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An Geist ein Held, ein Weib an Reiz...“. Ritterinnen bei Adam Mickiewicz und Joseph von Eichendorff

100%
Mańczyk-Krygiel M.
Germanica Wratislaviensia
|
2011
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vol. 134
9-23
EN
The subject of considerations herein are the images of women warriors in the motif of Prusians, Lithuanians and Poles fighting battles against the Teutonic knights in the works of Eichendorff and Mickiewicz. The heroic-patriotic poem Grażyna, which belongs to the canons of Polish literature, and the drama Der letzte Held von Marienburg are the subjects of a thorough analysis. Issues of the characters’ motivation and the environment’s reaction to their actions which question the traditional view of femininity are particularly interesting here. The article further expands on the question of the influence of Polish and German concepts of national identity, which were shaped by utterly different historical experiences, on making women warriors in the discussed works.
2

Lithuanian Kin. The birth of adaptation out of the spirit of community

100%
Lubelski T.
Kwartalnik Filmowy
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2013
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issue Special Issue - Polish Film Scholars on Polish Cinema
67-94
XX
To Tadeusz Konwicki, the relationship between the author of a literary text and the author of a film based on the text consists in the "Platonic community of interests". "Here the adaptor uses a classic text not because he has to or has received a commission to adapt it but because it is the text he feels particularly attached to and because in it he finds the elements of what he himself would like to put into the original". Lubelski analyses Konwicki’s creative activity from the point of view of the latter’s love affair with adaptation, and focuses primarily on "The Issa Valley", based on Czesław Miłosz’s novel, and "Lava", based on Adam Mickiewicz’s "The Forefathers’ Eve". Spiritual affinity between Konwicki, Mickiewicz and Miłosz is the key to understanding of his adaptation strategy. The three had roots in the culture of eastern borderland while the Vilnius region was their point of reference. When translating the language of poets into a cinematic medium, Konwicki wanted to share his own "testimony of reading" which was very private, intimate and offered by the fellow artist. The "comradeship" appeared to derive from the metaphorical understanding of Lithuanian kinship that is becoming a state of mind, of memory and identity.
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