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1

Wisława Szymborska: "Vermeer"

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Bernacki M.
Świat i Słowo
|
2010
|
vol. 2010, nr 2 (15)
95-106
EN
The poem Vermeer, from the newest Wisława Szymborska’s anthology Here (2009), is one of the shortest works of the Nobel prizewinner. Both conciseness of the text and its connection with the 17th century Dutch painting encouraged the author to make a meticulous analysis in which euphony and phonetic harmony play the main role. The initial analysis of stylistic layer leads to hermeneutic interpretation, which, through comparison of the literary work and Vermeer’s painting The Milkmaid (1658), shows that Szymborska’s work could be read as a special kind of haiku. The key scene described by the poet, pouring milk from the jug into the bowl, which takes place “in the painted silence and attention”, evokes symbolic and religious senses. It occurs that understanding the deep meaning of the poem leads the reader to the space of archetypal mystery and makes one ponder over the force that keeps the world going day by day.
2

Kultura pamięci [Modi memorandi. Leksykon kultury pamięci, red. M. Saryusz-Wolska, R. Traba, współpraca J. Kalicka, Wydawnictwo Naukowe Scholar, Warszawa 2014, ss. 592.]

100%
Bernacki M.
Świat i Słowo
|
2016
|
vol. 14
|
issue (2) 27
155-161
EN
The article is a short presentation of a very important and precursory work entitled Modi memorandi. Leksykon kultury pamięci, edited by Magdalena Saryusz- Wolska, Robert Traba and Joanna Kalicka, published in Warsaw (2014). The work, written by 101 authors (historians, sociologists, literary scholars and members of other disciplines of the humanities), contains 180 articles which belong to the dis- course analyzing the culture of memory (‘memory studies’) and presents the most important aspects of the so called ‘mnemonic turns’ (or: ‘memory turns’) which took place in the 1980s and 1990s and which last till the present day.
3

Piotr Szewc, Cienka szyba

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Bernacki M.
Świat i Słowo
|
2014
|
vol. 12
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issue (2)23
333-336
EN
[Review: Piotr Szewc, Cienka szyba, Wydawnictwo Literackie, Kraków 2014, pp. 47.]
4

O początkach i perspektywach miłoszologii

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Bernacki M.
Świat i Słowo
|
2015
|
vol. 13
|
issue (2)25
15-23
EN
The topic of the article is reminding pioneer academic work Getting to know Milosz (Poznawanie Miłosza) under scientific editors of Jerzy Kwiatkowski (edited in Krakow in 1985), which started expansion of national reception of works by The Issa Valley author. The author of the article also asks questions about different methodological discourses that have been following in the wake of research on Milosz's work for the last 30 years. He also asks rethorical question concerning the future of miloszology in 21st century.
5

Pożegnanie Różewicza

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Bernacki M.
Świat i Słowo
|
2014
|
vol. 12
|
issue (1)22
231-235
EN
Review: Tadeusz Różewicz, to i owo, ed. Jan Stolarczyk, Biuro Literackie, Wrocław 2012, pp. 105
6

Interpretacja i etyka. Wokół książki Marka Bernackiego Świat interpretować – konieczne zadanie

100%
Bernacki M.
Świat i Słowo
|
2014
|
vol. 12
|
issue (1)22
253-258
PL
Review: Marek Bernacki, Świat poprawiać – konieczne zadanie, Wydawnictwo Naukowe Akademii Techniczno-Humanistycznej w Bielsku-Białej, Bielsko-Biała 2014, ss. 248.]
7

Jarosław Marek Rymkiewicz’s Poetic Danse Macabre

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Bernacki M.
Świat i Słowo
|
2017
|
vol. 15
|
issue (1) 28
147-154
EN
The article discusses the latest poetic volume entitled Koniec lata w zdziczałym ogrodzie [The End of Summer in a Wild Garden] written by Jarosław Marek Rymkiewicz, one of the most famous Polish contemporary poets. The author of the article first of all focuses on the motif of death, which is presented in most of forty three poems included in the mentioned volume in various symbols and constellations. The author shows also an intertextual poetic dialogue in a space of culture led by the poet.
8

Nowe książki o Miłoszu

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Bernacki M.
Świat i Słowo
|
2015
|
vol. 13
|
issue (2)25
263-267
EN
The article is a short presentation of two important works dealing with Czeslaw Milosz’s life and literature. First of them, written by Ewa Kołodziejczyk , is entitled An American after-second-world-war-period of Czeslaw Milosz (“Amerykańskie powojnie Czesława Miłosza”) and the second one, by Mateusz Antoniuk, “A word once awoken”. Poetry of Czeslaw Milosz: attempts of reading („Słowo raz obudzone”. Poezja Czesława Miłosza: próby czytania). First of the books mentioned above shows in details various Milosz’s activities during the five years period of his work for Polish Embassy in Washington (1945-1950) while the second one is an interesting proposition of “methodological alliance” between the studies on Czeslaw Milosz’s literary works and the so called “genetic criticism” and method of “close reading”. Both works are worth of being treated as really important examples of contemporary miloszology.
9
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Zofii Zarębianki Wtajemniczenia (w) Miłosza

100%
Bernacki M.
Świat i Słowo
|
2013
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vol. 11
|
issue 2(21)
283-286
EN
[Review: Zofia Zarębianka, Wtajemniczenia (w) Miłosza. Pamięć – (duch)owość – wyobraźnia, Wydawnictwo Homini, Kraków 2014, pp. 507.]
10
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O zbawieniu (z Wierszy ostatnich Czesława Miłosza)

100%
Bernacki M.
Postscriptum Polonistyczne
|
2011
|
issue 1(7)
257-273
EN
The article is dedicated to detailed analyzing and interpreting the Miłosz’s poem O zbawieniu [On salvation]. This poem was most probably written two years before Miłosz’s death and was located at the end of the volume Last Poems (2006). The author confronts “the last poem” of Miłosz with Mickiewicz’s “the cry poem” written in Lausanne (“wiersz płacz” as Przyboś called it): “I shed pure tears, countless tears…”. Both poems – though representing different genres – (Mickiewicz’s poem is a model example of immediate lyrical confession; Miłosz’s poem has a form of poetic minitreaty) express related ideas through similar fig-ures such as: repetition, enumeration, synecdoche, ellipse. Both texts can be related not only because of the similarities in composition and structure, but also because of their catharsis- aimed character. Mickiewicz achieves purification through tears shed over his life and humble acceptance of the fact that a project formed in his youth resulted in a disaster in his manhood. Miłosz presents the state of liberating salvation as a result of the peaceful and lighted with non-of-this-world gleam contemplation of the difficult truth concerning the necessity of giving up all the earthly things. Both “last poems” of the great poets can be regarded as the masterpieces of a lyric of vanitas. Their main aim can be described as an attempt to confront the mystery of eschatological dimension of human existence.
11
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Czeladnik i mistrz. Czesława Miłosza spotkania z Oskarem Władysławem Miłoszem

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Bernacki M.
Postscriptum Polonistyczne
|
2011
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issue 2(8)
191-206
EN
The theme of the article is multi¬ facted description of Czesław Miłosz's long lasting fascina-tion by the person and deeds of his distant relative Oskar de Lubicz Miłosz. The two poets met for the first time in Paris in 1931. Ever since then Miłosz being impressed by poetic and dramatical works of his uncle, attempted to popularize them among the readers in Poland and abroad. He wrote essays about him and translated his French poems into English and Polish. The crowning of this process was a poem Czeladnik (A Journeyman) (from a volume Druga przestrzeń, 2004) and a poem Dobroć (Goodness) – according to Agnieszka Kosińska the very last poem completed by Miłosz before his death.
12
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Andrzeja Stasiuka przestrzenne doświadczenie Nicości. Zapiski z wyprawy mongolskiej

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Bernacki M.
Postscriptum Polonistyczne
|
2014
|
issue 1(13)
81-92
EN
The topic of this article is a description of the experience of spacial Nothingness that occurred during Andrzej Stasiuk’s trip to Mongolia in summer 2010. He presented this experience to his readers in two reports published in „Tygodnik Powszechny” in February and March 2011. The author of this article distinguishes between Stasiuk’s different interpretations of Nothingness. He examines Stasiuk’s reports on his Asian trip against the criteria of so¬ called ‘modern travelling’ (MacCannel, Wieczorkiewicz). The author of the article concludes that the types of Nothingness described by Stasiuk lead to a mystic experience of the kind that was described by Jacek Bolewski as an apophatic one („Nic jak Bóg”).
13
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Opowieści reportażowe Mariusza Szczygła. Na podstawie książki Gottland

100%
Bernacki M.
Postscriptum Polonistyczne
|
2013
|
issue 1(11)
139-152
EN
The main theme of Bernacki's article is a reflection over genologic dimension of texts included in Gottland (2006) by a well­‑known Polish reporter and publicist, Mariusz Szczygieł. Bernacki, discussing one of the chapters of the book entitled The proof of love, which tells the story of the biggest in the world Stalin's monument in Prague (1955–1962), defines its form as "reportage story". This kind of "more capacious form", derived from feature documentary whose master was Melchior Wańkowicz, combines, according to Bernacki, elements of journalism and literature. Therefore it becomes a part of a project of a new syncretistic multimedia genology, proposed by Edward Balcerzan.
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