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1

Motywy muzyczne w prozie tatrzańskiej Stanisława Witkiewicza

100%
Żmidziński J.
Góry, Literatura, Kultura
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2016
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vol. 10
155-172
EN
The musicality of Stanisław Witkiewicz’s Tatra prose has so far not been studied by scholars in any detail. Following Andrzej Hejmej’s findings, the present author focuses first on musicality I, i.e. the sound layer of the text, in which ahuge role is played by extensive quotations in dialect as well as fragments of songs. This reveals one of the key principles governing Witkiewicz’s text – the principle of contrast. Next, the author examines musicality II, i.e. the level of thematisation of music. Here of considerable importance are sound images of nature, silence as well as murmur of streams, sounds of wind and stone echoes, and even of fire. The expression Witkiewicz uses here is “great music of nature”. Just as often Witkiewicz refers to highlanders’ music, especially Sabała’s playing, though it is treated more like aform of archaic, wild expression than original aesthetic quality.
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Styl alpejski w środkowej Europie i polska kontrakcja wobec niego – styl zakopiański

100%
Tarnawski J.
Estetyka i Krytyka
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2012
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issue 2(25)
232-246
XX
The Swiss Style, also called the Tyrol Style and the Alpine Style, which dominated the architecture of Central European tourist towns and health resorts at the end of the19th century and at the beginning of the 20th century, spread in Jelenia Gora valley in the form of vernacular architecture, brought to Prussia from Tyrol. Peasant houses in that style were erected first near the palace and gardens of Friedrich Wilhelm III, King of Prussia in Erdmannsdorf, at the feet of the Giant Mountains. After the boom of mass tourism, new hotels, guest houses, mountain shelters and sanatoriums were built in the forms inspired by Alpine vernacular buildings. The same trend emerged in the Tatra Mountains region, whose northern part was in the Austrian partition. However, Polish artists resented the foreign new vernacularism, and created their own new vernacular style based on the native architecture of that region, called by them Zakopane Style. The leader of the movement was Stanisław Witkiewicz – John Ruskin and William Morris in one person. Since it became popular at the end of the 19th century, the style has shaped the identity of the area.
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Estetyka dwóch światów

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Nieczyporowski R.
Estetyka i Krytyka
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2012
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issue 1(24)
255-256
4

„Na przełęczy” Stanisława Witkiewicza w syntezach dziejów literatury polskiej

100%
Wójcik W. A.
Góry, Literatura, Kultura
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2016
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vol. 10
173-185
EN
The overview, presented in the article, of opinions by historians of Polish literature about Witkiewicz’s writings about the Tatras, especially his flagship work — Na przełęczy [On a Mo­untain Pass] — clearly shows that most of them, comparing Witkiewicz’s oeuvre to that of other Polish writers at the time, appreciated his artistic and social significance, his role in building readers’ sensitivity to the beauty of the Tatra landscape, to the exoticism of the culture of Podhale highlanders. This seems to be the central idea of fragments of these studies cited in the article as examples. In addition, all of them — indirectly or explicitly — point to the untypical structure Witkiewicz’s book of the Tatras, hindering its genological typology and making it impossible to unequivocally assign it to a specific kind or genre of literature.
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Witkiewicz: Wielki przełom

100%
Rubiś W., Jagielloński U.
Internetowy Magazyn Filozoficzny Hybris
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2016
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vol. 32 (1)
PL
Recenzja książki: Józef Tarnowski, Wielki przełom. Studium z estetyki Stanisława Witkiewicza, Gdańsk: Wyd. Uniwersytetu Gdańskiego 2014
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Witkiewicz: Wielki przełom

100%
Rubiś W.
|
2016
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vol. 32
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issue 1
129-139
PL
Recenzja książki: Józef Tarnowski, Wielki przełom. Studium z estetyki Stanisława Witkiewicza, Gdańsk: Wyd. Uniwersytetu Gdańskiego 2014
7

„Aby ta ofiara nie poszła na marne" – Stanisława Witkiewicza przesłanie do syna

89%
Pycka A. M.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
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2013
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issue 19
166-180
EN
In 1863 Stanisław Witkiewicz-father was 12 years old. On the hill behind his home-town Szawle the insurgents were hung. Following from far away those who were leaded to death, he was whispering: “this sacrifice will not be in vain!”. Two years before his death, in 1913, he gave his son a miraculously survived photograph of his uncle, Jan Witkiewicz, called “the only true Wallenrod”. He added there a message: “Think about him and about the life that went beyond the petty miseries of existence”. But the son, unwilling to admire the figures from the pantheon, named the legendary Batyr as a “troublemaker from Afghanistan”, whose fate is “an interesting story for a Pole”. A detailed analysis of the letters addressed by Stanisław Witkiewicz to Witkacy enables to recognize the sphere of personal tensions, having its source in the family traumas.
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Witkiewicz-Father and Son: The Double Portrait

88%
Vražić M.
Estetyka i Krytyka
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2013
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issue 4(31)
87-98
EN
In this essay, I describe the relationship between Stanisław Witkiewicz and his son, Stanisław Ignacy Witkiewicz (Witkacy) as a relationship between two artists in the broadest sense of the word. That is both were painters, writers, and thinkers. Initially, I perceived the Witkiewicz’s as ‘challengers’ in the realm of culture issues. I ultimately turn my attention to stress the similarities between both Witkiewicz’s rather than the differences because the two artists shared a common view on many ideas, e.g. the crisis of culture, the death of the Polish Universum, the ideal of a high and pure art, authenticity in personal life as well as in the field of art. Their artistic works reflect different stages of Modernism, but at the same time they show how complex Modernism was. This comparative work shows Modernism as a ‘space’ for the formation of Polish culture identity.
9
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Styl otwocki

88%
Szałygin J.
Ochrona Zabytków
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1998
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issue 4
361-369
EN
The Otwock construction style, created at the end o f the nineteenth century by Michal Elwiro Andriolli, earlier than the earlier Zakopane style devised by Stanislaw Witkiewicz, is little known and insufficiently appreciated. The summerhouse architecture o f the environs o f Otwock is an unique phenomenon on the scale o f Mazovia. Many wooden buildings representing the style in question are no longer standing and numerous examples are decaying; nonetheless, a number o f houses displaying magnificent w ood carving is still to be found. Unfortunately, methods o f protecting wooden houses built in the Otwock style and their preservation for future generations have not been proposed up to now. This problem cannot be solved by listing particular objects in a register o f historical monuments. The salvage o f existing buildings by their present-day owners cannot be achieved without the assistance o f municipal authorities and the State Service for the Protection o f Historical Monuments.
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Nieznane listy Henryka Sienkiewicza do Stanisława Witkiewicza – świadectwa przyjaźni i świadkowie szczęścia

71%
Kuniczuk-Trzcinowicz A.
Pamiętnik Literacki
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2020
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vol. 111
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issue 4
149-157
PL
Badania w Archiwum Henryka Sienkiewicza doprowadziły do odnalezienia czterech nie publikowanych dotąd listów pisarza do jego przyjaciela Stanisława Witkiewicza. Jest to zbiór pochodzący z czasów kawalerskich Sienkiewicza, zawierający nowe informacje do wiedzy o autorze „Szkiców węglem”. W artykule została przeanalizowana ta nowa korespondencja, badaczka ustaliła także chronologię i włączyła cztery listy w wydany wcześniej zbiór – opublikowany przez Marię Bokszczanin. Elementem istotnym jest też edycja nieznanych listów wraz z przypisami.
EN
Research in Henryk Sienkiewicz’s Archive has led to finding four unpublished to this day letters by the writer to his friend Stanisław Witkiewicz. The collection of letters come from the time when Sienkiewicz was unmarried, and include new pieces of information to the writer’s studies. The author of the article scrutinises the new correspondence, settles its chronology, and includes the letters into the earlier collection published by Maria Bokszczanin. Edition of the letters with endnotes is a crucial element of this publication.
11
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Utracone piękno. O zniszczeniach zabytkowej architektury Zakopanego

45%
Rupiewicz R.
Artifex Novus
|
2021
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issue 5
148-173
EN
There are around 1,361 historic buildings in Zakopane, of which 1,180 are timber mountain houses of Zakopane style built from the end of the 19th century to the times of the Second Polish Republic (1918–1939). Such an accumulation of timber buildings in the local style formed an identity to the area based on spatial organization, scale and proportions. The mountain houses are valuable due to their history and tradition. Unfortunately, these structures are now superseded by investments in new developments which destroy the townscape. Such activities are facilitated by unfavorable provisions in local spatial development plans adopted during the years 2009–2012. Quite often historical buildings are deliberately set on fire in order to secure new land for investments. The article describes historic mountain houses which have been devastated or demolished in recent years. It presents the formal and legal conditions that allowed for this and the mechanisms of action. It also presents solutions which can help develop better preservation and protection of historic secular buildings.
PL
Na terenie Zakopanego znajduje się ok. 1361 obiektów zabytkowych, z których 1180 to drewniane wille, reprezentujące styl zakopiański, powstałe w okresie od końca XIX w. do 20-lecia międzywojennego. Tak intensywne nagromadzenie drewnianych brył zakopiańskich willi ukształtowało tożsamość miejsca opartą o ład przestrzenny, stosowną skalę i proporcję. Wille stanowią wartość ze względu na historię i tradycję. Niestety, zabudowa ta jest obecnie wypierana przez inwestycje deweloperskie, które niszczą krajobraz miasta. Takie działania ułatwiają niekorzystne zapisy w miejscowych planach przestrzennych, uchwalone w latach 2009–2012. Często dochodzi do celowych podpaleń zabytków w celu pozyskania nowych gruntów inwestycyjnych. W artykule omówiono zabytkowe wille, które w ostatnich latach zostały zdewastowane lub zburzone, ukazano uwarunkowania formalno-prawne oraz mechanizmy działania. Wskazano rozwiązania, które mogą przyczynić się do lepszej ochrony konserwatorskiej zabytkowych obiektów architektury świeckiej.
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