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1

A FORMER MAN-OF-LETTERS' BROKEN PEN? KLIN-KALISZEWSKI'S 'SKETCHES' (Zlamane pióro eksliterata. O 'Szkicach' Klina-Kaliszewskiego)

100%
Kobielska M.
Teksty Drugie (Second Texts)
|
2008
|
issue 6(114)
170-185
EN
The article discusses a two-volume edition of 'Szkice' (Sketches) by a forgotten prose writer of the latter half of 19th century, who used the pseudonym 'Klin'. A thesis is proposed that these texts may be associated with a modern essayistic discourse, to be justified by analysing the texts' poetics - in particular, the way the author's 'I' is shaped. Description of its kinship, but not identity, with the figures of decadent and dandy enables to reconstruct a sceptical-critical cognitive project comprised in the text, a specific anthropology and - finally - an ingenious creation of the subject.
2

CELESTIAL SPACES AS A ELEMENT OF THE REPRESENTED WORLD IN THE POEMS OF JÓZEF BOHDAN ZALESKI (Przestrzen nieba jako element swiata przedstawionego w utworach poetyckich Józefa Bohdana Zaleskiego)

80%
Bal A.
Ruch Literacki
|
2009
|
vol. 50
|
issue 2(295)
133-154
EN
This article is an attempt at compiling a typology of the various kinds of celestial spaces evoked in the poems of Józef Bohdan Zaleski (1802-1886), and in this way pave the way for a comprehensive study of the thematic and formal structures of his poetic imagination. The relevant passages are arranged in accordance with their thematic reference, ie. descriptions of the colours of the sky at various times of day, evocations of celestial bodies, heavens as a mythical space, and the sky/heavens as a site of the extraordinary or the supernatural. Zaleski's idea of celestial space spanned both the physical skies (with its visible heavenly bodies) and the mythical, extrasensory heavens (with God, the angels, and the home of the immortal souls); its various aspects were indicated by gradations of light and changing colours, suggestions of expansiveness and immeasurability, as well as the defining signpost, 'up there'. In the creation of his celestial spaces Zaleski drew on the conventions of sentimental poetry, Romanticism and folklore.
3

THE MOTIF OF THE 'EVIL EYE' IN SELECTED POEMS BY POLISH ROMANTIC WRITERS

80%
Wenerska W.
Ruch Literacki
|
2007
|
vol. 48
|
issue 3(282)
271-280
EN
This article investigates the motif of the 'evil eye' in the works of the Polish Romantics. The first to take up the idea of a menacing gaze was Konstanty Gaszynski in his ballad 'Zle oko' (The Evil Eye). He was followed by Kazimierz Wladyslaw Wójcicki, who adapted the ancient motif for his stylized folktale 'Oczy uroczne' (The Spell-binding Eye). Another writer to have been inspired by the idea of the baleful gaze was Karol Balinski, author of the fairy tale 'Piekne oczy' (A Pair of Beautiful Eyes). The minor Romantic Franciszek Morawski drew a portrait of a girl with a pair of strange and spell-binding eyes in his fairy tale 'Ciche dziecie' (A Quiet Child). The motif of a strangely menacing gaze usually evokes some indistinct forebodings of misfortune, illness, death, or some other disastrous event. Only in the case of Balinski's 'Piekne oczy' does the disturbing gaze happen to have no bad consequences for any of the characters.
4

MALCZEWSKI AT MONT BLANC

80%
Ranocchi E.
Ruch Literacki
|
2008
|
vol. 49
|
issue 1(286)
19-37
EN
This essay aims to show the historical and cultural context of Antoni Malczewski's ascent to the summit of Mont Blanc in 1818. It deals therefore both with his letter to Prof. Pictet, which was published by the Bibliotheque Universelle of Geneva in the same year as well as the third note to Malczewski's poetical tale 'Maria'. Malczewski's ascent to Europe's highest peak has been regarded as an important episode in the history of the conquest of that last unexplored areas of our continent. The poet's two accounts of his expedition (one scientific for the Swiss learned revue and the other literary, contained in his 'Maria') are compared with the classic account the theme of mountaineering, Petrarca's letter to Dionigi di Borgo San Sepolcro with the well-known description of the ascent of Mont Ventoux, as well as some relevant texts by de Saussure and Goethe. The aim is to identify both some typical elements of such accounts and the distinctly new aesthetic potential of Malczewski's mountain experience.
5

DZIEKONSKI AND KRASZEWSKI: LITERATURE, POLITICS, MANNERS

80%
Szargot M.
Ruch Literacki
|
2007
|
vol. 48
|
issue 2(281)
147-159
EN
This is a new reading of the criticism and the fiction of Józef Bogdan Dziekonski. The writers and artists he reviewed (or parodied) were almost without exception associated with the select circle at the heart of the Polish community in St Petersburg. Dziekonski devoted all his energies to denouncing what he considered a conformist and timeserving coterie and their satellites. He cared little if some of his volleys would rebound upon himself. It seems that his displays of bellicose temper were in fact a displaced reaction to the coterie's politics which he could not attack openly. His favourite target was Józef Ignacy Kraszewski. Dziekonski persisted in his attacks even after Kraszewski's ties with the St Petersburg circle became very loose indeed. The novelist was charged with collaboration with the coterie, putting his talent (which Dziekonski would not deny) in the service of a bad cause and a variety of artistic flaws and imperfections. It cannot be ruled out though that much of Dziekonski's attacks was motivated by envy of a more successful man of letters.
6

REMARKS TO MARYLA'S BIOGRAPHY IN LIGHT OF A RECENTLY FOUND DOCUMENT (Uwagi do biografii Maryli w swietle odnalezionego dokumentu)

80%
Samborska-Kukuc D.
Teksty Drugie (Second Texts)
|
2009
|
issue 3(117)
218-233
EN
Issues of the biography of Maria Puttkamer, née Wereszczak, who was Adam Mickiewicz's calf love, aroused literary historians' interest due to interrelations of Maryla's biography with that of the Polish Bard. In particular, efforts were made to reconcile her family life - the marriage and children - with her staying faithful to the poet, by e.g. suggesting that a 'white marriage' between them was the case. In the face of a document that has been found (and confirmed the presumption regarding Maryla's first-born child, based on works by certain scholars and biographers), i.e. the birth-certificate of the Puttkamers' eldest daughter of 1823, the reader's reception of Ms. Puttkamer's correspondence with Mickiewicz, Tomasz Zan and Jan Czeczot changes and gets modified, to an extent. The numerous allusions, confessions and suggestions contained in these letters gain a meaning that has been hidden until very recently.
7

NORWID: COLOUR AND 'RAPHAEL'S RAINBOW'

80%
Kuczynska K.
Ruch Literacki
|
2008
|
vol. 49
|
issue 4-5
421-438
EN
This article examines the reminiscences of the painter's experience in the poetry of Cyprian Norwid, master of 'the chisel, the pen and the brush'. This is not the first analysis of this kind for the theme of Norwid's painterly inspirations has preoccupied a number of historians of literature, chief among them Kazimierz Wyka, author of the landmark monograph 'Cyprian Norwid: The Poet Magician'. This article focuses primarily on the relationship between the poetic and the painterly imagination of Norwid the 'itenerant magician'. In his introductory note to 'Vade-mecum' Norwid declares that it is better to avoid 'sumptuous colours and imagery' as they tend to diminish the poetic word. Yet his own poems are by no means colour-free. Their appearance is, however, subject to a peculiar set of rules, applied, as it seems, with special care in the case of such noble colours as white and gold. The article tries to identify the source of Norwid's use of colours in tradition, cultural codes as well as the personal creative experience of the poet-magician. In addition, it tries to find out why he was so averse to the idea of 'graphic' poetry. Finally, the authoress' examination of Norwid's texts has revealed, alongside the restrained and muted colour imagery, a surprisingly frequent recurrence of the rainbow motif. What made it so appealing to the poet? It is all the more striking as colour was not part of his basic poetic tool kit. To describe Norwid's technique, which earned him the epithet 'monochromatic', and a host of other peculiarities of his verse, the authoress of this article has coined the term 'decolouring of words'.
8

MICKIEWICZ'S PORTRAITS: AN ESSAY ABOUT THE VISUAL CODE IN MICKIEWICZ'S PORTRAITS

80%
Bojko P.
Ruch Literacki
|
2007
|
vol. 48
|
issue 3(282)
281-299
EN
Based on a selection of Adam Mickiewicz's texts representing various poetic genres, this article explores the visual code used in his descriptions of the faces of some of his notable character pairs. The selection includes poems like 'Warcaby' (Draughts) and 'Sen: Z Lorda Byrona' (A Dream: From Lord Byron), the ballad 'Ucieczka' (A Flight) and the narrative poem 'Grazyna'. The questions we ask are as follows: Which traits recur in the character portraits? Does their marked use depend primarily on sex-related appropriateness, or do they function as indicators of some moral or emotional qualities which allow each character to play his or her part in the story? The close examination of the descriptions of Mickiewicz's sample character pairs is expected to pave the way for raising the issue of a facial description code that was typical of the Romantic character portrayal.
9

PUZZLES AND CONUNDRUMS IN PRUS' 'THE DOLL' (Duze i male zagadki 'Lalki')

70%
Markiewicz H.
Ruch Literacki
|
2009
|
vol. 50
|
issue 6(297)
437-450
EN
Under this heading the author discusses a host of literary puzzles and conundrums to be found in Boleslaw Prus' 'The Doll', ie. information withheld or passed over, places of indeterminacy, moot points, scenes in which the characters' behaviour, experiences and utterances appear disconcertingly ambivalent or ambiguous, as well as the problem of varying degrees of reliability of the accounts and observations stemming from narrative intermediaries. All those 'uncertainties' used to be treated as flaws, though, it was always stressed, excusable flaws. They were either blamed on the heavy-handed censorship the writer had to face or treated as minor, insignificant details. Nowadays our reading of 'The Doll' seems to be different. The modern reader will certainly not be put off by the occasionally blurred outlines of Prus' fictional world or the uncertainty bedevilling all attempts to give it a clear and fixed contour. Nor will he be annoyed by the Protean changeability of Prus' characters or the repeated shifts from illusion and to disenchantment in his novel. Today, both the well-read general reader and the dedicated student of literature may be expected to savour all those puzzles and treat them as early signs of a process of transition that the novel would undergo in the following decades.
10

'ANTEK' AND 'THE SINS OF CHILDHOOD': A TURNING-POINT IN BOLESLAW PRUS' WRITING ('Antek' i 'Grzechy dziecinstwa'. Przelom w twórczosci Boleslawa Prusa)

61%
Zalewski C.
Ruch Literacki
|
2009
|
vol. 50
|
issue 3(294)
189-204
EN
This is a comparative analysis of two short stories by Boleslaw Prus, 'Antek' and 'The Sins of Childhood'. The principal aim of the argument is to demonstrate that the publication of the latter story marks a watershed in Prus' writing. The novelty of 'The Sins of Childhood' is indicated by both the changes in the way the writer creates his main character and handles his social environment and a shift in Prus' approach to literary fiction. Whereas 'Antek' remains alienated and autonomous, the main character of the other story is given to mimicking his peers and, to an even greater extent, the adults. On the level of social behaviour, 'Antek' shows the expulsion of the title character, an action which goes on unopposed, while 'The Sins of Childhood' demystify unjustified persecution.
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