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1
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Na wczasach

100%
Fink I., Krupa B.
Narracje o Zagładzie
|
2018
|
issue 4
387-394
EN
Ida Fink, On Holiday (with the Introduction by Bartłomiej Krupa)
PL
Ida Fink, Na wczasach (słowo wstępne Bartłomiej Krupa) 
2

Doświadczenie wykluczenia widziane od środka. „Skrawek czasu” Idy Fink i jego polska recepcja

89%
Calderón Puerta A.
Pamiętnik Literacki
|
2015
|
vol. 106
|
issue 3
73-104
PL
Opowiadaniom Fink poświęcono w Polsce wiele uwagi. W licznych recenzjach nie znajdziemy jednak kontekstu społecznego, w którym byli zanurzeni ich bohaterowie od chwili wybuchu wojny. Brakuje refleksji nad relacją większość–mniejszość, determinującą sytuację Żydów ukrywających się w Europie Środkowo-Wschodniej. Na przekór założeniom polskiej krytyki, która wydobywa milczenie jako jedyny obszar świadectwa lub pyta, jak to się stało, że „ludzie ludziom zgotowali ten los”, w wypowiedziach formułowanych z perspektywy ofiar odnajdujemy nowy opis wydarzeń. Wychodzą przy tym na jaw strategie pomijania większościowej przemocy w dominującej narracji. Dopiero z wykluczenia utrwalonego w kulturze wyrasta umykające wypowiedzeniu doświadczenie absolutnej samotności i egzystencjalnej rozpaczy eksterminowanych. Rozpoznanie ich statusu jako nie-ludzi w praktykach nazistów i lokalnych większości pozwala dostrzec i nazwać mechanizmy umożliwiające Zagładę.
EN
Much attention has been paid to Fink’s stories. The numerous reviews are, however, devoid of the social context into which the stories’ protagonists were immersed from the outbreak of the war. They also lack of reflection about the majority–minority relation determining the situation of the Jews hiding in the Central and Eastern Europe. In defiance of the Polish critical assumptions which exploit silence as the only sphere of testimony or ask why it was that ‘people dealt this fate to people,’ the expressions formulated from the victims’ perspective a new description of the events can be found. To add, they also reveal the strategies of omitting the violence of the majority of the society in the dominating narration. It is only exclusion preserved in culture from which the experience of total loneliness and existential despair of the exterminated that starts to grow, and that escapes expression. Recognition of their status as non-humans in the Nazi practices and the majority of local people allows to discern and term the mechanisms of Shoah.
3

The Discreet Horror of the Holocaust in Ida Fink’s Stories

71%
Waligóra J.
CLEaR
|
2016
|
vol. 3
|
issue 1
27-38
EN
The topic of the article is writings by Ida Fink. It analyses stories of the author of Wiosna 1941 (The Spring 1941) which refer to the Holocaust. The analysis also draws attention to the poetics of “discreet horror” in which Ida Fink’s stories are embedded. In her records the author does not underline the cruelty, but shows the terror of the situation by subtle narrative and compositional manoeuvres. The picture of death is de-emphasised by the psychology of characters, and the main focus are complicated human relationships in which the author with a great delicacy presents various emotional states of people who, despite being sentenced to death, still try to survive the war. Ida Fink’s stories are different from the majority of Holocaust literature which exposes the severity and brutality of mass death. These stories stand out as an exceptional phenomenon among works by such authors as Tadeusz Borowski, Zofia Nałkowska, Leon Buczkowski, Henryk Grynberg or Bogdan Wojdowski.
4

W schronie słuchowiska. Dramaturgia Idy Fink

63%
Kopciński J.
Pamiętnik Literacki
|
2023
|
vol. 114
|
issue 3
137-153
PL
Tematem artykułu jest dramaturgia radiowa Idy Fink – jednoaktówki „Stół”, „Ślad” i „Opis poranka”. Odwołując się do kategorii pamięci jako fundamentu literatury holocaustowej, badacz przekonuje, że pisarka eksplorowała pamięć wypartą, zindywidualizowaną i esencjalistyczną. Za najważniejszą cechę twórczości Fink uznaje ironię położenia, wyrażającą sytuacją autorki podczas niemieckiej okupacji. Podkreśla także głosowy wymiar jej dramaturgii, a analizowane sztuki traktuje jak partytury muzyczne. Kluczowy głos należy w nich do kobiet, zwłaszcza w partiach retrospektywnych. Autor artykułu przekonuje, że podstawową strategią pisarską Fink było odsłanianie indywidualnych dramatów ofiar masowej Zagłady w przeświadczeniu, że tylko tak można ocalić człowieczeństwo ludzi poddanych nieludzkiej eksterminacji.
EN
Ida Fink’s dramatic one-act radio plays—“Stół” (“Table”), “Ślad” (“Trace”), and “Opis poranka” (“Morning Description”)—are made subject of the article. Referring to the category of memory seen as a fundament of Holocaust literature, the researcher formulates the argument that the writer explored denied, individualised and essentialistic memory. He also recognises the irony of placement that expresses the authoress’s situation during the German occupation as the most crucial feature of Fink’s writing. Additionally, he emphasises the vocalic dimension of the dramas, and sees the pieces under analysis as musical scores where the key voice belongs to women, especially in retrospective parts. The author is likewise convinced that Fink’s fundamental writing strategy is disclosing individual tragedies of mass destruction victims in the belief that the approach she adopted proves to be the only one that might save humanity exposed to inhuman extermination.
5
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Ida Fink idzie do szkoły

51%
Krupa B.
Narracje o Zagładzie
|
2020
|
issue 6
389-406
EN
In the text, the author takes a closer look at Ida Fink’s symbolic “return” to school. The writer, who had to abandon her studies in piano at the Lwów Conservatoire as a result of theThird Reich’s attack on the USSR in 1941, since the end of 1990s has been a frequent presence on Polish school curricula and exams. The essay analyses the very manner in which her works appear within the school canon, student’s books, as well as the Matura examination sheets. What is more, some of the rudimentary biographical mistakes and simplifications are reviewed in the text. Ida Fink’s case analysis also formed a basis for a wider glance at the evolution of the Shoah theme’s presence in Polish school.
6
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Obóz dla dipisów – literackie zapisy doświadczenia życia „pomiędzy”. Zaproszenie do tematu

45%
Krupa B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2017
|
vol. 42
|
issue 4
141-156
EN
This article is a preliminary attempt to read the condition of survivors – those who were imprisoned in the displaced persons camps in occupied Germany just after the war. In this context author considers Tadeusz Nowakowski’s novel Obóz Wszystkich Świętych (Camp of All Saints), full of satire, grotesque and thoroughly soaked with sarcasm. The addition to Nowakowski’s vision is Tadeusz Borowski’s short story Bitwa pod Grunwaldem (Battle of Grunwald), as well as his poems from this time, e.g. Demokratyczne dary (Democratic Gifts), and also Jerzy Zagórski’s reports W południowych Niemczech (In Southern Germany), where the camps for DPs are compared to Henry Moore’s anthropomorphic figures sleeping in the tunnel. Separate reflections are devoted to the fate of Ida Fink, Shoah survivor, who was imprisoned in the Ettlingen camp. The writer mentions this time in the novel Podróż (Travel) and the interviews. Textual analyzes lead the author of the article to the conclusion that the narratives are proof of the inability to experience peace of mind in the time of freedom and generally the inability to return to pre-war times.
7
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DP camp – literary accounts of the life “in between” An invitation to the topic

45%
Krupa B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2017
|
vol. 46
|
issue 8
113-126
EN
The article constitutes a preliminary attempt at reading from literature the condition of the survivors – people interned in German displaced persons’ camps immediately after WWII. In that context, the author considers the saturated with satire, grotesque, and sarcasm novel by Tadeusz Nowakowski entitled Obóz Wszystkich Świętych. Nowakowski’s vision is supplemented with Tadeusz Borowski’s story entitled Bitwa pod Grunwaldem, as well as his poems, e.g. Dary demokratyczne, and Jerzy Podgórski’s reports in the series W południowych Niemczech, in which DP camps were compared to an etching by Henry Moore presenting human-like figures sleeping in a tunnel. A separate consideration was applied to the fortunes of Ida Fink, interned in the Ettlingen camp. The writer reminisced on the time in her novel entitled The Journey, and in interviews. The analyses of the texts led the author to the conclusion that the discussed narratives indicate the inability to experience solace during (apparent) acquittal, and the inability to return to pre-WWII times.
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