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1

MICKIEWICZ - A LITERARY HISTORIAN IN PARIS LECTURES (Mickiewicz - historyk literatury w prelekcjach paryskich)

100%
Kuziak M.
Pamiętnik Literacki
|
2011
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vol. 102
|
issue 1
27-46
EN
The article views Adam Mickiewicz's Paris lectures as a literary history. It shows the lecturer's understanding of a literary work (categories that allow to conceptualize literature, i.e. 'national literature', 'literary genetics', 'process of creation', 'literary process'), hermeneutics (analytical and interpretative activities) adopted by the creator, the methods of literary axiology, Mickiewicz's project of literature, and the presentation of literary issues in the lectures in question.
2
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Sonety krymskie po rosyjsku - kilka uwag o przekładach romantycznych i współczesnych

80%
Bednarczyk A.
Studia Iberystyczne
|
2009
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vol. 8
173-187
EN
The author examines the 19th century and the contemporary Russian translations of the Crimean Sonnets by Adam Mickiewicz. She intends to identify their characteristics connected with the translation standards prevailing in a given epoch. She also reflects upon the problem of ‘updating’ the text in modern translations including the newest translation by Alexandr Revitch, The latter version of the Sonnets is being analysed also for the idiosyncrasies of the translator’s output.
3

Nadrzecza serdeczne epoki klasyczno-sentymentalnej. Kilka uogolnien i zblizen

80%
Pusz W.
Pamiętnik Literacki
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2011
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vol. 102
|
issue 4
99-106
EN
The paper focuses on the poems composed classical and sentimental poetics in the late Enlightenment, in which we find reflections resulting from the poet’s real or fictional return to a dear homeland river. A thematic-existential classification is referred to, “I” her – now, “I” here – now and later, and “I” here – now and earlier. Within such classification the author analyses the poems by Jozef Morelowski, Adam Mickiewicz, and Franciszek Karpinski, and daws attention to the blurred borderlines between the classical and the sentimental seen both in the collections of poems and in the poems.
4

„Niewidoczny” autograf Adama Mickiewicza z dwuwierszem „[Jak drzewo przed wydaniem owocu...]” i tzw. „Nota do Francuzow”

80%
Szczeglacka-Pawlowska E.
Pamiętnik Literacki
|
2013
|
vol. 104
|
issue 2
189–198
EN
“Unseen” in this article is referred to an Adam Mickiewicz’s autograph treasured in Polish Library in Paris (manuscript nr. 84) with two texts, namely [Like a tree before giving fruit...] and so-called Note to Frenchmen starting with “Dans l’homme de Dieu est deposée l’idée de Napoleon [...].” The manuscript was named “unseen” as in spite of a well preserved autograph so-called Note to Frenchmen was published neither in the significant editions of Mickiewicz’s works nor in considerable sources documenting the poet’s creativity. The texts written on the same piece of paper and at the same time characterised by a uniform type duct should be published as a whole, and Mickiewicz’s translation of so-called Note to Frenchmen – the source of which is probably Ferdynand Gutt’s letter and not Towiański’s letter, as it was established – is to be seen as the author’s one. The autograph also seems to be decisive about the problem of the genre of the poem [Like a tree before giving fruit...]. It does not belong to Zdania i uwagi, though in many Mickiewicz’s works edition it was published within the aforementioned collection (or close to them) as one of the pieces of this cycle produced later.
5

Potwór, którym więc jestem [o Dziadach i Dusiołku]

80%
Kłosiński M.
Świat i Słowo
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2012
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vol. 10
|
issue 1(18)
29-38
EN
In my essay The Monster that therefore I am I attempt to sketch the ethical and etymological roots of a Polish monster. The literary context of Adam Mickiewicz’s Dziady and Bolesław Leśmian’s Dusiołek is of particular importance. On the basis of these texts it is possible to sketch a model of the Polish monster, who fundamentally differs from its Western counterpart due to its specifically ethical function. The title of the article is a travesty of the title of Jacques Derrida’s text The Animal that Therefore I am and refers to the French philosopher’s reflection upon the otherness/difference.
6

Osobne światy. Mickiewicz i Słowacki

80%
Romaniszyn-Ziomek L.
Świat i Słowo
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2013
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vol. 11
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issue 1(20)
79-86
EN
The article postulates a fundamental disparity between the two romanticisms represented by Mickiewicz and Słowacki. The author invokes opinions of critics on the relations between the bards, introduced by Manfred Kridl and well established in popular reception. The factors influencing the discrepancy between the literary worlds of Mickiewicz and Słowacki include generational gap, involving heterogeneous life experiences, attitudes to national literature and literary models conditioned by the poets’ belonging to different generations as well as Słowacki’s original poetic imagination and his creative disposition.
7

Bohater i przestrzeń w "Sonetach Krymskich" Adama Mickiewicza

70%
Jaśkiewicz M.
Prace Literackie
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2010
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vol. 50
27-40
EN
This text focuses mainly on the protagonist and space in Adam Mickiewicz’s Crimean Sonnets. The author believes that it is worth re-examining the construction and meaning of the protagonist of the poems, and thus filling certain gaps and broadening certain aspects which, so far, have been only suggested in the literature on the subject. In order to get closer to the most important matter, the author precedes her analysis with an examination of the sense and the meaning of poetic wandering according to an assumption that the essence of Mickiewicz’s protagonist’s travel does not lie in the reality of the visited country. What is important is the very concept and the status of the protagonist — the Pilgrim. In addition, the author focuses on the problem of two subjectivities: eastern and western. The study also explores space, both in terms of space creation and space symbolism. The author assumes that space reflects the way the protagonist perceives reality. This is the reason why the complex structure of the protagonist’s consciousness is such an important aspect, frequently emphasized by the author.
8

AN UNKNOWN POEM BY ADAM MICKIEWICZ '[IN PRINCE GOLICYN'S ALBUM]'? (Nieznany wiersz Adama Mickiewicza '[W albumie ksiecia Golicyna]'?)

70%
Dambek Z.
Pamiętnik Literacki
|
2011
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vol. 102
|
issue 1
179-187
EN
The article is devoted to a three stanzas version of so far unknown poem '[In Prince Golicyn's Album]' found in the collections of The Library of the Poznan Society of Friends of Science and ascribed to Adam Mickiewicz. To date the poem was known only from copies in a one stanza version. The discovered poem is also a copy. In the article the author publishes the entire poem that was found and once again critically looks into the reports on the poem's composition and the situation in which it was published. The second part of the paper is devoted to the poem's addressee. To the alledged addressees recalled in the state of research, i.e. Prince Dmitri Golicyn and Alexander Golicyn, she adds the figure of Sergey Golicyn of the Starawies near Warsaw, thus explaining the existence of the poem self-publishing in Warsaw and broader - in the Kingdom of Poland. The author ceases to settle Mickiewicz's authorship of the poem; this issue can only be determined by the autograph.
9
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Romantycy w Bibliotece Wydziału Filologicznego UMK

51%
Śliwińska M. M.
Folia Toruniensia
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2011
|
vol. 11
61-71
EN
The article presents the 19th century editions of works of Romantic writers, stored now in the Library of the Faculty of Languages in NCU, which was created when the Chair of Polish philology was established. The author discussed the following editions: of Adam Mickiewicz (Zywila. Légende Lithuanienne par Adam Mickiewicz, Paris 1866; Poezye Adama Mickiewicza, vol. 2, Petersburg 1829; Adama Mickiewicza Dziadow czesc trzecia Paris 1833; Poezye Adama Mickiewicza, vol. 1, 3, 5-8, Paris 1838), of Wincenty Pol (Kilka kart z krwawego rocznika, Leipzig 1864; Poezye Wincentego Pola, vol. I-V (Dziela Wincentego Pola wierszem i proza, series: I, vol. I, III, V, VII, IX), Lviv 1875-1878), of Zygmunt Krasinski (Niedokonczony poemat, Paris 1862; Listy Zygmunta Krasinskiego do Konstantego Gaszynskiego, Lviv 1882; Listy Zygmunta Krasinskiego do Adama Soltana, Lviv 1883), of Teofil Lenartowicz (Aniol ziemi. Srebrny spiew by T. L., in Lviv 1870; Album wloskie by Teofil Lenartowicz, in Lviv 1870), of Konstanty Gaszczynski (Pisma prozatorskie by Konstanty Gaszynskiy, Leipzig 1875). The article also discusses the rules according to which books gathered wide readership, such as the censorship, the wealth of readers, difficult conditions of the development of literary life, the division into emigration culture and home culture, liberation ideas included in the text.
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