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1
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Bruno Schulz czyta Conrada v. 2

100%
Skiba T.
Schulz/Forum
|
2020
|
issue 15
74-82
PL
The paper refers to a problematic relationship of Bruno Schulz with Joseph Conrad, analyzed for the first time by Bogusław Gryszkiewicz. Gryszkiewicz’s text has become for the author a pretext to ask questions concerning the limits of Schulz studies and the originality of Schulz himself. Passionately trying to find literary parallels, should we be indifferent to what is original, unique, and incomparable? If we take such an attitude to Schulz, he turns out a writer with the imagination of a plagiarist, who only translates texts by other writers into his idiom. This kind of a comparatist interpretation, lost in the maze of literary references and intertextual echoes, is a trap. In such a maze one is unable to recognize Schulz’s depth and his fabulist machinery that made absolutely original events and characters.
2
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Schulz w książeczce do nabożeństwa, czyli „Mesjasz” Wojciecha Żmudzińskiego

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Skiba T.
Schulz/Forum
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2016
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issue 8
163-166
PL
Wojciech Żmudziński’s novel is another story of the lost manuscripts by Bruno Schulz. The author presents a surreal vision of the world in which the found Messiah is a guide for the perplexed and a prophecy about the coming Savior. Żmudziński adopted a number of Schulzean motifs, paraphrased fragments of The Sanatorium under the Sign of an Hourglass, and created a new version of Schulz’s biography. Unfortunately, all those devices are just meaningless props and a backstage which the author needs to express his own worldview, thus presenting a false image of Schulz and his work.
3
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Kto napisał Brunona Schulza?

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Skiba T.
Schulz/Forum
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2017
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issue 10
PL
A short story, inspired by Jacek Dukaj’s story “Who Wrote Stanisław Lem?”, is a review of a non-existent study focused on the posthumous life of Bruno Schulz, reconstructed by computer scientists in the late 20th century.
4
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Popiół ze Sztokholmu

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Skiba T.
Schulz/Forum
|
2015
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issue 5
154-158
PL
Cynthia Ozick’s 1987 novel, The Messiah of Stockholm, has been reviewed all over the world. In the United States, where Ozick is considered a major writer, it has been received very well, while in Europe it has been acknowledged mainly thanks to its connection to Bruno Schulz. It was a clever marketing move, a part of Ozick’s creative writing strategy. Even though her novel has provoked many objections (poor content and form, lack of authenticity, empty generalizing), it has a certain charm which is quite difficult to resist. The present review is an attempt to shed some light on that specific feature of Ozick’s writing.
5
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Witold Gombrowicz i Bruno Schulz. Biografie równoległe

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Skiba T.
Schulz/Forum
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2020
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issue 16
45-97
PL
This article gives an account of the overlapping biographies of Witold Gombrowicz and Bruno Schulz. It frames the events which brought the two writers together with a discussion of their literary debuts in 1933, which preceded their first meeting, and the post-war memories of Gombrowicz, who kept reminiscing about his “deceased friend”. The author describes the meetings and conversations between Schulz and Gombrowicz that took place at the latter’s apartment or in Zofia Nałkowska’s salon, their joint undertakings, such as the publication of open letters in Studio magazine, and their battle with literary critics, whose spiteful comments and attacks were aimed at what they called “young literature”. The article presents testimonies of Gombrowicz and Schulz’s mutual inspirations and interpretations, and discusses texts and events which echo their vigorous correspondence, mostly lost during the Second World War. This mosaic of dispersed facts and memories depicts a great friendship between two artists, who approached each other with curiosity and respect, but also with their typical penchant for self-irony. The idea of parallel biographies was born during the author’s work on the research project Calendar of the Life, Work, and Reception of Bruno Schulz.
6
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Homunkulusy Brunona Schulza

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Skiba T.
Schulz/Forum
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2013
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issue 3
79-88
PL
In Bruno Schulz’s short stories, full of motifs taken from alchemy and the Book of Genesis, one can find many homunculi – artificial human beings that were one of the goals of alchemists’ experiments. In Schulz’s fiction, this figure is a symbol of artificial life which is empty, sterile, and unable to create. This artificial life is represented by mannequins, wax figures, idols, dummies, marionettes, golems, and dolls. In Schulz’s carnivalesque reality, such forms can be only temporary disguises, parts, and grotesque masks that have nothing to do with the creative soul. Consequently, each of them must be treated separately, since it is an automaton or a stuffed dummy only to an extent, similarly to dolls and plaster statues which may be partly human. The present essay is an attempt to put all such creatures together and interpret them in different contexts, ranging from the biblical creation and medieval alchemy to the twentieth-century science fiction. As it turns out, the most important are their faces – fixed, incomplete, and dead – which are disguises worn by protean individuals.
7
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Postscriptum do biografii równoległych Schulza i Gombrowicza

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Skiba T.
Schulz/Forum
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2020
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issue 16
98-98
PL
Description of the context in which the article on parallel biographies was presented.
8
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Rzeczywistość przesunięta – nowy portal internetowy o Jerzym Ficowskim

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Skiba T.
Schulz/Forum
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2017
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issue 9
PL
A web portal about Jerzy Ficowski is not intended to be the complete and ultimate source of information about his life and work. It is rather a sort of draft project with a continuously edited current developments section and many links to interpretations, other portals, films, interviews, radio broadcasts, and other multimedia.
9
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Księga Schulza, Księga Lema

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Skiba T.
Schulz/Forum
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2018
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issue 12
PL
The Book is not only a crucial element of the fictional world of Schulz and Lem, but also a metaphor of creation. The poetic imagination of both writers is rooted in the mythical image of the ur-Book, the Authentic Scroll which makes the axis mundi of reality. The artistic task of Schulz was to reconstruct that lost idea, while Lem decided to abandon it in favor of a vision of enormous, overwhelming libraries. At any rate, the attitude toward the myth of the Book turns out to be a common element, if not a symbol characteristic of both Schulz’s and Lem’s fiction.
10
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Sztuczni ludzie i sztuczne zwierzęta w prozie Brunona Schulza i Philipa K. Dicka

100%
Skiba T.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
|
2014
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issue 2/2014 "Zwierzęcość"
176-194
EN
Phenomenon of artificial human beings is known in our culture for ages. They show up in various forms: mythic Galatea and Pandora, Jewish golem, dummies, mannequins, marionettes, androids and cyborgs. The obsession of human look-alikes is omnipresent in works of Bruno Schulz and Philip K. Dick. These two writers, from different times and spaces, created dehumanized characters who are ruthless and washed out of feelings or already dead while still being alive who accepted their fate of sawdust-stuffed puppets. Isn’t this too much anthropocentric though? What about the artificial animals? It seems to be quite an issue in Dick’s and Schulz’s novels. Real specimens are replaced by mannequins (Schulz’s withered condor, disembowelled martens and weasels, paper birds) or electric imitations (“the fakes are beginning to be darn near real, what with those disease circuits they're building into the new ones”). How to judge this process? Do animals know about their look-alikes copies? Do they wear masks? Artificial animals can become a symbol of a new, fake world. Maybe, as Jean Baudrillard said, the whole reality is in fact a simulation. Then how should we see the difference between truth and illusion? Novels of Philip K. Dick and Bruno Schulz are bringing up these problems. There can be a hidden answer in the creation of artificial humans and animals.
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