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'MY LIFE FLOWS IN A TWOFOLD STREAM'. ON ZOFIA ROMANOWICZOWNA AND HER DIARIES ('Zycie moje dwoistym pradem plynie'. O Zofii Rromanowiczownie i jej dziennikach)

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Poklewska K.
Pamiętnik Literacki
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2008
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vol. 99
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issue 4
23-44
EN
Zofia Romanowiczowna's 'Lvov Diary' (1842-1930) prepared and edited by Zbigniew Sudolski (vol. 1-2, Warszawa 2005) is a fascinating reading. It shows a complete life track of its authoress, leading simultaneously through historical, political, and social transformations, psychical alternations, and changes in the way of thinking and understanding of the world. Initially, Romanowiczowna is a young girl shaped by romantic culture, who tries to fulfill her role of 'angel', a consoler, a helper, and a man's confidante. As she fails to fit any of the roles for women of the epoch (a wife, a mother, a nun, a resident at the family), Romanowiczowna maturely and deliberately chooses to work for a few dozens of years as a teacher 'to earn her bread and cheese' and, at the same time, with the sense of social and national mission, she engages into women organizations of emancipation and independence. At the same time, we find records on the dreams of love and disappointment in love, wavering of the amplitude of religiousness and faith, the joy of friendship and kindness, and a bitter taste of loneliness and incomprehension. Life presented from the perspective of external events and internal sensations - this is Zofia Romanowiczowna's diary.
2
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Z Fredrą dyliżansem i koleją

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Poklewska K., Uniwersytet Łódzki W. F., k.poklewska@gmail.com
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2012
|
vol. 01
EN
The present paper is devoted to two little-known comedies by Aleksander Fredro: The Stagecoach (1827) and From Przemyśl to Przeszowa (1867). The interesting thing is that the main construction principle of both stories is the time span of the journey taken by the protagonists, defining the beginning and end of their adventures. The time spent together by the characters, travelling by stagecoach in one of the comedies and by train in the other, unites a casual group of persons, which results in creating new relationships. The common journey from Płock to Toruń and from Przemyśl to the Czech town of Przerów (“Przeszowa”) provides a framework for the storyline. Both the comedies are examples of travel writing, combining various theatrical conventions and traditions: farce, bourgeois comedy, drama, and serious comedy. In The Stagecoach, comedy characters of different origin (from burlesque to tragedy) meet and in From Przemyśl to Przeszowa, a number of farcical twists and situations are followed by a happy ending of a family drama. Both the comedies are set in the rich reality of nineteenth-century travels: from the appearance of different railway station buildings and the menu in each successive restaurant to animosities between particular passengers resulting from the discomfort of travelling together.
3
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„Chyba tylko zapisać wrażenia z lektury, choć ja mam manię sprawdzania realiów”. Z profesor Krystyną Poklewską rozmawiają Krystyna Pietrych i Tomasz Cieślak

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Poklewska K., Pietrych K., Cieślak T., Uniwersytet Łódzki W. F.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
|
2012
|
vol. 01
EN
In an interview with Krystyna Pietrych and Tomasz Cieślak, Krystyna Poklewska, professor emerita of the Łódź University, discusses the first years of the Faculty of Philology and Polish Studies in Łódź. It was also when she started her studies after leaving the destroyed Warsaw. She mentions numerous great individuals who used to work there, such as Jan Dürr-Durski, Samuel Sandler, Stefan Kawyn or Zdzisław Skwarczyński. The Professor considers her own career as a scholar: her earliest years marked by the strong influence of Kawyn, until the most recent time, which found her with inexhaustible passion for working with the literature of Polish Romanticism.
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