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Czas pokoleń Pokolenia literackie i tożsamość ponowoczesna

100%
Poręba K.
Śląskie Studia Polonistyczne
|
2019
|
vol. 13
|
issue 1
275-304
EN
The work attempts at defining the category of “literary generation” from the standpoint of literary criticism and sociology of literature. The author summarizes the theses of Kazimierz Wyka’s Pokolenia literackie [Literary Generations] and shows how the notion itself lost its interpretative potential. Later on, he focuses on such notions as “generational experience” and “humanist rightness.” By analysing the notion of “identity” in post-modern discourse, in turn, he shows that in fact it impossible today to think about generations in a way proposed by Wyka. Finally, a conclusion is presented regarding “generation” as still viable analytical category, but only when treated as a conscious self-proclamation of writing projecting themselves as such. 
2
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Czas pokoleń Pokolenia literackie i tożsamość ponowoczesna

100%
Poręba K.
Śląskie Studia Polonistyczne
|
2019
|
vol. 13
|
issue 1
275-304
EN
The work attempts at defining the category of “literary generation” from the standpoint of literary criticism and sociology of literature. The author summarizes the theses of Kazimierz Wyka’s Pokolenia literackie [Literary Generations] and shows how the notion itself lost its interpretative potential. Later on, he focuses on such notions as “generational experience” and “humanist rightness.” By analysing the notion of “identity” in post-modern discourse, in turn, he shows that in fact it impossible today to think about generations in a way proposed by Wyka. Finally, a conclusion is presented regarding “generation” as still viable analytical category, but only when treated as a conscious self-proclamation of writing projecting themselves as such. 
3
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Spór (albo dwugłos) w służbie myślenia

80%
Krakowiak M.
Śląskie Studia Polonistyczne
|
2015
|
issue 1(6)
91-108
EN
The article depicts relations between two distinguished Polish literary critics from the interwar period – Kazimierz Wyka and Ludwik Fryde. They both represented the same literary generation (the 1910 generation) and the same programmepostulating critical model. Despite shared interests, among them responses to the same literary events (especially Maria Dąbrowska’s Noce i dnie) and shared issues of literary generations, their relationship was usually described as a dispute. Wyka and Fryde adopted a different stance on the critical and social impact of Stanisław Brzozowski and the significance of work of Wyka’s master Stefan Kołaczkowski. Their world view also differed. Although both critics were among the first proponents and promoters of personalism in Poland, Wyka was closer to Emmanuel Mounier’s way of thinking, whereas Fryde was closer to Jacques Maritain’s.
FR
Dans l’article, on a présenté les relations de deux représentants éminents de la critique littéraire polonaise de l’entre-deux-guerres : Kazimierz Wyka et Ludwik Fryde. Tous les deux représentaient la même génération littéraire (celle de 1910), ainsi que le même modèle de critique (programmatif et postulatif). Malgré leurs intérêts communs – parmi lesquels il faut ranger non seulement la réaction aux mêmes événements littéraires (avant tout Noce i dnie de Maria Dąbrowska), mais aussi la problématique des générations littéraires –, on considère communément la relation mutuelle des deux critiques comme un différend. Les différences des attitudes de Wyka et Fryde sont visibles dans l’appréciation du modèle de critique et de l’influence sociale de Stanisław Brzozowski, dans l’appréciation de l’importance des ouvrages du maître de Wyka – Stefan Kołaczkowski –, ainsi que dans des questions particulières relatives à la vision du monde. Bien que les deux critiques figurassent parmi les premiers propagateurs et partisans du personnalisme en Pologne, la façon de penser d’Emmanuel Mounier était plus proche à Wyka, par contre celle de Jacques Maritain était plus proche à Fryde.
4
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Brud jako metafora w twórczości Brunona Schulza

70%
Jarnotowska M.
Prace Polonistyczne
|
2014
|
vol. 69
117-128
EN
The study describes anthropological and philosophical aspects of dirt as a metaphor. The author interprets the motif in the context of hygiene rhetoric (crystal palace, cleansing the society of unnecessary elements, dirt as a form of revolt, dirt as stigma etc.). Based on the example of Dwugłos o Schulzu by Kazimierz Wyka and Stefan Napierski she analyzes the meaning of metaphors and axiologically characterized pictures, favouring the analogy: if it is dirty, it is immoral. The author is interested in the idea of cleanliness and dirt as understood and pictured by the authors of the interwar period. It is these notions that literary critics of the named period refer to while formulating allegations towards Schulz’s works. The author presents dirt as a historically and culturally variable category, which was influenced by the development of medicine, cosmetic industry and advertising. She confronts Schulz’s modern guardian of order — Adela, with Jacob, an eccentric who introduces chaos and impropriety. The author is trying to grasp these metaphors and pictures due to which dirt in Schulz’s world stands for a creative potential.
5

Poezja i prawda mitu. Próba interpretacji „Dziewczyny” Bolesława Leśmiana

70%
Mencwel A.
Pamiętnik Literacki
|
2023
|
vol. 114
|
issue 1
47-58
PL
Autor artykułu podjął próbę interpretacji „Dziewczyny” Bolesława Leśmiana. Zaczął od istotnej dla poety kwestii rytmu, która była dla niego więcej niż słowna, we współczesnej terminologii – werbomotoryczna. Punktem wyjścia do odczytania wiersza musi być jednak analiza wersyfikacyjna, a tej mistrzowsko dokonał Kazimierz Wyka. Autor artykułu opiera się na niej, ale równocześnie przekracza powtarzające się w literaturze przedmiotu „filozoficzne” nobilitacje utworu. Powołuje się na koncepcję „mądrości poetyckiej” Giambattisty Vica oraz właściwej jej „metafizyki surowej”, aby dowieść, że „Dziewczyna” jest utworem mitologicznym, a nie filozoficznym. W artykule przeanalizowana została szczegółowo jej wielogłosowa konstrukcja wypowiedzi i „dziwność” rzeczywistości przedstawionej, w której świat i zaświat przenikają się wzajemnie i w sobie „partycypują”. Na końcu utworu poeta możliwie bezpośrednio, głosem własnym, wypowiada swoje przesłanie o znaczeniu mitologizacji oraz o tym, że jest ona kreacją ludzką i tylko ludzką.
EN
The author of the paper attempts to interpret Bolesław Leśmian’s “Dziewczyna” (“The Girl”). He begins with the rhythm―the vital issue for the poet that he saw as more important than the word level; in modern terminology―the verbomotoric level. The starting point for the poem’s reading is, nevertheless, versification analysis, and that was superbly carried out by Kazimierz Wyka. Mencwel relies on this analysis and also exceeds the “philosophical” distinguishments recurring in the subject literature. Similarly, he recalls Giambattista Vico’s concept of “poetic wisdom” and “austere metaphysics” to prove that “The Girl” is not a philosophical, but a mythological piece of writing. The article, to a possibly utmost detail, analyses the poem’s polyphonic construction and “bizarre” world presented in which the world and the other world intermingle and “participate” in each other. Towards the end of the poem the poet in a feasibly direct way, in his own voice, utters his message about the significance of mythologisation and about mythologisation being human and only human creation.
6
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Listy Kazimierza Wyki i Stanisława Pigonia do księdza Jana Wiśniewskiego w sprawie autografów Adama Mickiewicza i Cypriana Kamila Norwida

70%
Trościński G.
Tematy i Konteksty
|
2016
|
issue 6(11)
465-474
EN
The article is dedicated to an unknown letters of Kazimierz Wyka and Stanisław Pigoń to the priest Jan Wiśniewski, which were found in the Diocesan Library in Sandomierz. Both resarchers wishd to gain access to the works of Adam Mickiewicz and Cyprian Kamil Norwid. The main contents of these letters are requests for a possibility of reading authographs of these works. Jan Wiśniewski was a known and worthy collector of Polish memorabilia. Stanisław Pigoń was reasercher and publisher of the works of Adam Mickiewicz. Kazimierz Wyka, as a historian of Polish literature, studied works of Cyprian Kamil Norwid.
7
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Orbita oka. Melancholia wzroku w Sedanie Pawła Hertza i w Drewnianym koniu Kazimierza Brandysa

62%
Kozłowska I.
Przestrzenie Teorii
|
2020
|
issue 33
245-263
EN
The article concerns the way in which the eye topos functions in Paweł Hertz’s Sedan and Kazimierz Brandys’ The Wooden Horse, works representing Polish literature of retribution written in the 1940s. The role of the process of seeing is interpreted by means of the category of melancholy, and the protagonists in these works are presented as melancholics. Standing in front of a window or in the quiet of European museums, members of the intelligentsia do not so much focus on passive contemplation but rather protest against History. The desire to constantly use the eyes has an existential and political sense. Recognition of the phenomenon of a melancholic gaze in the literature of retribution enriches the traditional interpretation of this trend in literature by lending it a new context and allowing rehabilitation of the intellectuals portrayed in it.
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