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Spotkanie we Lwowie (do którego nie doszło). Bruno Schulz i Henryk Vogler

100%

Makowska U.

Schulz/Forum

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2019

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issue 14

PL

The paper presents unknown details concerning Bruno Schulz, found in the memoirs of the Cracow critic, writer, and poet Henryk Vogler (1911–2005). Vogler wrote quite a long article, “Two Romantic Worlds. On Bruno Schulz and Witold Gombrowicz” [Dwa światy romantyczne. O Brunonie Schulzu i Witoldzie Gombrowiczu], published in 1938 in Skamander. Both writers thanked him in letters, which initiated their correspondence that continued till the outbreak of World War II. Schulz exchanged with his younger colleague opinions about literature, evaluated his attempts to write fiction, and described his dreams. They resumed writing letters to each other in 1940 during Vogler’s stay in Lviv – he actually invited Schulz to pay him a visit. Their meeting, however, never took place: already on his way, Schulz returned home. That situation may be considered in the contexts of similar events from Schulz’s life and an interpretation of his fiction and art proposed by Jerzy Jarzębski, who saw in both a “record of … an encounter realized in many different ways.” This encounter almost never brings about a harmonious connection, but instead leads to “pain, shame, comedy, and irony.” On his correspondence with Schulz, lost during the war, as well as on Schulz’s influence on his own work and the meeting in Lviv that did not take place, Vogler wrote in his Self-Portrait from Memory [Autoportret z pamięci] – three volumes published in 1979–1981. In his autobiography Vogler also mentioned the first postwar publication of Schulz’s fiction in 1957 by Wydawnictwo Literackie, of which he was editor-in-chief. Still, his account does not explain the details of a conflict between Artur Sandauer and Jerzy Ficowski, which began on that occasion and continued for many years. The closing part of the paper focuses on the traces of Schulz in Vogler’s novel, The Man Who Was Dreaming [Człowiek, który śnił], written before the war but published with some revisions in 1960.

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„Dziwna awersja”. O wystawach Schulza

100%

Makowska U.

Schulz/Forum

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2019

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issue 13

5-34

PL

The paper sums up and corrects information on the exhibitions in which Schulz took part as well as reconstructs the circumstances under which they were organized. Today we know about ten such exhibitions ordered in series separated by several year-long breaks: 1920-1923, 1930, 1935. His participation in the last show, organized in 1940 by a Soviet institution, cannot be considered fully voluntary. Of the prewar exhibitions only those in Lvov – in 1922 and 1930 at the Society of the Friends of Fine Arts [Towarzystwo Przyjaciół Sztuk Pięknych] and in 1935 on the premises of Union of Polish Artists [Związek Zawodowy Polskich Artystów Plastyków] were noticed by the press, mainly local newspapers. Apparently Schulz, who understood the significance of exhibitions in building one’s artistic biography, did not care much about them. He needed constant support in the selection and evaluation of his works since he was not sure of their value. Probably in the beginning he could count in that respect on his close friends from Drogobych and then those from Lvov. In fact, however, he lived outside the artistic circles and sporadic contacts with other artists did not provide him with necessary inspiration or encouragement to present his works in public. The available records imply that only in 1938, perhaps reinforced by his position in the world of literature, Schulz was ready to plan exhibitions, but not in Lvov and not even in Poland. Exhibitions allowed him also to reach out to other people. They gave him a chance to find an understanding spectator, but also required disclosing oneself. Regardless of their subject matter, drawings are records of the artist’s gestures, i.e. his corporeality. Presenting them in public must have been for Schulz a temptation to tear off his disguise, but it also provoked fear to do so. It was only the graphic art that guaranteed a safe distance between the artist and spectator thanks to the technological processes that separated a single print from the artist’s body. One must remember that most Schulz’s exhibits were the cliché-verres, while practicing other kinds of graphic techniques was his unfulfilled dream. Thus, the sequences of Schulz’s presentations at exhibitions, separated by years of absence, are related to the episodes of his biography, reflecting his attitude toward self-presentation that oscillated between desire and aversion.

3

Ananas vs jabłko, czyli sława popularna wieszczów

100%

Makowska U.

Prace Filologiczne. Literaturoznawstwo

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2020

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issue 10 (13)

171-189

EN

The article presents various representations of the antagonism between Adam Mickiewicz and Juliusz Słowacki in popular culture. It considers selected examples taken from the nineteenth, twentieth, and twenty-first centuries, including vintage postcards, anniversary memorabilia, contemporary novelty items, product names, as well as internet memes and other types of usergenerated content on social media. Both historical and modern debates concerning the relative status of the two poets are discussed. The notion of the “antagonism between the bards” is shown to be a persistent stereotype that shapes the image of Mickiewicz and Słowacki in popular perception.

PL

Artykuł prezentuje różne przejawy obecności „antagonizmu wieszczów” − Adama Mickiewicza i Juliusza Słowackiego − w kulturze popularnej. Uwzględnione zostały wybrane przykłady z XIX, XX i XXI wieku, między innymi dawne pocztówki, pamiątki związane z jubileuszami obu twórców, współczesne gadżety, nazewnictwo produktów przemysłowych, obrazkowe memy internetowe i inne rodzaje twórczości dotyczącej romantycznych poetów pojawiające się w mediach społecznościowych. Autorka odwołuje się do sporów prowadzonych dawniej i obecnie w publikacjach prasowych i w Internecie. Pokazuje w ten sposób trwałość pojęcia „antagonizm wieszczów” jako stereotypu kształtującego wizerunki Mickiewicza i Słowackiego w masowym odbiorze.

4

Pożegnanie Hektora z Andromachą w tekstach i obrazach

100%

Makowska U.

Rocznik Komparatystyczny

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2014

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vol. 5

p. 227-248

EN

The scene of parting of Hector and Andromache from the 6th book of Homer’s Iliad has been a source of countless adaptations, both literary and visual, especially in the second half of the 18th and in the 19th century. It seems as if the motif has been transmitted from one work to another without accounting for intrinsic differences between the media employed; what was subject to change, however, was the scenery and the emphasis on particular features of the scene. This process can be treated as a translation of a sort, not only on the level of ideas and emotions, but also on that of the setting. What played a role in shifts between the different media were also thetranslations in the traditional sense (from one language to another).

5

Wiesław Juszczak (1932-2021)

88%

Makowska U.

Biuletyn Historii Sztuki

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2022

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vol. 84

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issue 4

1027-1054

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Spotkanie we Lwowie (do którego nie doszło). Bruno Schulz i Henryk Vogler

„Dziwna awersja”. O wystawach Schulza

Ananas vs jabłko, czyli sława popularna wieszczów

Pożegnanie Hektora z Andromachą w tekstach i obrazach

Wiesław Juszczak (1932-2021)