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Szwajcaria nie zawsze poetyczna: Mickiewicz, Słowacki, Krasiński

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Ławski J.
Świat Tekstów. Rocznik Słupski
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2013
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issue 11
67-95
EN
The paper looks closely at the representation of Switzerland in the works of three no-table Polish Romantic poets: Adam Mickiewicz, Juliusz Słowacki and Zygmunt Krasiń-ski. The author analyzes the nineteenth-century myth of Switzerland, which included: Alpine flora and fauna, federalism, the figure of J.J. Rousseau, the state’s proverbial peace and quiet, and its hospitality towards refugees. As it turns out, while writing about Switzerland Polish poets draw heavily on the cultural stereotypes, but, at the same time, treat this country with reserve. Switzerland is perceived as a transit state on the way to desired Italy; as a place inhabited by people of “foreign mentality”, followers of rational Protestantism; and their culture seems not only provincial but underdeveloped.
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Mickiewicz, wspólnota, historia

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Ławski J.
Wiek XIX. Rocznik Towarzystwa Literackiego imienia Adama Mickiewicza
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2008
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vol. 1(43)
54-72
EN
This article reinterprets legends and literary-historical disputes having accrued around Mickiewicz. The transformation of the Mickiewicz of the former half of 19th century into the one of posterity is shown, along with contexts (including post-modern ones) facilitating re-comprehension of the basic categories of the poet's output.
3
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„Życie sieroty” Jana Barszczewskiego – czarny romantyzm spoza modelu „antagonizmu wieszczów”

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Ławski J.
Prace Filologiczne. Literaturoznawstwo
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2021
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issue 11 (14)
349-363
EN
The article presents the readers with a long forgotten drama Życie sieroty [The Life of An Orphan] by Jan Barszczewski (1780−1851), an outstanding Polish Romantic literature classic who produced his literary work in Saint Petersburg, Russia, Belarus, the former territory of Poland, and Cudowno, Ukraine. Barszczewski is the one who invented a unique model of referring to both the poetics of Dziady [Forefathers’ Eve] by Adam Mickiewicz and Godzina myśli [Hour of Thought] by Juliusz Słowacki. He consistently manages to refer to both of the great Polish Romantics avoiding any ‘antagonisms’ or juxtapositions of the bards whatsoever. Also, he successfully makes these references become a part of his dark and gloomy vision of the world. This literary phenomenon is at the same time one of the earliest examples of how artfully a poet can resort to inspirations of both authority figures of Polish Romanticism. What makes Barszczewski’s world consistent is his gloom-ridden and obscure vision of the cosmos where the ultimate consolation, in a metaphysical and afterlife sense, is religion − Roman Catholicism in its Easter Rite Catholic form.
PL
Autor artykułu przypomina Życie sieroty (1849), zapomniany dramat Jana Barszczewskiego (ok. 1780−1851), polskiego romantyka działającego w Petersburgu, na białoruskich ziemiach dawnej Rzeczypospolitej i w Cudnowie na Ukrainie. Barszczewski stworzył oryginalny model nawiązania równocześnie do poetyki Dziadów Adama Mickiewicza i Godziny myśli Juliusza Słowackiego. W mroczną, „czarną” wizję świata wpisał konsekwentnie odwołania do obu poetów romantycznych, unikając jakiegokolwiek antagonizowania, przeciwstawiania jednego wieszcza drugiemu. Jest to zarazem jeden z najwcześniejszych przykładów sięgania w romantyzmie polskim po inspiracje obu autorytetów. Spójność światu przedstawianemu Barszczewskiego zapewnia jego pesymistyczna, mroczna wizja kosmosu, w której jedyną pociechę − ale już w wymiarze pośmiertnym, metafizycznym − niesie religia, rzymski katolicyzm w jego odmianie unickiej.
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Ironia i nihilizm. Figura bibliotekarza w Posłuchaniu u Lucypera Józefa Sękowskiego

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Ławski J.
Prace Filologiczne. Literaturoznawstwo
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2018
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issue 8(11) cz.2
83-94
PL
The subject matter of the present article is the image of library and librarian in a forgotten short story by a Polish-Russian writer Józef Julian Sękowski (1800−1858). Sękowski is known in Polish literature as a multi-talented orientalist and polyglot, who changed his national identity in 1832 and began to write only in Russian. In the history of Russian literature he is famous for Library for Reading and Fantastic Voyages of Baron Brambeus, an ironic-grotesque work, which was precursory in Russian prose. Until 1832 Sękowski was, however, a Polish writer. His last significant work was An Audience with Lucypher published in a Polish magazine Bałamut Petersburski (Petersburgian Philanderer) in 1832 and immediately translated into Russian by Sękowski himself under the title Bolszoj wychod u Satany (1833). The library and librarian presented by the author in this piece are a caricature illustration proving his nihilistic worldview. Sękowski is a master of irony and grotesquery, yet the world he creates is deprived of freedom and justice and a book in this world is merely a threat to absolute power.
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Rzeka w czarnoromantycznym imaginarium: „Zamek kaniowski” Seweryna Goszczyńskiego

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Ławski J.
Prace Filologiczne. Literaturoznawstwo
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2015
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issue 5(8)
455-478
EN
The subject of the present study is the image of river in the epic poem by Seweryn Goszczyński (1801−1876) The Castle of Kaniv (1828), which falls in line with the so called Dark Romanticism. The said current developed in the literature of English, German, French and Polish Romanticism. It was characterized mainly by extreme aesthetic effects, the symbolism of day and night, frenetic effects, pessimistic vision of human beings, nature, and history. Goszczyński significantly deepens this image of the world in Dark Romanticism by introducing considerably extensive aquatic symbolism, above all, river symbolism. It is mainly related to the geographical and cultural reality of Ukrainian lands, where the poet comes from. Thus the augmentation of the poetic role of the river, the Dnieper in particular.
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Profesor Wojciech Gutowski (1946–2020). Wspomnienie

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Ławski J.
Ruch Literacki
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2021
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issue 6
883-890
7
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Projectional Interpretation: Bolesław Prus’s Reading of Zdania i uwagi by Adam Mickiewicz

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Ławski J.
Tematy i Konteksty
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2020
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issue 1
180-196
EN
The article focuses on the interpretation of selected aphorisms of the Romantic poet Adam Mickiewicz (1798–1855) provided by Bolesław Prus (1847–1912),a prose writer and a representative of realism in Polish post-Romantic literature. Prus interpreted religious, sometimes almost mystical, aphorisms as commendation of hard work, activism, and as a manifesto of practical ethics. Inspired by the mystical thoughts of Angelus Silesius, Jakob Böhme and Saint-Martin, Mickiewicz’s aphorisms are perceived as exceptionally ambiguous. Prus, however, projected his own literary and philosophical mindset onto the micro-texts of the Romantic poet and, in consequence, oversimplified their meaning. What he did is here called a projectional interpretation.
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Romantyzm poza wektorem „wpływu”. Model amerykańsko-polskiego rezonansu kulturowego

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Ławski J.
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2017
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vol. 12
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issue 7
153-167
EN
The author of the article considers Polish-American literary and cultural relations from the 18th century to the times of romanticism. He notices that those relations fall into the model impossible to describe by the traditional models using the category of “influence” [Harald Bloom] or postcolonial dependence. The basis for American-Polish relations is the idea of freedom, fight for freedom and even a peculiar cult of freedom of both nations. The personifications of this common relation are the heroes of fight for freedom  of Poland and the United States, namely Kazimierz Pułaski and Tadeusz Kościuszko. As the author notices studies on these relations lead to the conclusion that apart from dependence relations between historical and cultural phenomena in intercultural relations others may be observed. Thus, I describe American-Polish relations as a realization of a certain model called „the model of resonance, circulation and transmission” of values, patterns, common ideas. As the researcher indicates the model of this type also shapes postromantic relations between the United States and Polish culture, which may also be observed on the basis of studies on reception of such writers as James F. Cooper, August Antoni Jakubowski, Margaret Fuller, Ralph Waldo Emerson, Henryk Sienkiewicz, Karol Wojtyła, Czesław Miłosz.
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