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1

U zrodel nowoczesnej kobiecosci – „Esther” Stefana Chwin

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Piber I.

Pamiętnik Literacki

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2012

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vol. 103

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issue 4

133-145

EN

The aim of the article is to sketch the philosophical perspectives of femininity presentation in Stefan Chwin’s novel Esther. The novel enters into a number of relations with broadly understood 19th century, and the novels’ title heroine creation corresponds with the trend of considerations about woman and truth traced back to Nietzsche. Nietzschean concept of “truth” of femininity raised by Derrida in his Spurs: Nietzsche's Styles which consisted in revealing the untruth of truth, and Wolfgang Welsch’s reflections on the aesthetic character of truth form here a point of reference to ruminate on the mode of Esther Simmel’s presentation in Chwin’s novel. In the paper’s conclusion it is shown that both the destructive-creative aspects of femininity, evoked in the novel e.g. in exploitation of the topoi refering to the femininity as well as a chain of erotic-tanatic symbols or introduction, from the perspective of a post-modern text, of traditional metaphysical thinking elements – all are interestingly tied to the issues of ontology of truth.

2

Historia pewnego dramatu. „Zdziczenie obyczajow posmiertnych” Boleslawa Lesmiana – aspekt filologiczny

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Pachocki D.

Pamiętnik Literacki

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2013

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vol. 104

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issue 1

165–188

EN

The article refers to Boleslaw Lesmian’s manuscripts which in 1944 the poet’s wife and daughter took away from Poland. Following a long peregrination, the materials were found in the collection of Harry Ransom Center in Austin (USA). Attempts to raise the Polish authorities interest in them failed, and thus the manuscripts stayed abroad and have for many years lacked scientific research. The author of the text focuses on the benefits of a philological analysis of the survived manuscripts, which reveals not only the way Lesmian perfected his texts but also their shape being the closest to the author’s intention.

3

Wielkie improwizacje Lesmiana. Scena druga „Dziadow” drezdenskich a wizja literatury, czlowieka i Boga w poezji autora „Napoju cienistego”

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Szwed P.

Pamiętnik Literacki

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2013

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vol. 104

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issue 1

5–44

EN

The article pays attention to one of the most important sources of Lesmian’s poetic imagination, namely Adam Mickiewicz’s The Great Improvisation. From the time of composing his earliest pieces, such as Sonet II (Sonnet II) to the great poems closing the collection Napoj cienisty (Shadowy Drink), Lesmian derived from it images, metaphors and paraphrased Mickiewicz’s “winged words,” making Konrad’s grand monologue one of the most important context of his literary creativity. Each of the four chapters with quotes from The Great Improvisation used as titles concentrates on a different aspects of Lesmian’s creative reading of the most famous scene from Forefathers’ Eve Part III. In the first chapter „Piesni ma, tys jest gwiazda za granica swiata!” (“My song, you are a star beyond the confines of the world”) the author points at the relationships between Lesmian’s poetry and the romantic conception of internal song. In the second one “Lecz jestem człowiek, i tam, na ziemi me cialo” (“But I am a man and there on Earth is my flesh”) he shows how insightful as regards the point of view of Konrad – an immature character and childish in his desire to speak with the Creator – is Lesmian’s reading of The Great Improvisation. The two final chapters “Smialo, smialo! te iskre rozniecmy, rozpalmy” (“Go ahead and strike the spark”) and “Jeslim nie zgadl, odpowiedz” (“If I am wrong, respond”), the most thorough ones, are devoted to an interpretation of the poem W locie (Flying) and the poem Eliasz (Elias) in both of which, yet again, in Lesmian’s creativity a hugely important role is played by the rule of “self-creation” and “self-destruction.”

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3 Pamiętnik Literacki

1 Pachocki D.

1 Piber I.

1 Szwed P.

2 2013

1 2012

U zrodel nowoczesnej kobiecosci – „Esther” Stefana Chwin

Historia pewnego dramatu. „Zdziczenie obyczajow posmiertnych” Boleslawa Lesmiana – aspekt filologiczny

Wielkie improwizacje Lesmiana. Scena druga „Dziadow” drezdenskich a wizja literatury, czlowieka i Boga w poezji autora „Napoju cienistego”