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The Gospel of Divine Mercy in King Lear

100%
Grzegorzewska M.
Text Matters: A Journal of Literature, Theory and Culture
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2021
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issue 11
321-333
EN
The paper discusses Shakespeare’s preoccupation with the Christian notions of divine love, forgiveness and justice in The Tragedy of King Lear. In my reading I employ Jean-Luc Marion’s phenomenological reflection on the givenness of love and Hans-Urs von Balthasar’s theology of Paschal mystery. I take issue with the Marxist and existentialist interpretations of Shakespeare’s tragedy which prevailed in the second half of the $20^{th}$ century. My aim is not a simple recuperation of the “redemptionism” of the play, but an in-depth consideration of Christian allusions in the play which may tie love and forgiveness to justice and throw light on the ending of King Lear.
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Sekrety i kłamstwa hiszpańskiego mnicha. Przyczynek do dyskusji nad anty-katolicką ideologią angielskiego gotycyzmu

100%
Grzegorzewska M.
Prace Filologiczne. Literaturoznawstwo
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2010
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vol. 59
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issue (3)
109-120
EN
The essay discusses the ideological aspect of Gothicism, foregrounding the connection between the Gothic convention and the strengthening of the sense of English identity and national pride. The authors of the English Gothic novel are keen on juxtaposing their own culture with those elements which can be deemed outlandish, foreign, shaped according to the Italian or Spanish manner. The fascination with evil and ugliness is not subject to any significant reflection; on the contrary, the accounts of somebody else’s cruelty and foreign malice play an important part in constituting the anti-Catholic agenda of the Gothic novel. This strategy was used, for instance by Matthew Gregory Lewis, the author of a very popular Gothic Romance: The Monk. The plot of this text, based on William Shakespeare’s play Measure for Measure, is full of anti-Catholic prejudice.
3
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The Secret Rites of Nature in “River” by Ted Hughes

100%
Grzegorzewska M.
Prace Filologiczne. Literaturoznawstwo
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2015
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issue 5(8)
427-439
EN
The text discusses Ted Hughes’ poetic sequence River from the perspective of eco-criticism. The poems included in this sequence illustrate the poet’s life-long interest in alternative forms of spirituality. The reader may recognise in them traces of hermetic philosophy, alchemy and shamanic healing practices. Hughes can also be called a meditative poet, if meditation is understood as a practice of attentively observing the surrounding reality. His treatment of nature is reflected in his original poetic idiom, where the sound and meaning of the human language frequently give way to the infra- and ultrasounds of the “unheard melodies” sung by plants and animals.
4
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“Eyes wide shut”: Paul Ricoeur’s Biblical Hermeneutics and the Course of Recognition in John Milton’s Paradise Lost

100%
Grzegorzewska M.
Text Matters: A Journal of Literature, Theory and Culture
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2014
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vol. 4
53-68
EN
The author of the paper analyzes John Milton’s great epic narrative through the lenses of Paul Ricoeur’s biblical hermeneutics and his philosophical reflection, in particular the second chapter of the philosopher’s last book, Parcours de la Reconnaissance (The Course of Recognition), devoted mainly to the prospects and pitfalls of recognizing oneself. Two excerpts from St. Paul’s Letter to Romans (14:23b) and the Letter to Corinthians (1, 13:12) highlight the main points of reference in this argument: (1) the concept of involuntary wrongdoing and (2) the contrast between the present opacity and the projected transparency of the knowing subject, connected with the promise of seeing face-to-face, whose fulfilment is rooted in God’s antecedent knowledge of a human being. It is argued that Ricoeur’s focus on the precarious fate of the “fallible man” and his simultaneous desire to outline the destiny of the “capable man” elucidate Milton’s masterpiece evocations of the Aristotelian anagnorisis in Paradise Lost.
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Bezdomni zmarli: rzecz o Szekspirowskich widmach

100%
Grzegorzewska M.
Prace Filologiczne. Literaturoznawstwo
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2012
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issue 2(5)
257-270
EN
The paper begins with an anecdote concerning one of most intriguing works of Frédéric Chopin, Nocturne in G-minor, Op. 15, nr 3. A story goes that Chopin composed this nocturn inspired by a performance of Hamlet and intended to name it: In the Graveyard. Regardless of whether this story is true or false, the implied plot-line of Chopin’s nocturn, developing from a wistful and then dramatic opening passage to the harmonious, hymn-like second part well fi ts the atmosphere of Shakespeare’s drama which does not preclude the possibility of consolation and the faith in transcendence, despite its prevalent preoccupation with ubiquitous iniquity, death and decay. In contrast with the rest of the play, however, act 1 scene 5, set in the graveyard, is marked by an entirely materialistic tendency, in the vein of the late medieval dance macabre. Still more unsettling is the vision of tenantless graves and the dead returning from the liminal space of the cemetery to the polis reserved for the living. The ghosts of the people who have died violent death are not harmless apparitions, fi gments of imagination, but as Quentin Meillassoux argues, they destroy the very boundary between life and death which safeguards our existence. The ghost of Banquo in Macbeth is a “living” example of such a radical subversion of the established dichotomies, which Shakespeare examines most carefully in his great tragedies. In the theatre of the 20th century, Shakespeare’s refl ection on the elusive boundary between the world of the living and the uncanny realm of the dead gained a great momentus in the perplexing stage production of Macbeth directed by a Lithuanian, Eimuntas Necrošius. The power of his vision stems from the connection of Shakespearean tragedy with the folk tradition of “Dziady”, an ancient Balto-Slavic custom commemorating the dead.
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Baranek czy tygrys? Nie-ludzkie oblicza Boga w poezji T. S. Eliota i R. S. Thomasa

100%
Grzegorzewska M.
Konteksty Kultury
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2018
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vol. 15
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issue 3
305-320
EN
The text illustrates the changes in representations of the Invisible in religious poetry: the crisis of language caused by the rejection of the idea of the Logos in Western culture leads to the obscuring of the symbolic transparency present in the sacred art created in the medieval and early modern period. The traditional animal imagery used in the past to illustrate the mysteries of the faith is replaced in twentieth-century poetry by opaque representations of the non-human face of God. The argument is illustrated by reference to the “speaking” and simultaneously “mute” pictures in the poetry of T.S. Eliot and the Welsh poet R.S. Thomas. The poems of Thomas, which reveal clear traces of apophatic theology, can be viewed as a response to the challenges of the post-secular age. 
PL
Tekst ukazuje zmianę przedstawień Niewidzialnego w poezji religijnej: kryzys języka wynikający z odrzucenia przez kulturę zachodnią pojęcia Logosu skutkuje odejściem od symbolicznej przejrzystości sztuki sakralnej epok dawnych. Tradycyjna symbolika zwierzęca, służąca ukazywaniu tajemnic wiary, w poezji religijnej XX wieku zostaje zastąpiona przez nieprzenikliwe obrazy nie-ludzkiego oblicza Boga. Ilustracją tej tezy są zawarte w tekście analizy „mówiących”, lecz zarazem „niemych” obrazów w wierszach T.S. Eliota oraz Walijczyka, R.S. Thomasa. Twórczość Thomasa, w której wyraźnie widać wpływ tradycji apofatycznej, można uznać za odpowiedź na wyzwania epoki postsekularnej.
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Magia teatru: Wspomnienie o Profesorze Jerzym Limonie (1950-2021)

63%
Fabiszak J., Grzegorzewska M.
Pamiętnik Teatralny
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2021
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vol. 70
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issue 2
171-180
EN
Professor Jerzy Limon was a world-renowned scholar, expert on Shakespeare and English literature, as well as theater theorist. He was also a writer and translator. His professional career is linked with Gdańsk: he taught English literature and theatre at the University of Gdańsk; it was in Gdańsk that he had the Gdańsk Shakespeare Theatre built in the place where the Fencing School, housing an Elizabethan stage, once stood. Jerzy Limon created and supervised the Gdańsk Shakespeare Festival for over 20 years, which presented productions from all over the world.
PL
Prof. dr hab. Jerzy Limon był światowej sławy naukowcem, wybitnym znawcą Shakespeare’a i literatury angielskiej, teoretykiem teatru. Był także pisarzem oraz tłumaczem. Związany z Gdańskiem – wykładał i wychował pokolenia anglistów i teatrologów na Uniwersytecie Gdańskim, w Gdańsku zrealizował dzieło swojego życia: doprowadził do powstania Gdańskiego Teatru Szekspirowskiego w miejscu dawnej Szkoły Fechtunku. Tutaj też przez ponad dwadzieścia lat gościł teatry z całego świata w ramach międzynarodowego Festiwalu Szekspirowskiego.
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