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Alessandro Amenta, Le parole e il silenzio. La poesia di Zuzanna Ginczanka e Krystyna Krahelska, Aracne Editrice, Roma 2016

100%
De Carlo A. F.
pl.it / rassegna italiana di argomenti polacchi
|
2016
|
issue 7
207-210
2
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“And to be malicious and belligerent / And not to lose feminine features”: Zuzanna Ginczanka’s Satirical World

70%
Olech K.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
|
2019
|
issue 8
255-266
EN
The paper reflects on how Zuzanna Ginczanka, dubbed ‘Tuwim in a dress’ by Adam Ważyk, was finding her way – both as a woman and, above, as a poet – in the literary, cabaret world of Julian Tuwim, Jan Lechoń, or Antoni Słonimski. The paper focuses on the satirical output of the poet, which is why the author chose two works – namely Pochwała snobów (In Praise of Snobs) and Damskie kłopoty (Feminine Trouble) – as the basis for the analysis.
3
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Zuzanna Ginczanka w archiwach i bibliotekach

70%
Kiec I.
Biblioteka
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2020
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issue 24 (33)
191-216
EN
The article entitled Zuzanna Ginczanka in archives and libraries discusses the most important documents on the poetess as well as the body of her poetic output. The remnants of her poetry that survived are currently held in various archives and libraries, along with items relevant to the literary heritage of the poetess and materials that were produced and preserved at those places and institutions she was attached to. The vast majority of her literary heritage is now preserved in the Adam Mickiewicz Literature Museum and includes, among others, her juvenile manuscripts that can provide a basis for further editorial works. The collections of the Warsaw museum and the editorial problems related to the Ginczanka’s manuscripts (as well as the first official editions of her poems and earlier editions of her collections of poems) are discussed in the first two sections of the article. Further, the author discusses the alleged history of Ginczanka’s manuscript found in the library of the Poznan Society of Friends of Sciences two years ago, indicates archival materials related to the biography of the poetess (including the documents handed over by Zuzanna Gincburg to the Higher School of Journalism in Warsaw in 1935 and found in 2020), and indicates a problem of the lost manuscript of the last poem written by Ginczanka.
PL
Artykuł omawia najważniejsze dokumenty związane z osobą i twórczością Zuzanny Ginczanki, zebrane w archiwach i bibliotekach: zarówno spuściznę poetki, jak i materiały wytworzone w miejscach i przez instytucje, z którymi była związana. Największa część spuścizny znajduje się w Muzeum Literatury im. Adama Mickiewicza w Warszawie, w tym młodzieńcze rękopisy, będące podstawą prac edytorskich. Zbiory warszawskiego muzeum i problemy edytorskie związane z rękopisami Ginczanki (i pierwodrukami jej wierszy oraz edycjami tej twórczości z lat 1953 i 1980) zostały omówione w pierwszych dwóch częściach tekstu. Następnie autorka opisała domniemaną historię rękopisu Ginczanki znalezionego w 2018 roku w Bibliotece Poznańskiego Towarzystwa Przyjaciół Nauk, wskazała materiały archiwalne do biografii poetki (w tym odnalezione w 2020 roku dokumenty złożone przez Zuzannę Gincburg w Wyższej Szkole Dziennikarskiej w Warszawie w roku 1935) oraz zasygnalizowała problem zaginionego rękopisu ostatniego wiersza poetki.
4
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„Sprawy korzenne”. Fenomenologia Zuzanny Ginczanki

70%
Wojda D.
Przestrzenie Teorii
|
2017
|
issue 28
EN
The paper concerns Zuzanna Ginczanka’s floristic signatures (trees, flowers and fruits), which are used by the poet to construct literary tropes. It shows how, by means of these signatures, the following oppositions are introduced: life/death, surface/depth, outside/inside, form/substance, phenomenon/essence. The crux of the argument is that in Ginczanka’s poetry there is a conflict concerning the value of phenomenology, i.e. what is really important: the phenomena (trees, flowers, fruits) or the hidden essences („the Questions of Root”)? I go on to argue that the poet’s thinking corresponds to Maurice Merleau-Ponty’s philosophy, in which the subject’s experience is considered to be related to his life environment and the philosophy of the body is identified with the phenomenology of perception. Emphasizing „the Questions of Root” in the very title of the paper indicates what is most problematic for Ginczanka and, at the same time, what determines her recognition of poetry as an expression of unattainable desires.
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