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W żalu za grzechy młodości – testament Armanda de Bourbon, księcia de Conti

100%
Skrzypietz A.
Studia Europaea Gnesnensia
|
2018
|
issue 17
337-357
EN
The paper analyzes the last will of Armand de Bourbon, Prince of Conti, who in his youth abandoned ecclesiastical career and later took active part in the Fronde. Still later, de Bourbon became associated with Jansenists and spent the final years of his life on practicing piety, giving proof of his rigorous morality. The paper thus discusses his last will and professed expiation for the sins of youth, as it attempts to establish whether the testament is a testimony to prince’s Jansenist convictions.  
2

Réappropriation du jansénisme dans quelques romans français contemporains

63%
Gauthier P.
Romanica Wratislaviensia
|
2019
|
vol. 66
109-120
EN
The presence of Jansenism in a number of contemporary novels should lead to questioning the notion of post-secularity rather than illustrating it. The study of three of these novels (P. Quignard’s Tous les Matins du monde, L. Salvayre’s La Puissance des mouches and C. Pujade-Renaud’s Le Désert de la Grâce) cannot be limited to interpreting them as heralds of a return to religion which some see as a defining feature of post-secularity while others deem it insufficient to define the notion. The analysis of the links between the royal authority and Port-Royal makes it possible to highlight the interest of novelists in the theme of persecution and the resistance of individuals to intolerance, while remaining at a distance from 17th century theological debates. Beyond being a plea for freedom of conscience, these texts put it into perspective in a secularized democratic society that fails to conceive the place of the religious, or to conceive of itself outside that place. Literature thus shows the strength of fiction and art when it comes to considering man’s place in the world.
3
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Molière po nipuańsku, czyli o nieobecności «Mizantropa» na scenach staropolskich

51%
Kencki P.
Pamiętnik Teatralny
|
2023
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vol. 72
|
issue 1
103-138
EN
This article seeks to explain why the reception of The Misanthrope in Polish literature and theater began so late. The author analyzes the first two translations of short excerpts from this comedy-by Franciszek Zabłocki (1774) and Ignacy Krasicki (1803)-which are included in the appendix. In doing so, he refers to the entire literary output of both poets. He puts forward the argument that the play’s sophisticated form and subject matter were among the reasons why The Misanthrope met with little interest in the first stage of the Polish reception of Molière. His interpretation of the play combines an analysis of the Jansenist context of The Misanthrope with a reflection on Molière’s way of connecting the categories of comicality and metatheatricality. The juxtaposition of these two perspectives leads to the presentation of the title character as a rebel figure. The author also indicates 17th- and 18th-century Polish dramatic texts that correspond in some way with Molière’s comedy. He emphasizes the differences in the development of the Polish and French performance traditions, arguing that the Old Polish theater culture did not leave room for assimilating high comedy, and that the characterological ambiguity of Alceste made him an unsuitable protagonist from the point of view of Polish Enlightenment playwrights, who aimed to exhort the society to moral improvement. The article combines the research perspectives of literary and theater history, also using theoretical and methodological tools from translation studies, drama studies, and the history of ideas.
PL
Artykuł stanowi próbę wyjaśnienia przyczyn późnej recepcji Mizantropa w polskiej literaturze i teatrze. Autor analizuje udostępnione w aneksie dwie pierwsze próby przekładu krótkich ustępów z tej komedii – Franciszka Zabłockiego (1774) i Ignacego Krasickiego (1803), odwołując się do całej twórczości obu poetów. Stawia tezę, że na niewielkim zainteresowaniu Mizantropem w pierwszym okresie polskiej recepcji Molière’a zaważyły wyrafinowana forma i problematyka sztuki. Podejmuje próbę interpretacji dramatu, w której refleksję nad autorskim sposobem powiązania kategorii komizmu i metateatralności łączy z analizą jansenistycznego kontekstu Mizantropa. Rezultatem zestawienia tych perspektyw jest ujęcie tytułowego bohatera jako figury buntownika. Autor wskazuje także XVII i XVIII-wieczne polskie utwory dramatyczne, które w jakiś sposób korespondują z komedią Molière’a. Podkreśla odmienność rozwoju polskiej i francuskiej sfery widowiskowej i twierdzi, że staropolska kultura teatralna nie dawała możliwości przyswojenia komedii wysokiej, a niejednoznaczność charakteru Alcesta czyniła go bohaterem nieprzydatnym z punktu widzenia polskich oświeceniowych dramatopisarzy, którzy stawiali sobie za cel nawoływanie do poprawy obyczajów. W artykule połączono perspektywę historycznoteatralną i historycznoliteracką, wykorzystano również narzędzia z zakresu przekładoznawstwa, dramatologii i historii idei.
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