Relevant bibliographies by topics / War poetry, Polish

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'War poetry, Polish'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "War poetry, Polish"

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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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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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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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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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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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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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Dissertations / Theses on the topic "War poetry, Polish"

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Sokołowska-Paryż, Marzena. "The myth of war in British and Polish poetry, 1939-1945 /." Bruxelles ; Bern ; Berlin : Presses interuniversitaires européennes (P.I.E) : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb38878942n.

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Giemza, Mara J. "Box of chalks : a sequence of poems based on the conscription of Polish boys into the German Army under the Volksliste." Thesis, University of Chichester, 2013. http://eprints.chi.ac.uk/805/.

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This creative thesis comprises a book length collection of poems entitled Box Of Chalks, and an accompanying prose commentary exploring issues of research, drafting and the forming of a narrative sequence of poetry. The book of poems is based on the experience of Polish boys and men forcibly conscripted into the German Army by National Decree, 4th March 1941. This enforced conscription remains a little acknowledged fact which I discovered is still refuted in some Polish communities. The poems are written from the viewpoint of one conscript. They consist of dramatic monologues, a duologue and a voice of the Valksliste. The poems cover a period from boyhood to old age. The accompanying prose commentary on the process of researching the historical material and the artistic drafting of the poems is formed of six chapters. Chapter One explores the genesis of the poems in the historical events of German conscription in Silesian Poland. Chapter Two discusses the ethics of using another's voice and the painful experiences. In this chapter, I trace the creative choices made from composite experiences as the voice of the sequence gradually developed. In Chapter Three, I show how facts, memories and experiences were gleaned through interviewing survivors and one survivor in particular. This chapter further examines the history of the Polish war experience and shows how oral reminiscence is linked to historically recorded events. The chapter shows how gleanings from these 'rememberings' formed the basis of individual poems and discusses the difficulties of opening up delicate matters linked to emotions of shame and guilt in the surviving community. Chapter Four examines the difficulties and rewards in finding the most appropriate opening for the narrative. I aim to demonstrate how the sequence of poems benefited from structuring techniques and a 'layering of imagery and sound', which, although discovered late in the process, helped to form a cohesive narrative. Chapter Five discusses the drafting of key poems and the challenge of unexpected inconsistencies encountered when designing the poetic sequence. Here, I explore the demands of forming a longer narrative out of individual poems, for example the need for bridging poems, continuity and telling the larger story mainly through one voice. Chapter Six demonstrates how a large part of the sequence was written transposing some of my own historical and cultural experiences through corresponding physical detail. Here, I explore experiments in creating characters and physical details to develop the world of the narrative and its accumulative progression. I conclude this thesis by acknowledging that the consequences of conscription continued long after the war had ended and has had an effect on later generations.
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Books on the topic "War poetry, Polish"

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The myth of war in British and Polish poetry, 1939-1945. P.I.E./P. Lang, 2002.

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"Przed złotym czasem": Szkice o poezji i pieśni patriotyczno-wojennej lat 1908-1918. Społeczny Instytut Wydawniczy Znak, 1990.

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Makuszyński, Kornel. "Bo Polska zapamięta najdroższe swe chłopięta!": Wiersze i piosenki żołnierskie 1919-1920. 2nd ed. LTW, 2012.

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Poezja pierwszej wojny: Tradycja i konwencje. Zakład Narodowy im. Ossolińskich, 1986.

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Liryka żołnierska: Estetyka i wartości. Wydawn. Uniwersytetu Rzeszowskiego, 2011.

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Krasiński, Gabriel. Taniec Rzeczypospolitej Polskiej. Wydawn. Nauk. Semper, 1996.

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"Nasze granice w Monte Cassino": Bitwa o Monte Cassino w poezji 1944-1969. LTW, 2007.

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Wojciech, Walczak, and Łopatecki Karol, eds. Ekspedycyja inflantska 1621 roku. Ośrodek Badań Europy Środkowo-Wschodniej, 2007.

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Orlicki, Jan. Z II Korpusem: Irak, Egipt, Italia : pamiętnik wojenny lekarza rezerwisty : ciąg dalszy. Adiutor, 1994.

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Guzlowski, John Z. Język mułów: I inne wiersze = Language of mules. Biblioteka Śląska, 2002.

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Book chapters on the topic "War poetry, Polish"

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Jarniewicz, Jerzy. "The Way Via Warsaw: Seamus Heaney and Post-War Polish Poets." In Seamus Heaney. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206267_8.

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Žanna, Nekraševič-Karotkaja. "Artistic Expression of the Translatio imperii Concept in the Latin Epic Poetry of the Polish-Lithuanian Commonwealth in the 16th Century and the European Literary Context." In Biblioteca di Studi Slavistici. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-198-3.05.

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In this article the author analyzes how the Renaissance epic poetry of the Polish-Lithuanian Commonwealth approaches the theme of translatio imperii, which is a concept and a political stereotype of transfer of metaphysical world domination from country to country. After the fall of Constantinople (1453), the concept of translatio imperii gradually lost its universal character and was interpreted within the confines of a nation. Among the analyzed poems are: Bellum Prutenum (1516) by Ioannes Visliciensis and Radivilias (1592) by Ioannes Radvanus. The artistic expression of both the “Jagiellonian” and Lithuanian (i.e., Grand Duchy of Lithuania) patriotism, which incorporated the concept of translatio imperii, had an enormous impact on the formation of the national identity of the Belarusian, Lithuanian, and Polish peoples.
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Weinfeld (ed.), David. "Hebrew Poetry in Poland between the Two World Wars." In Polin: Studies in Polish Jewry Volume 13. Liverpool University Press, 2000. http://dx.doi.org/10.3828/liverpool/9781874774600.003.0041.

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(Jerusalem: Mossad Bialik, 1997); pp. 496 The Hebrew Nobel Laureate S. Y. Agnon describes in his semi-autobiographical novel A Guest for the Night (1939) a Hebrew writer’s return in about 1930 to the Galician town of his birth. What was once a thriving centre of Jewish culture is now virtually a ghost town, its population depleted and traumatized by war and privation. The writer tries to renew his ties with the past but fails, and in the end returns to Jerusalem, his only true home....
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Gömöri, George. "Polish and Hungarian Poets on the Holocaust." In Polin: Studies in Polish Jewry Volume 31. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764715.003.0020.

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WHEN discussing Holocaust poetry two names usually spring to mind: Paul Celan and Nelly Sachs. There is, however, a large corpus of poems on the subject from two eastern European countries, both of which had large Jewish communities before the Second World War: Poland and Hungary. In what follows I shall discuss the best poetry on the Holocaust from both countries, excluding that written in Yiddish....
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Tuwim, Julian. "Utwory nieznane. Ze zbiorów Tomasza Niewodniczańskiego w Bitburgu: Wiersze, Kabaret, Artykuły, Listy." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0037.

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This chapter assesses Julian Tuwim's Utwory nieznane (Unknown Works), the title of which is somewhat misleading. The book is largely made up of cabaret pieces that were performed and known to the public; they simply were never published in written form. Still, the book's publication in 1999 was an important event, not only for poetry lovers and historians of literature, but also from a Jewish perspective. Jewish topics appear prominently and in many forms in this collection of poems, facsimiles, juvenilia, cabaret skits and songs, and private letters from various periods of the poet's life. This is in clear contradiction to the stereotype, predominant in Jewish historiography, of the pre-war Polish Jewish intelligentsia as thoroughly assimilated and uprooted. Tuwim's example demonstrates that the opposite was the case. Like many other writers, he was in constant dialogue with his Jewishness, defending it when attacked, but also critical of Jewish obscurantism.
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"Other Voices—Protest against War and Violence in Polish and Ukrainian Poetry on World War I." In Cossacks in Jamaica, Ukraine at the Antipodes. Academic Studies Press, 2020. http://dx.doi.org/10.1515/9781644693025-027.

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Woldan, Alois. "Other Voices—Protest against War and Violence in Polish and Ukrainian Poetry on World War I." In Cossacks in Jamaica, Ukraine at the Antipodes. Academic Studies Press, 2020. http://dx.doi.org/10.2307/j.ctv1zjg9jq.30.

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Bartoszewski, Władysław. "Karin Wolff, editor. Hiob 1943. Ein Requiem für das Warschauer Ghetto. Neukirchen-Vluyn: Neukirchner Verlag. 1983. Pp. 322." In Polin: Studies in Polish Jewry Volume 1. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781904113171.003.0051.

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This chapter examines Karin Wolff's invaluable and successful anthology of poetry and prose, entitled Hiob 1943. A Requiem for the Warsaw ghetto. The anthology contains 50 literary texts and accounts by authors of all ages, Poles and Polish Jews, including texts by people who did not manage to survive the war. There are also prominent pieces by universally acclaimed writers of the older and middle generation. Karin Wolff, a translator of great merit of Polish literature into German, a German in her middle age living in the German Democratic Republic, has contributed greatly to familiarizing East German readers with Polish writing on the experiences of Poles and Jews during the war and the occupation of 1939–1945. Her work was recognized and rewarded in 1981 when she was given the Polish Pen Club annual award for the most outstanding translator of works from Polish into another language.
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Zipperstein, Steven J. "Ashkenazic Jewry and Catastrophe." In Polin: Studies in Polish Jewry Volume 1. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781904113171.003.0024.

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This chapter discusses Ashkenazic Jewry and catastrophe. When Simon Dubnow was invited to contribute to the first volume of the Yiddish-language Historishe shriftn (1929), he submitted a piece on the 18th-century Jewish catastrophe in Uman. The article, an essay accompanying two annotated versions of Jewish folk chronicles on the massacre, was written in 1921 in the wake of the Ukrainian pogroms of the previous year that left as many as 70,000 Jews dead. Dubnow stated that the Khmelnitsky pogroms of 1648, the Uman massacre, and the recent devastations following World War I were part of a continuous, seamless saga. Reactions to catastrophe such as Dubnow's, observes David G. Roskies in Against the Apocalypse, with their tendency to concentrate on the cyclical nature of horror, are harmful and yet very persuasive. Indeed, the tendency to understand catastrophe along these lines is deeply embedded in the Jewish consciousness, he contends. Such responses may be traced back to rabbinical liturgical poetry and even earlier; they continue to shape Jewish literary reactions to catastrophe to the present day.
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Luboń, Arkadiusz. "Poezja wciąż uwikłana najnowsze tłumaczenia liryki Rudyarda Kiplinga na tle jej wcześniejszej recepcji przekładowej w Polsce." In Nie tylko Ishiguro. Szkice o literaturze anglojęzycznej w Polsce. Wydawnictwo Uniwersytetu Łódzkiego, 2019. http://dx.doi.org/10.18778/8142-543-8.11.

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The article discusses the latest Polish translations of verses by Rudyard Kipling and their relations with current literary, cultural and ideological discourses in Poland. Retrospective recapitulation of the manners the poetry of British Nobel Prize Laureate was interpreted and analyzed throughout its history clearly suggests at least one common pattern in critical and translational perception of Kipling’s texts. After the years at the turn of 19th and 20th Centuries, when his poetry had been marginalized by Polish publishers as supporting colonial politics of European empires, his poetical works – for the same reason – were often translated and eagerly printed during the interwar period. Ostracism for his “imperialistic” agenda after the Second World War in the communist state of People’s Republic of Poland only slightly changed after the political turn in 1989, since the translations of Kipling’s writings remained sparse and occasional due to the popularity of postcolonial studies among Polish readers and critics. Numerous of the latest translations also link Kipling’s poetry to Polish social and political context – often as a result of arbitrary changes introduced by the translators in the target texts.
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