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„Obrazy są jak kwiaty, ideałem, zamkniętym w linie i kolory”. Wiktora Gomulickiego wypowiedzi o sztuce ikonicznej

100%
Olkusz W.
Studia Slavica
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2014
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vol. 18
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issue 2
11-26
EN
This article deals with the essayist and critical work by Wiktor Gomulicki who is best known for his literary fiction and poetry, as well as literary criticism, essays on history, and a rich collection of varsaviana. It is, however, less known that he was a keen observer of the changes which the Polish painting was undergoing at that time. He took part in the four most important debates of the day: “on the identity of national art”, “advocates of idealism versus advocates of realism”, “the episode of Warsaw impressionism”, “dispute about the values of symbolic and proto-expressionist art.” In each of them, Gomulicki unwaveringly expressed his favour for the superior role of “the idea” in painting, which translated into his adverse view of realist-naturalist tendencies and impressionism, while at the same time he supported academic idealist painting and, later, symbolism – whose traces he found in Władysław Podkowiński’s work. Gomulicki’s views on art are expressed in a number of literary forms (such as reports from exhibitions, reviews, polemics, whistle-blowing features) and characterised by the opalescence of function (from postulation to operation to cognition and assessment), cycle grouping, and the so-called literary style of reception, consisting in “reading” a painting as if it were a novel, with the “story” taking precedence over the “form.
2
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Twórczy kontynuator czy tylko zręczny naśladowca? Paremia w powieściach kryminalno-historycznych Mariusza Wollnego

100%
Olkusz W.
Literatura i Kultura Popularna
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2011
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vol. 17
147-187
EN
Due to the fact that modern paroemilogists and linguists very often complain in their statementsabout the disappearance of tradition in making use of adages, the aim of this article is to verify these woeful observations. The subject of the research are two novels written by Mariusz Wollny (Kacper Ryx and Kacper Ryx i król przeklęty) which represent the historical detective novel in its belligerently-adventurous version. Statistical analysis of both novels proves considerable usage of proverbs and proverbial expressions, typical for the 19th century novel writing. The impressive number of Polish paroemia (701) are also completed with Latin adages (41), French (1), German (3), Russian (1) and Ukrainian (1), being presented in the original linguistic shape. Wollny’s paroemiological competence is, moreover, crystallized by diversified forms of incorporating proverbs, in order to attain a complete formal and semantic text cohesion: grammatical form modification of a proverb (the change of a person, number, tense and mood), shortening of proverbs (apocopes), preceding with a binding phrase, joining proverbs into mini-sequences, the change of one idiomatic element, as well as, paraphrasing and allusion to paroemia. These diversified ways of including proverbs into a directive text, correspond with the multiplicity of the performed functions: indirect characteristic of the character (nationality, social affiliation, the knowledge of communication strategies, education qualification, mentality type, etc.), language style, aesthetic and expressive function. This strategy of artistic conduct is similar to the historical novels of Sienkiewicz, very often definedas an “adventure novel”.
3
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„Ten demoniczny Bosch”. W czterechsetną rocznicę śmierci malarza

63%
Olkusz K., Olkusz W.
Facta Ficta. Journal of Theory, Narrative & Media
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2018
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vol. 1
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issue 1
96-137
EN
The article „This Demonic Bosch”. In Four-Hundredth Anniversary of Painter’s Death by Ksenia Olkusz and Wiesław Olkusz concerns the reception of Hieronymus Bosch in contemporary popular literature. Bosch inspirations are traced in Michael Connelly’s or Jeffrey Lindsay’s crime fiction, as well as in fantasy genre, represented here by Polish writer Jarosław Grzędowicz. Many writers exhibit interests in Bosch’s biography which, in turn, becomes interwoven in their storytelling. These tendencies come not only from the long-observed liaisons between literature and visual arts, but are also a consequence of the increasing popularity of mysterious works of art following Dan Brown’s bestselling novel The Da Vinci Code. In at least a decade after the premiere of Brown’s work, many subsequent books has already proved to be clearly inspired by his concept. This type of novel requires to recall paintings we do not know much about or biographies of painters that are still incomplete or lack precise account of their lives. Accordingly, the oeuvre of Hieronymus Bosch-an enigmatic figure and author of disturbing artworks alike-is presented as a prodigious source of story ideas.
4

Policjant erudyta. O literackich kontekstach w cyklu powieści kryminalnych o komisarzu Montalbano Andrei Camilleriego

63%
Olkusz W., Olkusz K.
Prace Literackie
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2011
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vol. 51
137-153
EN
This article sets off to discuss the intertextuality of some of Andrea Camilleri’s detective novels which offer a variety of implicit and explicit signals of the bonds between them and the prior texts, and also display the cultural competence of the protagonists — and, thus, of the author (an imposing assembly of thirty names — from Homer to R. Musil to G. Simenon). On the primary semantic level (the linguistic level), the distinctive elements are realised as citations (e.g. songs, poems, proverbs) and direct and indirect references to the names of literary and filmic characters, names of authors and their works’ titles. The fictional world, i.e. the secondary semantic level, abounds, too, in distinctive elements (such as similar situations, events, structures, characters and the descriptions of their looks). The numerous references to the literary tradition document the writer’s striving to ennoble detective fiction and protect it from the negative impact of the homogeneity of modern culture.
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