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Czy Bruno Schulz był pisarzem?

100%
Millati P.
Schulz/Forum
|
2020
|
issue 15
44-64
PL
The essay is an analysis of the most important, yet actually quite sporadic artistic adventure of Schulz, which was fiction writing. The question discussed is apparently paradoxical: was Bruno Schulz a writer? The author argues that there is a difference between a writer and a man of letters, i.e. someone who is a professional in the literary field. Schulz never became the latter and this is what makes his biography significantly different from those of the typical literati among whom he had many friends. In comparison to them, Schulz wrote very little, started writing quite late, and the period when he really was a writer lasted only several years. One might say that writing fiction indeed rather happened to him – it was not a permanent disposition of his artistic existence. That had crucial consequences for the form of his writing.
2
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Schulz i Gombrowicz. Na marginesie książki Gombrowicz. Ja, geniusz Klementyny Suchanow

100%
Millati P.
Schulz/Forum
|
2017
|
issue 10
PL
The author focuses on the friendship of Bruno Schulz and Witold Gombrowicz, discussed in the latter’s biography by Klementyna Suchanow. All the scattered traces of Schulz in Gombrowicz’s life have been brought together and supplemented with information and contexts which could not be taken in consideration by Suchanow due to her book’s limited length.
3
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Ziemia obiecana Władysława Reymonta a polskie sny o potędze / Promised Land by Władysław Reymont and Polish dreams about power

100%
Millati P.
Rocznik Towarzystwa Naukowego Płockiego
|
2018
PL
Streszczenie: Jednym z ważniejszych polskich mitów tożsamościowych było przekonanie o szlachetnym, pokojowym i łagodnym, a więc kobiecym charakterze polskiej duszy. Tłumaczono nim naszą bezsilność wobec brutalnej bezwzględności naszych sąsiadów. Inicjalny rozdział tekstu pokazuje, jak rozpowszechnione było takie wyobrażenie w oparciu o przykłady z literatury oraz historii. Jednak co jakiś czas pojawia się w naszej kulturze gwałtowna niezgoda na taki wizerunek. Stała za nią pogarda dla polskiej słabości, którą należało odrzucić jako główne źródło narodowych nieszczęść. Takie marzenie o narodowej potędze, która sprawi, że staniemy się w końcu nie przedmiotem, a podmiotem dziejów znaleźć można choćby w publicystyce poetów związanych z pismem „Sztuka i Naród" oraz obecnie w historycznych książkach Jarosława Marka Rymkiewicza. Sen o potędze, która ma być antytezą polskiej słabości, odnaleźć możemy również w Ziemi obiecanej Władysława Reymonta. Śni go główny protagonista powieści Karol Borowiecki. Pragnie zbudować swą indywidualną moc w oparciu o fortunę, jaką zamierza zarobić, stawiając własną fabrykę. Aby stało się to możliwe, musi jednak działać w darwinowskim świecie dziewiętnastowiecznego kapitalizmu, a więc odrzucić polską miękkość, która jest dla niego dziedzictwem sarmackiego pochodzenia. Musi się stać nietzscheańskim nadczłowiekiem, tytanem woli, dążącym bez skrupułów do wyznaczonego sobie celu. Centralny rozdział tekstu przedstawia, jak przebiegał ten proces. W finale powieści Reymont jednak „zdradził" swego bohatera. Pozostał wierny moralizatorskiej tradycji polskiej literatury, „ukarawszy" Borowieckiego poczuciem wypalenia i duchowej pustki, będących konsekwencją odrzucenia etycznych zasad swych szlacheckich przodków oraz głosu sumienia.Słowa kluczowe: Reymont, Ziemia obiecana, polskie mity narodoweSummary: „The Promised Land" of Władysław Reymont is a very particular novel in a history of Polish literature. Reymont tries to reject one of the most important myths of the Polish culture - a belief created and glorified by romanticism that a weakness, humility and readiness to suffer are in fact real virtues which give to the Polish a sense of moral supremacy over their brutal and immoral enemies. The main character of the novel - Karol Borowiecki - feels hunger for power and greatness, so he decides to reach the goals by breaking almost all moral rules. In order to do this he must deny the cultural and spiritual heritage of the noble class to which he belongs. The article tells about the hidden, unconscious but strong desire of a Polish soul to overcome a romantic messianism, which has been a dominant spiritual ideology of Polish nation for a long time.Keywords: Reymont, Promised Land, Polish national myths.
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Mamy „Mesjasza”!

100%
Millati P.
Schulz/Forum
|
2020
|
issue 16
147-156
PL
The text refers to the question of affinities between the prose of Bruno Schulz and Olga Tokarczuk. Its narrative axis is the risky and provocative idea that Tokarczuk’s novel The Books of Jacob is, in its deepest essence, a literary realisation of Schulz’s unwritten or lost Messiah.
5
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Markownik Tomasza Leca

100%
Millati P.
Schulz/Forum
|
2013
|
issue 3
119-122
PL
The artist Tomasz Lec has done one of the most original graphic designs referring to Bruno Schulz. It is a cover of The Regions of Great Heresy and Environs by Jerzy Ficowski, the founding father of Schulz studies. The black cover shows a page from a stamp album with nineteenth- and twentieth-century stamps. This idea is a direct reference to Rudolf ’s stamp album from the short story “Spring” which includes the motif of the Book, fundamental for Schulz’s fiction. All the stamps have been supplemented by Lec with a graphic motif connected with Schulz (e.g., a panorama of Drogobych, the writer’s self-portrait or an illustration from The Book of Idolatry). According to Lec, each of the fourteen stamps is supposed to be an allusion to a specific chapter of The Regions of Great Heresy. At the end of the essay there is an short guide to his stamp album by Tomasz Lec. The artist has identified in it both the stamps that he used and the Schulzian graphic motifs he added in his both symbolic and humorous collage.
6
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Czytanie „Księgi obrazów”. O odrzuconych fabułach opowiadań Brunona Schulza

100%
Millati P.
Schulz/Forum
|
2015
|
issue 6
17-33
PL
The main idea of the present essay is considering Bruno Schulz’s own illustrations to his stories as starting points for reconstruction of alternative plots. Schulz was an artist who used his drawings as stimuli to develop the plots and ideas of his narrative texts. Many drawings no doubt refer to a particular story, but they show a reality that is quite different from its details. Referring mainly to “Spring,” the author makes an attempt to describe and analyze such differences, trying to reconstruct whatever Schulz himself rejected in the process of writing.
7
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Co wkurza Polaków?

100%
Millati P.
|
2015
|
issue 3/2015 "My, Naród..." Polski mit narodowy dzisiaj
121-125
PL
Tekst jest pisemną wersją wystąpienia wygłoszonego na konferencji „Wściekłość i oburzenie. Obrazy rewolty w kulturze współczesnej”, która odbyła się w Instytucie Filologii Polskiej Uniwersytetu Gdańskiego w dniach 17–18 kwietnia 2012 roku.
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