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(Auto)kreacje pamięci. Kilka uwag o "Matka odchodzi" Tadeusza Różewicza

100%
Zdunik M.
Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia
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2017
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vol. 35
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issue 1
EN
The main topic of this paper is a book entitled Mother Departs (1999) by Tadeusz Różewicz – a kind of polyphonic palimpsest, a memoir (with narrative prose, poems, photographies, etc.). In this article, the author analyzes statuses of many “authors” and lyrical subjects in Różewicz’s works and verifies a hypothesis about autobiographism of this book (in Lejeune’s understanding). It is also shown that there is no one coherent subject (identical with the real author) and the texts are, at the same time, fictional and nonfictional. Therefore, it is regarded that Tadeusz Różewicz creates a kind of “unique genre” (a term by E. Balcerzan), which is a literary form of his memory processes. For this reason, its construction is unavailable for an external reader.
PL
Tematem artykułu jest wspomnieniowy tom Matka odchodzi (1999) Tadeusza Różewicza – książka wyjątkowa, polifoniczna, palimpsestowa i niespójna. W pracy dokonano analizy obecnych w dziele podmiotów autorskich, a także zweryfikowano przeświadczenie o autobiograficzności tekstu (według terminologii Lejeuene’a). Lektura wykazała, iż w tomie Różewicza brak jednego, spójnego, równoznacznego z rzeczywistym autorem podmiotu mówiącego oraz że umieszczone w książce teksty mają często podwójny, zależny od kontekstu, status (fikcjonalny/niefikcjonalny). Uznano więc, że Różewicz tworzy swoisty „gatunek jednorazowy” (termin Balcerzana) – wyjątkowo intymny i nieprzejrzysty, będący zapisem jego procesu wspominania, a więc niejako (pod względem wglądu do jego konstrukcyjnych reguł) niedostępny zewnętrznemu czytelnikowi.
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W kręgu Tadeusza Kudlińskiego: Wiesław Gorecki

100%
Zdunik M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2018
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vol. 18
200-210
RU
Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism'.
EN
Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism.
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