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Stefania Chłędowska – zapomniana nowelistka

100%
Mazur A.
Prace Filologiczne. Literaturoznawstwo
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2018
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issue 8(11) cz.2
39-51
EN
Literary work by Chłędowska, who was also an interesting literary critic, including 16 short stories, has never been highly valued by reviewers, and in the 20th century was dismissively depreciated as a kind of ‘salon-fashion’ literature. It is possible however, after a thorough examination of her well done pieces, to prove their thematic, genre as well as narrative qualities. These include, to name a few, genre syncretism, engaging narrative constructions, ironical-humorous distance which balances more traditional and sentimental predilections, or the skeptical presentation of tragicomic aspects of human existence. Both aesthetic and philosophical orientations of these short stories allow to place Chłędowska’s literary works in the context of Biedermeier tradition.
2

Śródziemnomorskie kody polskości w twórczości Jana Parandowskiego

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Mazur A.
Prace Literackie
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2018
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vol. 58
129-141
EN
One is used to regarding Jan Parandowski (1895–1978) as a great connoisseur of the ancient world and a kind of “Olympic” writer with a distance to his own time and space. A thorough examination of his literary essays, short stories and novels hardly proves this opinion. Treating Polish history and culture, especially of the Renaissance epoch, as originating from and inspired by the ancient Roman/Greek tradition (“Poland is situated in the Mediterranean”), he conceals at the same time an evidently emotional approach to national legacy. There are several modes in which he evokes unique Polish history in the 19th century, with the great but problematic heritage of Romanticism as well as the controversial destiny of modern Polish artists obliged to fulfil national duties; he describes in classically discreet style Polish war experiences; he creates in different ways a sentimental image of his lost home country in Lwów. One of the clearest manifestos of the writer’s involvement in Polish identity can be also found in his defence of national sentiments and their qualities against the attitude presented in the famous work La Trahison des clercs (The treason of the intellectuals) by Julien Benda. According to Parandowski’s own declaration, his patriotism was responsive to aesthetical and sensory epiphany (geographical, landscape, etc. impressions) rather than to some abstract national symbols and declarations. There is also a close, mutual correspondence between ancient impulses in his work and his biography (Polish history); the writer has been frequently seeking for any consolation in Mediterranean utopian dimensions. Last but not least, the “postmortal” testimony of Polish identity in Parandowski’s biography and work seems to be related to the experience — for a long time unknown and only recently revealed — during his exile in revolutionary Soviet Russia; his pioneering study about “Bolshevism” documents the history of 20th-century totalitarianism and definitely denies the allegedly apolitical mind-set of the “Olympian.”
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Nowelistyczny tryptyk Stefanii Chledowskiej – zagubione ogniwo polskiego „bowaryzmu”?

100%
Mazur A.
Pamiętnik Literacki
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2012
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vol. 103
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issue 4
27-43
EN
Three psychological and customary studies by Stefania Chledowska (1850–1884), an obscure novelist, namely Impresjonistka (Impressionist), Z historii nie-bohaterow (From the History of Non-heroes), Babie lato (Indian summer) are original paraphrases of Flaubert’s bovarism. The references to French model are seen in the method of characters’ presentation, as well as on the fictional, stylistic and partially worldview level. Neurotic and bored heroines from upper class suffer from bovaristic hunger of sensual-psychical impressions and existential disappointment, while their adulterous affairs result in traumatic experience, and spiritual or physical destruction. The short stories’ auctorial tone includes an ironic distance from the world presented in them, pseudoromance melodrama as well as naturalistic accents (in the case of From the History of Non-heroes patterned after Alfons Daudet’s novel Fromont jeune et Risler ainé ).
4
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Ogrody Stiftera

100%
Mazur A.
Prace Filologiczne. Literaturoznawstwo
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2011
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issue 1(4)
247-268
EN
The article deals with the motif of garden in the work of Adalbert Stifter (1805-1868), an eminent author of Austrian Biedermeier prose, but also an inheritor of German classicism. Pictorial garden space plays a very important role in the plot and characters’ configurations in several Stifter’s short stories and novels (among others: Colorful Stones, Brigitta, Two Sisters, The Wanderer in the Forest, Indian Summer). The Garden, natural border-space between nature and civilization, evocates the condition of mental and primary ethical order, which is typical of Biedermeier style. Three dimensions of the motif are to be discussed: garden as the icon of development and inner growth of an individual (Bildung tradition); garden as love scenery and place of decline (Bible allegory) and garden as oeconomia divina (i.e. divine order of natural wildness, which can be destroyed by man’s hybris − or human order of artificial wildness, which represents existential and metaphysical harmony of human life). There are plenty of classical, biblical, romantic and modern topoi that create poetical topography of Stifter’s garden, among them: Arcadia, locus amoenus, Eden, hortus conclusus, Rose’s Garden of Love, Utopia, idyll, pantheistic and contemplative vision of nature, “atmosphere” and impression, ecology idea. Due to this, the garden motif in Stifter’s work corresponds perfectly to his philosophical conception (known as Gentle Law, das sanfte Gesetz), which explains the world as a kind of natural and cultural unity.
5
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„Na Ukrainie za owych dobrych czasów” – „Przed laty. Powieść ukraińska” Paulina Święcickiego

100%
Mazur A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2020
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vol. 20
209-221
RU
The forgotten work and life of Paulin Święcicki (1841–1876), a writer from Kiev region and active in Galicia, represents a rare, authentic example of Polish‑Ukrainian cultural border. His debut work entitled 'Przed laty. Powieść ukraińska' (1865), despite being an artistic failure, is an interesting link between the heritage of the Romantic 'Ukrainian School' and the historical vision of Polish Borderlands in With fire and sword by Henryk Sienkiewicz. The creation of the 17th‑century reality of Ukrainian grasslands (noble, rural and Cossack existence), battle scenes (fights against the Tatars), romantic‑melodramatic plot – these are all adapted to a unique Ukrainian (not Polish‑centred) perspective. Święcicki’s ‘ukrainism’ is a portrait of Cossack heroism, a picture of enslaving the Ukrainian nation, and a picturesque description of local stories. The eclectic character of the work, which is nostalgically contemplative and in romantic style, as well as journalistically engaged, has an impact on its incoherence, but also makes it original against the background of the Sarmatian‑borderland fiction of those days.  
EN
The forgotten work and life of Paulin Święcicki (1841–1876), a writer from Kiev region and active in Galicia, represents a rare, authentic example of Polish‑Ukrainian cultural border. His debut work entitled 'Przed laty. Powieść ukraińska' (1865), despite being an artistic failure, is an interesting link between the heritage of the Romantic 'Ukrainian School' and the historical vision of Polish Borderlands in With fire and sword by Henryk Sienkiewicz. The creation of the 17th‑century reality of Ukrainian grasslands (noble, rural and Cossack existence), battle scenes (fights against the Tatars), romantic‑melodramatic plot – these are all adapted to a unique Ukrainian (not Polish‑centred) perspective. Święcicki’s ‘ukrainism’ is a portrait of Cossack heroism, a picture of enslaving the Ukrainian nation, and a picturesque description of local stories. The eclectic character of the work, which is nostalgically contemplative and in romantic style, as well as journalistically engaged, has an impact on its incoherence, but also makes it original against the background of the Sarmatian‑borderland fiction of those days.
6

Nieprawdziwy koniec XIX wieku. Rec.: Ewa Paczoska, Prawdziwy koniec XIX wieku. Śladami nowoczesności. (Warszawa 2010)

63%
Brzozowska S., Mazur A.
Pamiętnik Literacki
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2014
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vol. 105
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issue 2
215-224
EN
The review discusses Ewa Paczoska’s book on the modernity signals in 19th century and on the 19th century continuations in the subsequent cultural formations. The researcher’s thesis about the blurred borderlines between tradition and modernity is based on a specific selection of threads and aspects of the analysed pieces (of Polish and European 19th, 20th, and 21st c. literature) corresponding with the paradigms typical of postmodernism. Cultural continuity and smooth linearity can be observed in the discussed images of the city, travel and otherness, as well as in the consecutive methods of defining Polishness and history perception (biographies, narrations).
PL
Recenzja omawia książkę Ewy Paczoskiej, poświęconą sygnałom nowoczesności w stuleciu XIX oraz kontynuacjom dziewiętnastowieczności w późniejszych formacjach kulturowych. Teza badaczki o zatarciu granic między tradycją a nowoczesnością zostaje oparta na specyficznym doborze wątków i aspektów analizowanych utworów (literatury polskiej i europejskiej XIX, XX i XXI w.), korespondujących z paradygmatami typowymi dla postmodernizmu. Ciągłość kulturowa i łagodna linearność daje się zauważyć zarówno w omówionych obrazach miasta, podróży oraz inności, jak i w kolejnych sposobach definiowania polskości czy postrzegania historii (biografie, narracje).
7
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Dlaczego bowaryzm?

63%
Mazan B., Mazur A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2018
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vol. 49
|
issue 3
7-25
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