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1

Świadomość teatralna Antoniego Słonimskiego zapisana w debiucie prozatorskim

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Warońska J.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2018

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issue 10(2)

100-115

PL

Na podstawie powieści Teatr w więzieniu (1921) autorka opisała różne sposoby definiowania teatru. To instytucja, wypracowująca własny ceremoniał, więc przedstawienie w więzieniu zdaje się jego parodią, jedno z widowisk, obok zawodów sportowych i występów cyrkowych, ale także sposób zdefiniowania relacji międzyludzkich, gdy postacie pokazane jako wytrawni aktorzy poprzedzają ludzi interakcyjnych Witolda Gombrowicza. Słonimski zastanawia się także nad konsekwencjami zmiany hierarchii sztuk, gdy motyw theatrum mundi zostaje zastąpiony przez kinematograf. Wyświetlane obrazy, nawiązujące do jaskini Platona, zwiększają jednak poczucie alienacji jednostek. Taki świat coraz wyraźniej staje się więzieniem.

XX

Based upon the novel Teatr w więzieniu [Theatre in Prison] (1921), the author has described various methods for defining this category. This institution develops its own ceremonial. Therefore, a performance in prison appears to be a parody of it, to be one of the shows – along sports competitions and circus performances – but also a method for defining interpersonal relations, as the characters, depicted as expert actors, precede Witold Gombrowicz’s interactive people. Słonimski also ponders the consequences of the change in the hierarchy of arts, as theatrum mundi is replaced by cinematograph. However, the projected images, referencing Plato’s cave, increase the sense of alienation. It is becoming progressively more evident that such a world transforms into a prison.

2

Pacyfista w „epoce wielkiego zamętu”. Kroniki tygodniowe Antoniego Słonimskiego

99%

Wójtowicz A.

Przegląd Humanistyczny

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2014

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issue 6(447)

65-74

EN

One of the leitmotifs of Kroniki tygodniowe (1927–1929) by Antoni Słonimski was a criticism of military ambitions of the European powers and the war propaganda. The writer confronted them with two ideas: pacifism and progress. Their conjunction defined the discursive frame comprising the main objectives of his journalistic writing torn between the belief about the crisis which the era suffered and belief that this is the transition state, a short stage on the way of shaping the society of tomorrow. The key to adjust these two orders were the concepts by H.G. Wells, in particular the metaphor taken from his writing of “the age of great confusion”.

3

A Tribute to „Barocco”: The Figurativeness of Maria Morska

85%

Szulc-Woźniak A.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2019

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issue 8

187-198

EN

The paper focuses on the figure of Maria Morska, a reciter dubbed “Skamander muse”, who had a versatile and multifaceted impact on the literary circles of her day. I am conducting the quest for the artist (elusive today in the face of scarce biographical sources) through interpreting the poems for which she was a magnet and a centre (i.e. Inwokacja by Antoni Słonimski and Groteska by Jarosław Iwaszkiewicz). The image of Morska emerging from them presents a very original figure: one that was admired and received intensely. The poetic inscriptions of the impression which the Skamander muse made often bring to mind the reception of works of art. Morska refines commonness into a metaphor. Her literary image is a testimony to a moment of delight, dazzle, and – perhaps more importantly – spontaneous, artistic co-participation. She inspires one to look for pseudonyms and roles which would be capable of expressing the impression that accompanied her – one of changeability, glimmer, being different, never being the same.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

1 Czytanie Literatury. Łódzkie Studia Literaturoznawcze

1 Przegląd Humanistyczny

1 Szulc-Woźniak A.

1 Warońska J.

1 Wójtowicz A.

1 2019

1 2018

1 2014

Świadomość teatralna Antoniego Słonimskiego zapisana w debiucie prozatorskim

Pacyfista w „epoce wielkiego zamętu”. Kroniki tygodniowe Antoniego Słonimskiego

A Tribute to „Barocco”: The Figurativeness of Maria Morska