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1

WITOLD GOMBROWICZ, NATURE VS. CULTURE

100%
Jarzebski J.
Teksty Drugie (Second Texts)
|
2005
|
issue 3(93)
17-26
EN
Gombrowicz's relations with the Nature have always been pretty tense, and beset with paradoxes. First, he mocked at Enlightenment-Romanticist stereotypes of displaying the Nature; in biology, he saw a destructive power, undermining the structure of Culture. Then, he would put an emphasis on attempts at finding an understanding between the 'human' and the 'non-human', be it via a simple 'glance' (a cow in an eucalyptus alley), a community of shared pain that unifies all the living beings, up to plaiting (as in 'Kosmos') a metaphysical world order with one being built upon excesses of a libido, which has been generated within the Nature's sphere. The further up we go, the Gombrowicz vs. Nature relationship becomes more and more complex, culminating in 'Operetka' (Operetta) where Albertynka, naked, a symbol of natural beauty and charm, gets pregnant with the memory of a 'Nature's scandal': 'ugliness of the body that's growing old'.
2

THE BORDERS OF TRANSITIVITY

51%
Neuger L.
Teksty Drugie (Second Texts)
|
2005
|
issue 3(93)
9-16
EN
The notion of transitivity comes from Emmanuel Lévinas' lectures collected and edited as 'Le temps et l´autre', where it is defined as ecstatic absorption of the world as a food, as part of one's material care about himself/herself. This essay focuses on two consecutive records, dated 1958, in Gombrowicz's 'Dziennik' (The Journal), where the author's transitivity seemingly stops in the face of fate/death. In the first record, a static and passive submission to the rush of time proves correspondent with it being (im)possible to read of one's own history (or face) from blurred traces. In the second, transitivity is halted when it comes to facing what is radically different and scaring (lofty); where the border between the inner and the outer, the hidden and the open, the expressible and the inexpressible gets violated.
3

WHY WAS GUSTAW HERLING-GRUDZINSKI AFRAID OF MEETING WITOLD GOMBROWICZ ? (Dlaczego Gustaw Herling-Grudzinski bal sie spotkac z Witoldem Gombrowiczem?)

51%
Bielecki M.
Teksty Drugie (Second Texts)
|
2008
|
issue 3(111)
88-110
EN
This article explores the specific biographical and literary/intertextual relationship between Gustaw Herling-Grudzinski and Witold Gombrowicz. Their biographic relations are unclear: Herling-Grudzinski first met Gombrowicz between the two world wars but did not renew the acquaintance with Witold when WW2 was over, although both authors were contributing at that time to the Paris-based 'Kultura' monthly. The reason might have been that Gombrowicz's ideological and philosophical stance was unacceptable to him. Hence, Herling-Grudzinski's continual engagement in polemics with Gombrowicz, which actually started in 1938 with his highly critical review of the novel 'Ferdydurke', and was subsequently continued in his multivolume diary 'Dziennik pisany noca'. The dispute was formally expressed in the area of the poetics of diary but concerned issues more fundamental than that: the way literature is (to be) understood, the writer's duty with respect to (a) community and, first and foremost, the concept of reality and a model of subjectivity (human being).
4

HOW TO SEE ARCHITECTURE (IN GOMBROWICZ AND OTHER MODERNIST AUTHORS) WHEN IT IS BEING READ?

51%
Lesniakowska M.
Teksty Drugie (Second Texts)
|
2005
|
issue 3(93)
38-57
EN
This article is the first-ever analysis of Gombrowicz's (and other modernist authors') liaisons with architecture in the history of Witold Gombrowicz scholarship. The authoress inspects into these issues from the standpoint of so-called critical history of art, which positions her paper also within the area of methodological issues and new trends in studies of arts. In her opinion, absence of questions regarding Gombrowicz's connections with architecture, the topic being absent/precluded from literary scholars' papers, has to be deemed a 'significant omission'. The question about a 'presence' of architecture in Gombrowicz has been based on an assumption that any work of art offers a model for recognising something, an epistemology of some sort. Attempt has been made at replying to the question about the actual place of architecture in Gombrowicz's aesthetic and/or ethical system, and about the role he has programmed for it in his texts. Gombrowicz was namely positioning architecture in the 'zone of a subculture', of 'secondary forms'. In his concept of architecture as a secondary form, a structure of mythology and a repressive effect of the myth become revealed. Thus, architecture is perceived as a language, as a 'meaningful' fact, a narration that 'projects' the internal space, in line with the rules (cultural and iconographical) of permanence of pose and attribute. In Gombrowicz's discourse, architecture as a representation becomes one of his masks, a crypto-text. This is how it might be 'seen' whilst being 'read', the authoress concludes.
5

WITOLD GOMBROWICZ'S 'TRANS-ATLANTYK' : A COMMUNITY SACRIFICIAL RITUAL

51%
Czaplinski P.
Teksty Drugie (Second Texts)
|
2005
|
issue 3(93)
27-37
EN
The present interpretation of 'Trans-Atlantyk' focuses on the notions of 'ojczyzna' (lit., 'the fatherland') and synczyzna (lit., 'a son's-land'), understood as two types of community. The author has attempted at proving that any differences between the two prove to be apparent, and similarities strong, which leads one to a question about a 'community of laugh' (as shown in the closing section of the novel); about whether it is possible to read 'Trans-Atlantyk' without a disregard today; and, whether 'Gombrowicz's boat' has successfully carried any contraband onboard into our contemporary time.
6

ZDRAVKO MALIC'S GOMBROWICZ

51%
Blazina D.
Teksty Drugie (Second Texts)
|
2005
|
issue 3(93)
66-78
EN
This article is devoted to Zdravko Malic's activities as a literary critic. Malic is a Croatian scholar of Polish who authored Croatia's first scholarly dissertation on the Witold Gombrowicz oeuvre (defended 1965). Providing a summary of an existing knowledge on Gombrowicz, and having read his texts in a perspective of existentialism and grotesque, Malic focused in his paper on the basic characteristics of literariness of the oeuvre, thus exerting a strong impact on further development of the Croatian 'Gombrowicz studies'. A reconstruction of Malic's dissertation, which has not hitherto been known in Poland in its entirety, unveils an essential motivation of the critic: Malic reads Gombrowicz through, as it were, Miroslav Krleza's literary ideology. Krleza was a Croatian writer who in 1930s was renowned as critic of any manifestation of lack of genuineness and of the 'Croatian literary lies'. Malic's later texts on Gombrowicz show that the Polish writer was to remain his personal ideological guide for his entire lifetime. Also at the stage when the Croatian critic (who was not only a Polish scholar but also a poet himself) has managed to 'overcome his Gombrowicz' in his quest for the essence of poesy.
7

WITOLD GOMBROWICZ: SCENES IN A NON-EUCLIDEAN SPACE (Witold Gombrowicz: sceny w przestrzeni nieeuklidesowej)

51%
Zadencka M.
Teksty Drugie (Second Texts)
|
2009
|
issue 3(117)
63-84
EN
The authoress proposes a statement that Gombrowicz's imagination was 'geometric'. Two contemporary mathematical theories seem to be particularly useful for a reading of his early works, fragments of poetic prose of his 'Diary' and the novel 'Kosmos'. These include the crystallographic theory of 'tesselation', that is, regular division of the space, and the assumptions of non-Euclidean geometry, which, contradicting the primary intuitions on space, are devised for constructing models of infinity. The authoress compares Gombrowicz's prose against 'geometrical' prints of M.C. Escher, the artist who made use of, and developed, mathematical intuitions. Fragments of poetic prose and Kosmos were recently described as testimonies to eeriness, illegibility and decomposition of the world (Markowski, Neuger). The present article complements these characteristics by adding a paradoxical 'holistic' aspect derived from analysis of the way space is being built in those works.
8

A REVIEW OF MARIAN STEPIEN 'JAK GRECKA TRAGEDIA. PISARZ POLSKI W SYTUACJI WYBORU.1944-1948', KRAKÓW 2005

51%
Kulesza D.
Pamiętnik Literacki
|
2007
|
vol. 98
|
issue 3
241-249
EN
A review of the book by Marian Stepien, presenting the attitudes of the recognized Polish writers (e.g. Milosz, Gombrowicz, Iwaszkiewicz) towards Poland under Soviet domination after the World War II: some writers accepted this situation straightaway, others treated it as inevitable, yet some others disapproving this situation choose emigration.
9

HOW GOMBROWICZ PLAYS WITH SYMBOLS: 'WEDDING' FROM AN ANTHROPOLOGICAL PERSPECTIVE

51%
Kepinski M.
Kultura i Społeczeństwo
|
2005
|
vol. 49
|
issue 4
43-67
EN
The author analyzes the ways in which Witold Gombrowicz played with traditional culture in his play 'Wedding'. Gombrowicz polemizes with traditional culture, by using aspects of the grotesque, reversal of traditional meanings and depreciation of symbols, as well as with its symbolic spheres, such as home, king and marriage. Gombrowicz creates a world that is deprived of a center, the eternal 'axis mundi'. The king does not symbolize the embodiment of a cosmic tree, nor is he holy, nor powerful. His office is only a social and historical cultural convention. Home is not the foundation of a community. The fate that Gombrowicz prepared for his protagonist shows how man is helpless in the face of the reality that surrounds him, including the human one, and in the face of the void of a universe deprived of traditional (ethical and ontological) points of reference. For Gombrowicz, a literary drama - or more generally, art - is a place to search for cultural dimensions outside the traditional norms. This search is permeated with a sense of the tragedy of human existence, just as in all of this author's works.
10

A RESEARCH PROJECT IN UNIVERSITY EDUCATION: SHAKESPEARE'S DRAMAS IN POLISH DRAMAS IN THE 19TH AND 20TH CENTURY

51%
Schultze B.
Ruch Literacki
|
2007
|
vol. 48
|
issue 4-5
449-460
EN
This article focuses on the frequently acknowledged and yet insufficiently investigated shaping influence (or, 'patronage' as Zbigniew Herbert called it) of Shakespeare's plays on Polish literature and theatre in the 19th and 20th century. An examination of a few notable dramatic works shows that Shakespeare's contribution to the formation of their aesthetic form is by no means uniform. In 'Balladyna' Juliusz Slowacki draws on six or seven Shakespearean comedies and tragedies, as well as other literary sources, to build its non-mimetic, textual character-roles. While Witold Gombrowicz's 'Wedding' reformulates and sharpens the drama of consciousness (o, 'Bewusstseinsdrama', as defined by Harold Bloom) of Hamlet, Slawomir Mrozek mines Shakespeare's classic drama for cues and gestures to be redistributed among the characters of his 'Tango'. On the whole, however, the latter seems to be less rewarding for a student in search of Shakespeare's inspiring 'patronage' than the dramas of Slowacki and Gombrowicz.
11

HOW DID I BECOME A WRITER? ETHICAL ASPECTS OF POLISH LITERARY AUTOBIOGRAPHIES OF 19TH AND 20TH CENTURY (Jak zostalem pisarzem? Aspekty etyczne polskich autobiografii literackich XIX i XX wieku)

51%
Paczoska E.
|
2009
|
vol. 6
|
issue 2(23)
137-158
EN
The article shows the ethical aspects of three major Polish literary autobiographies, representing different generations of writers. They are: 'Autobiography in the letters' of Eliza Orzeszkowa, 'My contemporaries' of Stanislaw Przybyszewski and 'Polish memories; of Witold Gombrowicz. All authors create the image of the writer as the conscience of culture, therefore, emphasize their own sense of duty, responsibility, and patriotism. It reveals the persistence shaped in the nineteenth-century story about a Polish writer who must subordinate his work and his imagination to ethics of obligation. We can find this pattern not only in case of Orzeszkowa (the supporter of the philosophy of positivism) but also in case of Przybyszewski (modernist provocateur) and Gombrowicz who wants to change and revalue the 'form' of Polish culture after the Second World War. With this pattern, all authors fight with their competitors in the field of literature, which obliges us to ask again for their ethical choices. For a symbolic rejection of forms in Polish literary autobiography, a novel by Andrzej Stasiuk 'How Did I Become a Writer', written shortly after the 1989, can be considered.
12

DANGEROUS LIAISONS OR TADEUSZ KONWICKI'S ROMANCE WITH WITOLD GOMBROWICZ

44%
Bielecki M.
Pamiętnik Literacki
|
2007
|
vol. 98
|
issue 3
75-92
EN
The article is devoted to an analysis of intertextual and ideological connections in the artistic works by Tadeusz Konwicki and Witold Gombrowicz. Though frequently mentioned, 'Ferdydurke' author's influence on Konwicki has never been fully described, and cannot be closed with a simple forefather's impact on his follower. The author of 'A Minor Apocalypse' willingly reads Gombrowicz, and often comments, especially in sylvic texts (paratexts), on Gombrowicz as a figure and his texts, though seldom in an explicitly allegative tone. Konwicki can be assumed to have borrowed Gombrowicz's sylvic poetics in 'Calendar and Hourglass' and later in 'mendacious diaries'. Konwicki's prose pieces cannot support to the idea of the writers' relationships, the exception being probably 'Rojsty' (though here an indirect relationship within the frame of 'prose of intellectual settlements' could be considered). Konwicki's view on the world and on a man can on no ground agree with Gombrowicz's anthropology.
13

A REVIEW OF TOMASZ BOCHENSKI 'CZARNY HUMOR W TWÓRCZOSCI WITKACEGO, GOMBROWICZA, SCHULZA. LATA TRZYDZIESTE', KRAKÓW 2005

44%
Mojsak K.
Pamiętnik Literacki
|
2007
|
vol. 98
|
issue 3
236-241
EN
A review of the book by Tomasz Bochenski being an attempt to comprehend texts by Witkacy, Gombrowicz, Schulz through the prism of the category of black humour in the context of the attitudes towards physicality and death; it puts forward the idea of humor understanding as a peculiar form of the contemporary ars moriendi.
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