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1

Pisarz „stąd”, „stamtąd” i „spomiędzy”. Mariana Pankowskiego z kulturą narodową przypadki

100%
Chomiszczak T.
Prace Literackie
|
2018
|
vol. 58
155-164
EN
The article concerns Marian Pankowski, a special case in the history of 20th-century Polish literature. His uniqueness was due to the fact that the writer published books both in Poland and during his emigration, which he chose, but which he did not belong to. This was the reason why he stopped collaborating with the Polish centres in Paris and London. Pankowski settled down in Brussels and became an “artist apart,” suspended between the exile and the homeland. This allowed him to maintain a healthy distance to important national themes, to challenge Polish stereotypes and use provocative language.
2

„Niech się pan nie wyteatrza!” O „Chrabąszczach” Mariana Pankowskiego

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Chałupnik A.
Pamiętnik Literacki
|
2016
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vol. 107
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issue 2
137-160
PL
W artykule przedstawiona jest analiza i interpretacja dramatu „Chrabąszcze” Mariana Pankowskiego: do modnej paryskiej scenograf, wiele lat po wojnie, dociera dziennikarz z Polski, żeby zapisać historię jej ocalenia z Holokaustu. Róża Karp jest bowiem ostatnią żyjącą przedstawicielką liczącej przed wojną kilka tysięcy osób gminy żydowskiej w jego galicyjskim miasteczku. Lokalne władze chcą upamiętnić zagładę owej społeczności. Pankowski zderza prywatny i publiczny wymiar pamięci, obnaża mechanizmy funkcjonowania pamięci zbiorowej i pokazuje jej performatywny charakter – jako pola ścierania się różnych punktów widzenia i interesów. Dramat Pankowskiego interpretowany jest z różnych perspektyw teoretycznych, m.in.: psychoanalizy, studiów nad traumą oraz zorientowanych genderowo badań nad Zagładą.
EN
The article offers an analysis and interpretation of Marian Pankowski’s “Chrabąszcze (Bugs)”: many years after the war, a journalist from Poland reaches for a fashionable Paris set designer in order to take down the story of her rescue from the Holocaust. Róża Karp, the set designer, is the last in his Galician town living representative of a Jewish community which accounted for a few thousand people. The local authorities want to commemorate the society’s extermination. Pankowski juxtaposes the private and public dimension of memory, unmasks collective memory’s functioning mechanisms and shows its performative character as a field of crashing points of view and interests. Pankowski’s drama is interpreted from many theoretical perspectives, inter alia, psychoanalysis, trauma studies, and gender-oriented Shoah studies.
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Shoah in Marian Pankowski’s Literary Art

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Morawiec A.
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2016
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vol. 38
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issue 8
53-64
EN
The article centers on the theme of the Holocaust in the literary works of Marian Pankowski: its sources, relations with the concentration camp theme, particular works and their poetics, as well as the aesthetic, social and political problems related to the theme of the Holocaust.
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Shoah in Marian Pankowski’s Literary Art

100%
Morawiec A., University of Łódź F. o. P., arkadiuszmorawiec@poczta.fm
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2016
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vol. 38
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issue 8
EN
The article centers on the theme of the Holocaust in the literary works of Marian Pankowski: its sources, relations with the concentration camp theme, particular works and their poetics, as well as the aesthetic, social and political problems related to the theme of the Holocaust.
5
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Góry Mariana Pankowskiego – przestrzeń emigracji i „emigracji”?

99%
Dudka E.
Tematy i Konteksty
|
2020
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vol. 15
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issue 10
230-244
EN
The interpretation of the forgotten volume of Wiersze alpejskie (Alpine Poems) by Marian Pankowski, published in Brussels in 1947 is, in the presented article, a starting point for reflection on the various dimensions and meanings of emigration in the biography and work of the artist. Paying attention to the topographic details allows to read the collection of poems not only as a poetic record of sensations related to the mountain trek, but also as a testimony to the writer’s dilemmas and his artistic explorations. However, the comparison with the later work Z Auszwicu do Belsen (From Auszwic to Belsen) reveals the genesis of Wiersze alpejskie (Alpine Poems) as related to the first post-war holiday trip of the poet and directs our attention to his traumatic experiences, absent, displaced in the lyrics, which can be read as the area of another emigration i.e. escape from painful memories.
PL
Interpretacja zapomnianego tomu Wiersze alpejskie Mariana Pankowskiego, wydanego w Brukseli w 1947 r., jest w prezentowanym artykule punktem wyjścia do refleksji nad różnymi wymiarami i znaczeniami emigracji w biografii i twórczości artysty. Dbałość o szczegóły topograficzne pozwala odczytać zbiór wierszy nie tylko jako poetycki zapis wrażeń związanych z górską wędrówką, ale także jako świadectwo dylematów pisarza i jego artystycznych poszukiwań. Jednak porównanie z późniejszym dziełem Z Auszwicu do Belsen (From Auszwic to Belsen) ujawnia genezę Wierszy alpejskich związaną z powojenną wakacyjną podróżą poety i kieruje naszą uwagę na jego traumatyczne przeżycia, nieobecne, wyparte w tekstach, które można odczytać jako obszar kolejnej emigracji, czyli ucieczki od bolesnych wspomnień.
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Zagłada w twórczości Mariana Pankowskiego

86%
Morawiec A., Łódzki U., arkadiuszmorawiec@poczta.fm
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2013
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vol. 22
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issue 4
PL
Przedmiotem artykułu jest tematyka Holokaustu w twórczości Mariana Pankowskiego: jej źródła, związki z tematyką obozową, konkretne dzieła i ich poetyka, a także powiązana z tematem Zagłady problematyka estetyczna, społeczna i polityczna.
EN
The article centres on the theme of Holocaust in literary work of Marian Pankowski: its sources, relations with the concentration camp theme, particular works and their poetics, as well as aesthetic, social and political problems related to the theme of Holocaust.
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„Smagła swoboda”, czyli ojczyzna słowa Mariana Pankowskiego

81%
Wasilewska-Lipke Z.
Prace Filologiczne. Literaturoznawstwo
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2012
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issue 2(5)
59-66
EN
The present arcticle, which was written for the International Panopticum Conference in Brussels in 2009, discusses the way Marian Pankowski’s literary language, or his motherland of word, functions in the sphere between homeland and European space. The title Smagła swoboda, which expresses the author-emigrant’s strive to keep his Sanok imagination in touch with European culture and languages, has become the metaphor for the considerations. The aim of the innovative Sanok-European fusion in Pankowski’s dicourse is creating an independent writing code as well as identity. The rich reservoir of topics used by the author, e.g., ‘auschwitz’ trauma, private patriotism as well as persisting with Polishness and spiritual bond with the mother, was submerged in multifarious and sensual European reality described with the aura of irony and grotesque.
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Sztuka poetycka Mariana Pankowskiego — między żywiołem polskim i frankofońskim

61%
Walczak-Delanois D.
Prace Polonistyczne
|
2015
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vol. LXX
233-259
EN
Marian Pankowski’s (1919–2011) literary output is rich in all literary genres. Nevertheless, relatively little has been written on his poetry, which is the subject of this study. Shaped by his personal experience, both as a human being and as a reader, Pankowski’s poems reflect the clash he is facing everyday trying to master French and become a part of the French-speaking world. In his lyrical, carefully thought out form (alliterations, metaphors, similes), which is an explicit reference to the avant-garde and to a Polish group of experimental poets “Skamander”, there is no place for talkativeness present in prose. The analysis of some pieces of Pankowski’s less known or even unknown poetry presented in this study proposes an alternative way of reading his literary texts. The authoress points out some poetic images build upon sensuous, yet controlled, perception of the world, based mainly on the sense of hearing and sight. The sense of touch, however, is completely suppressed, as if suggested by intensifying the sense of sight. For the poet, his own corporality is a taboo. Therefore, he seems to be transposing it into the represented word. Pankowski’s poetry, unjustly associated only with his early works, is worth getting acquainted with. It is interesting, instructing and intriguing with its plasticity and language.
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Kozak w Brukseli, czyli Mariana Pankowskiego krytyczny zamysł na styku kultur

58%
Burnatowski J.
Postscriptum Polonistyczne
|
2012
|
issue 1(9)
181-195
EN
The article attempts to reinterpret Marian Pankowski’s literary project. The author that has been marginally present in Polish reception, read once again in the context of modern theo-ries and discourses reveals the maturity and timeliness of his themes, asking difficult ques-tions concerning the identity of man in the 20th century. The author of Matuga is interested in the very foundations of pre-modern world; he asks questions about the sense of religion, meaning of the traditionally perceived concept of nationality and ‘functionality’ of pre- Victorian model of morality. In the article author’s conviction, such artistic attitude was possible only due to constant existence between the home country and the exile, between East and West, due to some ‘world-being’ that enabled him to ask a reader some difficult questions about condition of the contemporary man, question missing in Polish literature at that time. The author of the article is also convinced that the most important and interesting cultural (and literary) processes always take place at the borderlands, where different cultures, genres and identities meet. Such notion is based on postcolonial theory by Edward Said.
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