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1

Grzechy Gombrowicza przeciwko wolności. O projekcie etycznym wpisanym w „Ferdydurke”

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Chwin S.

Przestrzenie Teorii

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2013

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issue 20

11-27

EN

Gombrowicz’s way of thinking about freedom changed over years. He did not simply follow the ideas formulated in the 1930s. In the world presented in Ferdydurke Gombrowicz described the ontological foundations of freedom as significantly weaker than the ontological foundations of enslavement. The structure of this world was based on a strong juxtaposition of the protagonist as a lone “partisan of freedom” who feels uneasy about the constraints imposed by Form and the majority of society which is comfortable about being limited by Form and does not crave for individual freedom because it is much more afraid of falling out of Form. World War II was a turning point in the evolution of Gombrowicz’s philosophy of freedom. Before 1939 he considered the value of freedom to be unquestionable and he did not talk about its dark sides. After the war Gombrowicz also began to see freedom as a tragic gift. In his play The Marriage he showed how an individual’s pursuit of absolute freedom can turn into tyranny. The philosophy of freedom that he had formulated in Ferdydurke excluded such a possibility. In order to understand the meaning of the philosophy of distancing oneself from Form, as articulated in Ferdydurke, one should find out whether Gombrowicz directed his moral guidelines from the 1930s relating to practicing freedom only to people who lived in the interwar period, i.e. when the temperature of social tensions was moderate, or thought that it was also possible to distance oneself from Form in extreme situations, for example, during violent social conflicts, war, and occupation.

2

Dlaczego Bruno Schulz nie chciał być pisarzem żydowskim (o „wymazywaniu” żydowskości w „Sanatorium pod Klepsydrą” i „Sklepach cynamonowych”)

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Chwin S.

Schulz/Forum

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2014

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issue 4

5-21

PL

The absence of the Drogobych synagogue in Bruno Schulz’s fiction suggests his strategy of erasing all the traces of his cultural identity. Next to that absence, one can notice his significant choice of names – to realize that, it is enough to compare Schulz’s short stories with Julian Stryjkowski’s novel, Austeria. Apparently, Schulz eliminated from his represented world all Jewish connotations. His use of foreign words, borrowed from different languages, may be explained as an effort to make his fiction as cosmopolitan as possible. This refers not just to the represented reality, but to the very structure of Schulz’s imagination and his linguistic sensibility. The writer did not renounce his Jewishness, but wanted it to be only one component of his fiction. Biblical references and the paraphernalia of the Jewish culture were to be just one piece in a multicultural narrative mosaic which tended toward universality.

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Why Bruno Schulz Did Not Want to Be a Jewish Writer: On the “Erasing” of Jewishness in “Sanatorium Under the Sign of the Hourglass” and “The Cinnamon Shops”

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Chwin S.

Schulz/Forum

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2023

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issue Special Issue: Biographies and Identities

32-46

EN

The absence of the Drogobych synagogue in Bruno Schulz’s fiction suggests his strategy of erasing all the traces of his cultural identity. Next to that absence, one can notice his significant choice of names – to realize that, it is enough to compare Schulz’s short stories with Julian Stryjkowski’s novel, “Austeria”. Apparently, Schulz eliminated from his represented world all Jewish connotations. His use of foreign words, borrowed from different languages, may be explained as an effort to make his fiction as cosmopolitan as possible. This refers not just to the represented reality, but to the very structure of Schulz’s imagination and his linguistic sensibility. The writer did not renounce his Jewishness, but wanted it to be only one component of his fiction. Biblical references and the paraphernalia of the Jewish culture were to be just one piece in a multicultural narrative mosaic which tended toward universality.

4

Siła Rosji? Miłosz w rozmowie Stefana Chwina i Zbigniewa Kaźmierczyka przez Bartosza Dąbrowskiego moderowanej

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Chwin S., Kaźmierczyk Z., Dąbrowski B.

Studia Rossica Gedanensia

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2023

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issue 10

433-460

5

Poprosiliśmy pięcioro schulzologów… Ankieta redakcji

45%

Chwin S., Bolecki W., Jarzębski J., Fieguth R., Lukas K.

Schulz/Forum

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2020

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issue 15

162-173

PL

Finding by Piotr Szalsza two German language stories signed with the name “Bruno Schulz” could not be ignored by the editors of Schulz/Forum. Not yet recovered from the shock caused by the 14th issue, we are again facing a possible revelation. Unlike, however, in the case of the story titled “Undula” of 1922, which leaves no doubt that it is an early work by the author of The Cinnamon Shops, even if he preferred to use a penname, the question of the authorship of the two stories published in the Cetinjer Zeitung in 1917 and 1918 seems much more complicated. Perhaps without more research in the archives its resolution will be impossible. We asked four Schulz scholars for their opinions about the texts: Stefan Chwin, Włodzimierz Bolecki, Jerzy Jarzębski, Rolf Fieguth, and Katarzyna Lukas.

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3 Schulz/Forum

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5 Chwin S.

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1 Jarzębski J.

1 Kaźmierczyk Z.

1 Lukas K.

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Grzechy Gombrowicza przeciwko wolności. O projekcie etycznym wpisanym w „Ferdydurke”

Dlaczego Bruno Schulz nie chciał być pisarzem żydowskim (o „wymazywaniu” żydowskości w „Sanatorium pod Klepsydrą” i „Sklepach cynamonowych”)

Why Bruno Schulz Did Not Want to Be a Jewish Writer: On the “Erasing” of Jewishness in “Sanatorium Under the Sign of the Hourglass” and “The Cinnamon Shops”

Siła Rosji? Miłosz w rozmowie Stefana Chwina i Zbigniewa Kaźmierczyka przez Bartosza Dąbrowskiego moderowanej

Poprosiliśmy pięcioro schulzologów… Ankieta redakcji