislaw Ignacy Witkiewicz’s philosophy." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Filozofia 14 (2017): 229–42. http://dx.doi.org/10.16926/fil.2017.14.10.

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26

Oziębłowski, Mariusz. "Funkcje sztuki w teorii Czystej Formy Stanisława Ignacego Witkiewicza." Ruch Filozoficzny 75, no. 1 (March 30, 2019): 69. http://dx.doi.org/10.12775/rf.2019.005.

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27

Kuczkowski, Bartłomiej. ""Na przełęczy" Stanisława Witkiewicza w Teatrze Witkacego w Zakopanem." Litteraria Copernicana, no. 1(25)/ (March 29, 2018): 135. http://dx.doi.org/10.12775/lc.2018.009.

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28

Nalewajk, Żaneta. "Witkacy – Schulz – Gombrowicz." Tekstualia 1, no. 2 (January 2, 2014): 3–10. http://dx.doi.org/10.5604/01.3001.0013.5935.

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The article presents the original achievements of three writers: Stanisław Ignacy Witkiewicz, Bruno Schulz and Witold Gombrowicz. The text indicates the sources of their inspiration, and describes their reception, and formal experiments. Confrontation of these three types of oeuvre is based on the belief that the legacy of these authors is not merely a part of Polish and European Modernism, but substantially enriches all literature of that time. The article situates the literary achievements of the three Modernist writers in the context of the Modernism and the artistic endeavors of Polish writers in the second half of the nineteenth century.

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29

Siatkowska-Callebat, Kinga. "Characters in the Prose Works of Stanisław Ignacy Witkiewicz, Bruno Schulz, and Witold Gombrowicz." Tekstualia 1, no. 2 (January 2, 2014): 199–216. http://dx.doi.org/10.5604/01.3001.0013.6120.

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Literary characters in the works of Stanisław Ignacy Witkiewicz, Bruno Schulz, and Witold Gombrowicz lets us discern several typical features of their writing. Most importantly, we may observe a pioneering approach to character. It differs from the reading habits of the inter-war period. This is confirmed by the reviewers who invariably criticized the constructions of characters and interpreted them as a sign of writer’s block or the writers’ inclination towards sickness and weirdness. The ﬁ rst readers of these texts rarely considered such construction of characters to be a deliberate choice. The innovation of these three Polish authors in terms of character creation was only discovered and appreciated by scholars after World War II. In the light of texts belonging to various theoretical movements such as psychology and psychoanalysis, gender studies, theory of the grotesque, and contemporary anthropology, and considering the signiﬁ cance of corporeality in the works of these three authors, we can now accurately read their goals in the creation of characters. The openly ﬁ ctional status of characters, common to all the three writers but realized by them in an individual way, is quite striking. We will not ﬁ nd attempts to construct psychologically believable “real people” in any of them. Deformation, fragmentariness, lack of consistence and of individualisation serve to demonstrate the problems that the subject faced in Modernism, looking for his/her own elusive identity. If we assume that the characters created by all the three authors, characterized by a marked ﬁ ctional existence (from Witkacy to Gombrowicz to Schulz), constitute a wider metaliterary reﬂ ection, we should add that these constructions are not limited to a game with conventions, and rather constitute an “indirect form of existential and anthropological reﬂ ection through poetics and style – they articulate [...] individual and collective realizations and experiences”.

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30

Pawlak, Przemysław. "Stanisław Ignacy Witkiewicz, Ogólna podstawa krytyki poglądów Koła Wiedeńskiego i pokrewnych (Zarzut błędnego koła)." Sztuka Edycji 9, no. 1 (October 11, 2016): 69. http://dx.doi.org/10.12775/se.2016.008.

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31

Bizior-Dombrowska, Magdalena. "O idealizmie i realizmie Stanisława Ignacego Witkiewicza – krótka historia edytorskiego śledztwa." Sztuka Edycji 9, no. 1 (October 11, 2016): 27. http://dx.doi.org/10.12775/se.2016.004.

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32

Kasperski, Edward. "Under the Sign of Parody and the Grotesque (Stanisław Ignacy Witkiewicz, Bruno Schulz, Witold Gombrowicz)." Tekstualia 1, no. 2 (January 2, 2014): 181–98. http://dx.doi.org/10.5604/01.3001.0013.6119.

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The article considers the question of what common features connect three remarkable twentieth-century Polish writers – Stanisław Ignacy Witkiewicz, Bruno Schulz, and Witold Gombrowicz – an irresistible suggestion presents itself. All three writers, to a greater or lesser extent and in personally speciﬁ c ways, represent the parodic and grotesque trends in contemporary Polish literature, and are its most innovative and prominent implementers. Neither different birthdates nor differences that ﬁlled their biographies can negate the collectivity of these authors. Not even their professing often different philosophies, artistic attitudes, or styles, which deﬁne their individuality and originality, is enough to terminate their union. It is uncommon in history when diversity and collectivity, which brings together as much as pushes apart authors, creates such a colorful and suggestive constellation.

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33

Jabłońska, Aneta. "Artystyczne kompozycje egzystencjalne. Teorie estetyczne w 622 upadkach Bunga Stanisława Ignacego Witkiewicza." Przegląd Humanistyczny 63, no. 4 (January 15, 2020): 29–40. http://dx.doi.org/10.5604/01.3001.0013.7282.

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In the article, Aneta Jabłońska analyzes a way Witkacy defined art and creative process. Jabłońska discerns a parallel between Witkacy’s terms and interpretations of these categories which were named in modernism. The author of the article shows the conceptions of art which were described in The 622 Downfalls of Bungo. She also presents how these conceptions influence the acts of the novel’s main characters (among others of Bungo, Duke of Nevermore and Baron Brummel). Jabłońska distinguishes the following theories: aestheticism of the modern period, aesthetic pragmatism, and modern aestheticism. The article casts doubt on Bożena Danek-Wojnowska’s thesis because Jabłońska proves that in his novel, Witkacy did not opt for any of the theories which he showed in The 622 Downfalls of Bungo as each of them was either destroying the artist or denying the existence of pure art and its creation.

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34

Mocarska-Tycowa, Zofia. "Kto jest ten dziwny nieznajomy… O pewnym portrecie i autoportrecie Stanisława Witkiewicza." Litteraria Copernicana, no. 1(25)/ (March 29, 2018): 7. http://dx.doi.org/10.12775/lc.2018.001.

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35

Pycka, Anna Małgorzata. ""Aby ta ofiara nie poszła na marne" – Stanisława Witkiewicza przesłanie do syna." Napis Pismo poświęcone literaturze okolicznościowej i użytkowej 1 (2013): 166–80. http://dx.doi.org/10.18318/napis.2013.1.11.

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36

Dybel, Paweł. "Witkacy nie istnieje. Uwagi na temat motywu sobowtóra w pisarstwie Stanisława Ignacego Witkiewicza." Rana. Literatura - Doświadczenie - Tożsamość, no. 1 (June 29, 2020): 45–67. http://dx.doi.org/10.31261/rana.2020.1.03.

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Pisarstwo Stanisława I. Witkiewicza, którego światowa kariera zaczęła się w latach 50. minionego stulecia, traktowane jest dzisiaj w wielu aspektach jako prekursorskie w stosunku do postmodernizmu. W jego dramatach i powieściach znalazło to swój wyraz w kreowaniu postaci bohaterów rozbitych wewnętrznie, działających niczym rozregulowane maszyny ludzkie i niebędących w stanie panować nad własnymi popędami. Z tymi motywami korespondowała równie rozbita, targana przez różnego rodzaju sprzeczności („węzłowiska”) i nieustannie się podwajająca tożsamość pisarza, co znajdowało swój wyraz w jego obsesji sobowtóra. W artykule autor chce pokazać, jak dalece obsesja ta miała swoje źródło w instrumentalnym traktowaniu go przez ojca, który chciał w nim widzieć doskonalsze artystyczne wcielenie samego siebie. Rozpatrywana z tej perspektywy cała twórczość Witkacego jest buntem przeciwko ojcu, wyrażającym się w (nadaremnym) dążeniu do wyłamania się z bycia jego lepszą kopią, sobowtórem.

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37

Żakiewicz, Anna. "Przestrzeń barwna Czystej Formy. Kolor w teorii i praktyce twórczej Stanisława Ignacego Witkiewicza." Przestrzenie Teorii, no. 14 (January 1, 2010): 123. http://dx.doi.org/10.14746/pt.2010.14.7.

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38

Oziębłowski, Mariusz. "Can a Clock Consist of Living Creatures? Or: About a Metaphysical Feeling in Philosophy by Stanisław Ignacy Witkiewicz." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Filozofia 12 (2015): 135–52. http://dx.doi.org/10.16926/fil.2015.12.08.

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39

Kącka, Eliza. "„Połniejszyj bardak i untiergang”. O degeneracji w literaturze (z nieustającym odniesieniem do Maxa Nordaua)." Przegląd Humanistyczny 62, no. 3 (462) (December 3, 2018): 83–95. http://dx.doi.org/10.5604/01.3001.0012.7681.

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The article deals with the topic of degeneration, thereby bringing back the name Max Nordau for reflection on the literature of the late nineteenth and early twentieth century. Nordau’s writings are not, however, the subject of autonomous reflection or ideological reconstruction here. The aim is to present a model of the attitude stigmatizing everything that the author of Entartung considered a disease. Branding literature and art as degenerate meets with the crisis of the late nineteenth century – partly envisaging this crisis, partly aggravating it. In this perspective – tracing the signs of degeneration not following Nordau, but referring to his diagnoses – I read selected works of H.G. Wells, Wacław Berent, Jerzy Żuławski, and Stanisław Ignacy Witkiewicz. The theme of degeneration itself is differently functionalized and metaphorized in their writings. Common for them appears to be a pessimistic attitude to evolution as in fact involution, increasing morbidity, bestiality, misfortune.

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KOWALSKA-ELKADER, Natalia. "Beyond Content. On the Form in Sound Art." Journal of Media Research 14, no. 1 (39) (March 15, 2021): 79–92. http://dx.doi.org/10.24193/jmr.39.5.

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Form in sound art is the crucial aspect for both analysis and per- ception. The theoretical basis includes, among others, the theory of ‘Pure Form’ devised by Stanisław Ignacy Witkiewicz and Susan Sontag’s theory of interpretation. Later in the text, issues of aesthetics and anti-aesthetic are mentioned. The research questions dealt with in this text were: What is the position of form in sound art and how is it related to content? What kinds of means of expression can be applied? The employed methods in- clude literary analysis and criticism as well as some elements of structural analysis. The examples analyzed in this article were broadcasts by Gregory Whitehead, Eugeniusz Rudnik, Tomasz Plata, and Antye Greie. The per- ception of the art can be disturbed by certain means of expression such as formal chaos or noise which is also considered in the text.

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Tatur, Urszula. "Typy kobiet w literaturze polskiej a ich stereotypy zawarte w warstwie językowej (na podstawie wybranych dzieł)." Białostockie Archiwum Językowe, no. 8 (2008): 205–22. http://dx.doi.org/10.15290/baj.2008.08.15.

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The article is an attempt to carry out a linguistic analysis of the image of woman included in selected works of the Polish literature from the 19th century and the beginning of the 20th century. It presents representative models of women typical of that time: a type of a romantic lover, a positivistic liberated woman, and Young Poland’s femme fatale, as exemplified in Poganka by Narcyza Żmichowska, Szalona by Józef Ignacy Kraszewski and Pożegnanie jesieni by Stanisław Ignacy Witkiewicz, in order to discover features essential to create social patterns of gender perception. The article has been divided into three parts. Each part is a separate analysis of linguistic devices that serve to create the image of the fair sex in a given epoch as well as indicate the realization of a stereotypical model of femininity. This model determines basic roles of woman in the world – as wife, mother and lover.

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Kraševec, Eva. "Approaching the real: The directorial approach of Jernej Lorenci in staging the Crazy Locomotive by Stanisław Ignacy Witkiewicz and The Wedding by Rudi Šeligo." Maska 30, no. 175 (November 1, 2015): 44–57. http://dx.doi.org/10.1386/maska.30.175-176.44_1.

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“Approaching the Real” utilises the author’s dramaturgical involvement in both to reflect on the creative process behind Jernej Lorenci’s productions of Stanisław Ignacy Witkiewicz’s The Crazy Locomotive and Rudi Šeligo’s The Wedding at SNG Drama Ljubljana, both characteristic of the director’s work. By revealing methods and concepts behind the staging of the plays, we can gain an insight into the director’s thinking, that is, the “reflective processing” of the creative team. These are productions in which we can talk about approaching the authentic or, better said, the so-called “real”, and which arose as collective creations of a homogenised authorial and acting team.

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Zajączkowski, Ryszard. "Japońska Polska. Kulturowy wizerunek Polski w Japonii." Zeszyty Naukowe KUL 61, no. 2 (October 14, 2020): 381–98. http://dx.doi.org/10.31743/zn.2018.61.2.381-398.

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Obecność kultury polskiej w Japonii sięga początków XX wieku, kiedy po I wojnie światowej pojawiły się tłumaczenia najbardziej znanych dzieł Henryka Sienkiewicza, Władysława Reymonta i Stefana Żeromskiego. Wiele dla popularyzacji Polski w zrobili też franciszkanie w latach trzydziestych i później. Po II wojnie światowej w Japonii odkryto twórczość Stanisława Lema, Witolda Gombrowicza, Stanisława Witkiewicza (Witkacego) czy Brunona Schulza. Ich twórczość była promowana choćby przez Teatr X w Tokio. Pojawiło się również zainteresowanie literaturą polską nawiązującą do II wojny światowej (Jerzy Andrzejewski, Bogdan Wojdowski, Tadeusz Borowski). Do znacznego zainteresowania literaturą polską przyczynili się też tłumacze zarówno już zmarli Yonekawa Kazuo, Yoshigami Shōzō, Kudō Yukio, jak też żyjący Sekiguchi Tokimasa i Numano Mitsuyoshi. W Japonii wystawiał swe sztuki Tadeusz Kantor. Dzięki filmom Andrzeja Wajdy kino polskie zdobyło tam uznanie już w latach pięćdziesiątych. Znani w Japonii są też tacy reżyserzy jak Krzysztof Zanussi, Krzysztof Kieślowski, Roman Polański, Jerzy Kawalerowicz. W Japonii bardzo popularna jest też muzyka Chopina. Nasz kulturalny kanon różni się jednak od tego, który znają Polacy. Jak zauważył Sekugichi Tokimasa: „Polska japońska jest siłą rzeczy inna od Polski polskiej”.

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Jarosz-Nojszewska, Anna. "Odbudowa gmachu doświadczalnego Szkoły Głównej Handlowej w Warszawie po II wojnie światowej." Kwartalnik Kolegium Ekonomiczno-Społecznego. Studia i Prace, no. 3 (November 27, 2016): 109–26. http://dx.doi.org/10.33119/kkessip.2016.3.4.

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In 2008 the Campus of the Warsaw School of Economics (SGH) was entered into the register of monuments. The Research Pavilion, so called Building A, is the oldest of the campus buildings. It was constructed between WWI and WWII according to the design of Jan Koszczyc-Witkiewicz, one of the most renowned contemporary architects. During WWII, immediately after the end of the Warsaw Uprising, the Germans burnt down this building despite the signed capitulation agreement guaranteeing the protection of Polish national heritage monuments. The building accommodated at that time the archives of Polish pre-war state institutions, which were completely destroyed. The building was reconstructed after the WWII as a results of the efforts of the university authorities and personal involvement of Professor Stanisław Skrzywan. The paper presents the process of reconstruction of the listed building based on archive sources - the Archives of the capital city of Warsaw (the archives of the Capital Reconstruction Bureau)and SGH Archives (the minutes from meetings of the SGH Senate), the memoires and contemporary press

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Bocheński, Tomasz. "Dissidents of Modernism: Witkacy, Gombrowicz, Schulz." Tekstualia 1, no. 2 (January 2, 2014): 49–64. http://dx.doi.org/10.5604/01.3001.0013.5939.

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The author of the article is interested in the story of three dissidents from Poland who wanted the center to read their struggle with time, to listen to their regressive, rebellious, prophetic narrations unanchored in time, distrustful towards the present, belated and yet ahead of the phantasmagorical temporalities of the center. It is a story about three artists who understood and described the regression of the language of fathers. Stanisław Ignacy Witkiewicz, Bruno Schulz and Witold Gombrowicz did not surrender to the fear that commands peripheries to seek refuge in the narrations of fathers against the dangers of modernity. In their respective works these authors had to address some problems of Polish modernism (1880–1918), that hasty attempt to make up for philosophical backwardness. In parodies of the exalted manner of Polish modernity, they found a grotesque, humorous aspect of the modern, almost non-existent in Polish literature from before 1918. A modern avant-garde form allowed them to express the horrors of civilisational progress that always annihilates both poverty and art.

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Dombrowski, Maciej. "Konferencja „Stanisław Ignacy Witkiewicz. Konteksty filozoficzne, teatralne i filmowe”, Instytut Filozofii, Instytut Literatury Polskiej, Uniwersytet Wrocławski, 19–20 listopada 2015." Ruch Filozoficzny 75, no. 1 (March 30, 2019): 129. http://dx.doi.org/10.12775/rf.2019.009.

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Dombrowski, Maciej. "„Nauki ścisłe a filozofia” i inne pisma filozoficzne (1933–1939) Stanisława Ignacego Witkiewicza – problemy tekstologiczno-edytorskie." Sztuka Edycji 9, no. 1 (October 11, 2016): 21. http://dx.doi.org/10.12775/se.2016.003.

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Nalewajk, Żaneta. "Literature Philosophied. Witkacy – Gombrowicz – Schulz." Tekstualia 1, no. 2 (January 2, 2014): 167–80. http://dx.doi.org/10.5604/01.3001.0013.6116.

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Readers of Witkacy, Gombrowicz, and Schulz are bound to notice philosophical inspirations present in numerous intertextual references and contextual indicators. Their texts contain almost all possible literary signs suggesting the possibility of at analysing works by Witkacy, Gombrowicz, and Schulz on at least two hermeneutic levels: literary and philosophical. In the case of Witkacy, Schulz, and Gombrowicz, the choice of literary form was essentially philosophical. In works by Stanisław Ignacy Witkiewicz, it seemed to advocate replacing philosophical monographs with individualised language as one of conditions of innovation in the ﬁ eld. Witold Gombrowicz, in turn, manifested his objection towards a speculative, “non-physical” philosophy deprived of experience. Bruno Schulz’s decision to mix philosophy and literature stemmed from a conviction that the arts (and literature as one of them) cannot mindlessly recreate existing philosophical theses. On the contrary, it should be the one to challenge philosophy with complex questions. If we were to look for examples of an illustrative character in the works of the three authors, we might only refer to their individual stands. In this sense, the presence of references to philosophical tradition was naturally signiﬁ cant, but should not overshadow their own points of view.

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Geneja-Pietrzak, Barbara. "The Spruce in the Culture of the Podhale Shepherds." Perspektywy Kultury 27, no. 4 (January 1, 2020): 201–18. http://dx.doi.org/10.35765/pk.2019.2704.14.

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In this article I tackle the issue of the worship of spruce trees in the culture of the shepherds in Podhale, a region in southern Poland. This is an issue related to the particular significance of the spruce. It has played a great role in the culture of the whole Podhale region, and es-pecially in the pastoral culture of this area. The spruce was elevated to the rank of a symbol of good luck, prosperity and well‑being. All ac-tivities carried out in the work of shepherds were connected with the ceremonial treatment of spruce trees. It should be noted that these ac-tivities were religiously and magically motivated, as spruce twigs were blessed in the church beforehand. However, this does not change the fact that the rituals were magical. An example would be the custom according to which shepherds would pin spruce or fir twigs to their hats, believing that this would keep them and their sheep were safe. Nowadays, shepherding culture enjoys great interest among research-ers, as well as among Polish and even foreign communities, who apply for participation in shepherding courses organized today. The magic associated with pastoral culture was also reflected in Polish litera-ture and dialect poetry. Readers can refer to the works of such poets and writers as: Seweryn Goszczyński, Kazimierz Przerwa‑Tetmajer, Władysław Orkan, and Stanisław Witkiewicz or dialect poets Wanda Szado‑Kudasi kowa and Roman Dzioboń.

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Firaza, Joanna. "Auf den Spuren Frank Wedekinds. Stanisław Ignacy Witkiewiczs 622 Stürze des Bungo, oder Das dämonische Weib (622 upadki Bunga czyli Demoni czna kobieta)." Die Welt der Slaven 66, no. 2 (2021): 367–91. http://dx.doi.org/10.13173/ws.66.2.367.

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