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1

Frontiers of the literary research

100%

Olejniczak J.

Anthropos?

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2010

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issue 14-15

92-107

EN

In this project, reader will come cross a few sketches, which are concerned about frontiers perception in the literature research. The Author starts his essay from the most famous piece of Zbigniew Herbert - Mr Cogito. He uses it, because as he has assured - this poem constitutes and introduces perfectly border definition in this mainstreaming. On the one hand, there is an emigrant reversal and from the second hand - there is a strand of crossing the border. The Author has described - the world, which presents Herbert’s poem is divided into two half, where in its centre is a border - monstrous tight and guarded. The Author thesis, that it is not poem wrote by emigrant poet, contrary - this is a poem, which is the most important in the polish modern lyrics, because it constitutes an emigrant experience. It means, above all it is experience border, the new sensation of space time, which shared some of the world - "here" (foreign lands) and "there" (homeland), "now" (foreign lands) and "before it" (homeland). The Emigrant has crossed the border only in one part and paradoxically this recital rarely casts in reviews, even in the reminiscent literature. The next volume of essay has spoken about the frontier consequences of an emigrant situation, as the Author has emphasized - it is all about imagine otherness of emigrant, in which the one of the most important consequences is the topic emigrant’s literature, but this is only the one context linked to the prevalence of the words ‘frontier’ in literary research. This issues makes a question - has the frontier of emigrant situation a link with frontier species in his discourse or expression ? The Author has motivates - at the end is yet one title the words ‘frontier’ in the contemporary literary research, it is about a presentation way the metaphysical issues in the literature, as the situation of the individual outlet an extreme experience. This means, that the whole problem of statement pain, suffering, delight, death, sexuality, violence, famine and madness - all, these are "crossing border". "The Frontier" in the contemporary literary research is such a key-word, a category, which we can use to describe a lot of different aspects of the literature.

2

Antologia Miłosza

100%

Olejniczak J.

Postscriptum Polonistyczne

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2011

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issue 1(7)

201-209

EN

The author of the article offers insights into the process of preparing an anthology of Czesław Miłosz’s poetry by composing a list of major challenges that either a scholar or a critic undertaking such task must face. Paradoxically, the author stresses the fact that either a mere synthesis or a complete anthology of Miłosz’s oeuvre is rendered impossible by its sheer magnitude, plurality of poetic voices, generic diversity and thematic richness. In con-clusion, the author enumerates the most important features of Miłosz’s poetry, such as its unrelenting subjectivity (as in the case of the strong, subjective poetic voice, always rooted in poet’s autobiography) and numerous and persistent dichotomies: intuitive seer versus labouring artisan; mystic versus hard working rationalist; Darwinist versus naturalist; roman-tic versus anti-romantic; detached historian versus a subject of history musing over its meaning, and last but not least, an erudite poet versus a naive, spontaneous one.

3

Projekt: historia literatury

100%

Olejniczak J.

Śląskie Studia Polonistyczne

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2014

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issue 1-2(5)

101-108

EN

The author diagnoses the situation that “history of literature” found itself in as a subdiscipline of literary science in first decades of the 21st century. He sees the reasons for its weakened status in a methodological differentiation, resulting in multiplication of interpretational practices in postmodernism; emergence of a new field of literature, described by J. Culler as “theory”; theoretical, and historical and literary self-awareness of writers, increased in late modernism questioning the ability to write an objective history (H. White); the dawn of “great narratives” (J.-F. Lyotard); finally, superseding history of literature from school textbooks. In the opinion of the author, other sources of disturbing the status of history of literature are practices in the field of literary history, which excessively deal with often artificial breakthroughs and divisions in history of literature, radically questioned by an increasingly widespread belief in “long-lasting” modernist formation, as well as a crisis of the University institution and its authority, which began around the year 1968 (already commented on by W. Gombrowicz in his Diary). In conclusion, the author of the sketch seeks a chance for history of literature – after a “cultural shift” in literary research – in “new historicism”. It is important however for literature scientists to stop being “ashamed” (as S. Szymutko put it) of the object of their studies. Having said that, even though writing a new history of Polish literature seems necessary, such objective history will never emerge and one should rather expect many subjective histories.

FR

L’auteur de cette esquisse diagnostique la situation de l’« histoire de la littérature », considérée comme une sous-discipline de la science de la littérature, dans les premières décennies du XXIe siècle. Les raisons de la décadence de son statut sont conditionnées par une diversité méthodologique qui se manifeste, dans la postmodernité, par la multiplication des pratiques interprétatives, par l’apparition d’une idée nouvelle dans la littératue, définie par J. Culler comme la « théorie », par la croissance, dans le modernisme tardif, de l’autoconscience théorique, historique et littéraire des écrivains, par la mise en question de la possibilité d’écrire l’histoire objective (H. White), par le déclin de « grandes formes narratives » (J.-F. Lyotard) et par l’expulsion de l’histoire de la littérature des programmes d’enseignement scolaires. Parmi d’autres raisons d’ébranlement du statut de l’histoire de la littérature il y a, selon l’auteur, des pratiques dans les recherches littéraires qui instaurent, d’une façon imposante/excessive et artificielle, des coupures et des transitions historiques et littéraires. Ces dernières ont été manifestement mises en question par une conviction de plus en plus courante à propos de la « longévité » de l’ordre moderniste ainsi que par la crise de l’Université et de sa prééminence qui a commencé en 1968 (il en a déjà été question dans le Journal de W. Gombrowicz). Dans sa conclusion, l’auteur de cette étude remarque pourtant une opportunité pour l’histoire de la littérature, après un « tournant culturel » dans les recherches littéraires, elle se manifeste dans une « nouvelle historicité ». Cependant il importe que les chercheurs en littérature cessent – comme le disait S. Szymutko – d’« avoir honte » de l’objet de leurs études. La conclusion finale de l’auteur de cet essai démontre que même s’il semble indisponsable d’écrire une nouvelle histoire de la littérature polonaise, l’histoire littéraire objective n’est pas possible ; il faut plutôt attendre de nombreuses versions subjectives de l’histoire de la littérature.

4

Dziedzictwo Schulza

100%

Olejniczak J.

Konteksty - Polska Sztuka Ludowa

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2019

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vol. 73

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issue 1-2 (324-325)

88-94

PL

Szkic jest próbą zastanowienia się nad fenomenem recepcji dzieła Brunona Schulza i jednocześnie fenomenem żywotności tradycji Schulzowskiej w kulturze współczesnej. Autor – zastanawiając się nad „dziedzictwem Schulza” – wskazuje na główne cechy tego pisarstwa, które zapewniają, że opowiadania Schulza ciągle są na nowo interpretowane, a badacze, krytycy, pisarze i po prostu czytelnicy (autor szkicu nazywa ich „Zakonem Schulza”) odnajdują w nich nowe, aktualizujące się sensy i znaczenia. Wśród najważniejszych cech tego dzieła autor szkicu wymienia dziewięć: 1. Oryginalny sposób kształtowania opowieści, narrację oscylującą między mitem i nowoczesną fabułą; 2. Ukształtowanie podmiotu autorskiego na pograniczu autobiografii i autoportretu; 3. Oryginalność świat przedstawionego, reprezentację realnego/onirycznego/mitycznego/symulakrycznego i jego dynamikę przejawiającą się w metamorfozach przedmiotów i postaci; 4. Obecność problematyki psychoanalitycznej: Ojciec, kompleks Edypa – świadome/podświadome/nieświadome; 5. Obecność problematyki związanej z seksualnością (ciało – Adela i Bianka – rozkosz – cierpienie – alienacja – śmierć); 6. Wielokulturowość (polskie – żydowskie – chrześcijańskie – greckie – środkowoeuropejskie – modernistyczne); 7. Obecność motywu miasta – labiryntu; 8. Intertekstualność, rozumiana także jako przemieszczanie się między tekstami językowymi a plastycznymi; 9. Obecność nawiązującej do tradycji starotestamentowej tematyki związanej z pismem, księgą, pierwszym słowem, genesis i „mityzacją rzeczywistości”.Autor przypomina też, pokazując jej aktualność, sylwetkę Brunona Schulza naszkicowaną w Dzienniku przez Witolda Gombrowicza, zauważa zbieżność obrazów Galicji Wschodniej z opowieści Schulza z obrazami w prozie Josepha Rotha. Na końcu szkicu zaś sugeruje interpretacje wierszy i esejów współczesnego pisarza ukraińskiego Serhija Žadana jako hołdu złożonego wykreowanemu przez Schulza obrazu Drohobycza.

EN

An attempt at pondering the phenomenon of the reception of the Bruno Schulz œuvre and, at the same time, of the vitality of Schulzian tradition in contemporary culture. While deliberating on the “Schulz heritage” the author indicates the prime features of Schulz’s writings, which ensure that his stories are constantly interpreted anew while researchers, critics, and simply readers (whom the author of the presented sketch calls “The Schulz Order”) discover ever new meanings and senses rendered topical. Among the most important features of this œuvre Józef Olejniczak lists the following: 1. An original manner of moulding the narrative oscillating between myth and contemporary plot; 2. Shaping the auteur subject on the borderline between autobiography and self-portrait; 3. The originality of the depicted world, the representation of the real/oneiric/mythical/ simulacral and its dynamic disclosed in the metamorphoses of characters and protagonists; 4. The presence of psychoanalytical problems: the Father, the Oedipus complex – the conscious / subconscious / unconscious; 5. The presence of problems associated with sexuality (the body – Adela and Bianka – bliss – suffering – alienation – death); 6. Multiculturalism (Polish – Jewish – Christian – Greek – Central European – Modernist); 7. The presence of the motif of the town-labyrinth; 8. Intertextuality comprehended also as relocation between linguistic and visual-art texts; 9. The presence of a theme referring to Old Testament tradition and associated with the writ, the Book, the first word, genesis, and the “mythisation of reality”. The author recalls the person of Bruno Schulz, demonstrates the latter’s topicality outlined in Dziennik by Witold Gombrowicz, and notices the concurrence of the images of Western Galicia from Schulz’s stories with those in prose by Joseph Roth. At the end of the sketch he suggests interpretations of poems and essays by the contemporary Ukrainian author Serhiy Zhadan as homage paid to the vision of Drohobycz (Drohobych) created by Schulz.

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4 Olejniczak J.

Frontiers of the literary research

Antologia Miłosza

Projekt: historia literatury

Dziedzictwo Schulza