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Oręż i pióro. Nieznane epizody z żołnierskiej biografii Stanisława Baczyńskiego

100%
Szawerna-Dyrszka A.
Pamiętnik Literacki
|
2021
|
vol. 112
|
issue 4
219-236
PL
Autorka artykułu przypomina nieznaną żołnierską biografię Stanisława Baczyńskiego, punktem wyjścia czyniąc informacje zawarte w jego aktach personalnych, przechowywanych w Centralnym Archiwum Wojskowym, i uzupełniając je wiedzą pochodzącą z innych źródeł. W społecznej pamięci Baczyński pozostaje przede wszystkim krytykiem literackim, choć o jego „literackiej” biografii też wiemy niewiele. Nie podjęto bowiem dotąd szczegółowych badań nad jego życiem i twórczością. Historia opowiedziana w artykule, wypełniając kilka pustych miejsc w biografii Baczyńskiego, zapowiada dalsze prace badawcze autorki zmierzające do przygotowania monografii autora „Rzeczywistości i fikcji”.
EN
The authoress of the paper recollects an unknown Stanisław Baczyński’s military biography, the starting point of which is a set of information from his personal records preserved in Centralne Archiwum Wojskowe (Central Military Archive), and supplemented by data from other sources. In social memory Baczyński reminds first and foremost a literary critic, though we know little about his “literary” biography too. Detailed research in his life and work has not been undertaken yet. The story told in this article, while filling some blank spaces in Baczyński’s biography, also signals the authoress’ research works that lead to preparing the writer’s monograph.
2
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Leśne tropy Czesława Miłosza

100%
Szawerna-Dyrszka A.
Postscriptum Polonistyczne
|
2011
|
issue 1(7)
53-62
EN
The theme of this article has been suggested by Miłosz himself, who published in his Sub-jects to Let (the second part of Road¬ side Dog) the short essay Las [The Forest]. Author plaits the net of associations connected with the forest, which leads to reflection that this apparently obvious and exploited by generations of poets topic can still produce various contexts: geographical, natural, economic, political, cultural and literary ones as well as those of sym-bolic, mythical, historical and biographical character. This last context leads back to Miłosz, as a consequence of the reflection that the forest serves as a kind of symbolical frame for many plots present in his life and creativity. From a biographical and literary point of view, the poet leaves the forest. However, in 1997 (when Road¬ side Dog was published), toward the end of his long life, Miłosz returns to the forest in his poetry. He writes a separate text about it. There is a wide range of forest traces (literal, metaphorical, symbolical) between those two moments. They can be noticed in other books by Miłosz.
3
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Kulminacja obchodów Roku Miłosza na Litwie

100%
Szawerna-Dyrszka A.
Postscriptum Polonistyczne
|
2011
|
issue 2(8)
339-341
4
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U źródeł żądzy pisania Czesława Miłosza

100%
Szawerna-Dyrszka A.
Śląskie Studia Polonistyczne
|
2013
|
issue 2(4)
85-98
EN
The article show what turned out decisive in Miłosz’s childhood and early youth times that made him later on decide to become a writer. The author examines circumstances under which Miłosz’s linguistic sensitivity in the “pre-writing” period, looks at his first individual reading, and writing samples subsequently. The correspondence between a beginner writer with Jarosław Iwaszkiewicz proves a hypothesis that Miłosz’s writing desire is secondary from the beginning in the light of his reality desire. A written word is aimed at capturing it and maintaining it most directly and as it is possible, namely referring directly to the world (not the written word). The aim of writing, on the other hand, derives from curiosity of the thing, the same that accompanied Miłosz before he had learned how to read and write.
FR
L’article montre ce qui dans l’enfance et la première jeunesse de Miłosz s’est avéré décisif pour sa décision postérieure de devenir écrivain. L’auteur examine des circonstances dans lesquelles la sensibilité linguistique du petit Miłosz s’est formée à l’époque « d’avant écriture », elle observe ses premières lectures autonomes et des essais d’écriture. La correspondence du jeune poète avec Jarosław Iwaszkiewicz confirme la thèse que le désir d’écriture de Miłosz est, dès le début, secondaire par rapport à son désir de réalité – la parole écrite sert à la saisir et fixer, le plus directement possible, c’est-à-dire en relation avec le monde (et non avec la parole écrite). L’objectif de l’écriture résulte de la curiosité des choses – la même qui accompagnait Miłosz avant qu’il n’apprenne à lire et à écrire.
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