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Indeks biblijny do twórczości Stanisława Wyspiańskiego. Prolegomena

100%
Jakiel E.
Studia Gdańskie
|
2018
|
issue 42
231-246
PL
Przedstawiam tu propozycję opracowania wątków biblijnych w całej twórczości Wyspiańskiego, jakie zamieszczono w jego Dziełach zebranych. Opracowanie to ma charakter indeksu – konkordancji. Artykuł składa się z trzech części. Najpierw omawiam wcześniej opublikowany indeks o podobnym charakterze. Następnie przedstawiam własne rozwiązania. Na końcu zamieszczam kilka przykładów haseł.
EN
I present here the proposal of elaboration of Wyspiański’s biblical stories in his entire output, which can be found in his collected works. This study is concordance index. Article consists of three parts. In the first place I discuss previously published index of a similar nature. Then I present my own solutions. At the end I put some examples.
2
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Odyseusz – bohater o wielu twarzach (na podstawie Odysei Homera i Powrotu Odysa Stanisława Wyspiańskiego)

84%
Wilczak W.
Colloquia Litteraria
|
2022
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vol. 33
|
issue 2
127-153
EN
The Return of Odysseus is a multifaceted drama, which speaks about the fate ofman, about the impossibility of escaping from destiny. It is an interpretation ofthe Odyssey according to Wyspianski. Completely different, stripped of hypocrisy,true, showing a man, not a hero. It is also the most beautiful example of how muchthe playwright based his work on the legacy of antiquity, how much Greek culturemattered to him. It shows an incredible admiration and desire to understand antiquity, but also a desire to find in it himself, his own views, philosophy, spiritualpath. Wyspianski proves that one’s own interpretations can lead to the discovery ofnew aspects of already known works. Every difference shown in this article proveshow strong a link the two works share
3
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Projekty Stanisława Wyspiańskiego i Józefa Mehoffera na dekoracje ornatu

84%
Sieradzka A.
TECHNE. Seria Nowa
|
2021
|
issue 7
47-57
EN
In recent decades, there has been a significant intensification of research on liturgical vestments stored in Polish collections - however, they mainly focus on medieval and modern vestments. There are still few studies on paraments from the nineteenth and early twentieth centuries. The article concerns the designs of decorations for chasubles from this period and focuses on the works of Stanisław Wyspiański and Józef Mehoffer. Among the lots of the auction held at Silesian Auction House on 17 September 1999, was a drawing of The Adoration of the Child Jesus by Wyspiański (charcoal on tracing paper), signed with the tied monogram SW and the date 1893. Almost identical to Wyspiański’s (in the upper part) is a divided design for a chausable by Józef Mehoffer., offered at the 2015 auction at Rempex Auction House. While in Wyspiański’s oeuvre the discussed design of the chasuble remains - in the light of the research to date - incidental, in Mehoffer’s oeuvre designs for the decoration of liturgical vestments appear more often, especially in his early works. The article compares the works of both artists, makes an iconographic analysis, focusing on issues of the technique and circumstances of their creation.
PL
W ostatnich dekadach nastąpiła znaczna intensyfikacja badań nad przechowywanymi w polskich zbiorach szatami liturgicznymi – obejmują one jednak przede wszystkim paramenty średniowieczne i nowożytne. Nadal nieliczne są opracowania dotyczące paramentów z XIX i początków XX wieku. Artykuł dotyczy projektów dekoracji ornatów z tego właśnie okresu i koncentruje się na omówieniu prac Stanisława Wyspiańskiego i Józefa Mehoffera. Na aukcji Śląskiego Domu Aukcyjnego z 17 września 1999 roku wystawiono wykonany węglem na kalce rysunek Wyspiańskiego Adoracja Dzieciątka Jezus, sygnowany monogramem wiązanym SW i datą 1893. Niemal identyczny z pracą Wyspiańskiego (w partii górnej) jest dwudzielny projekt dekoracji ornatu autorstwa Józefa Mehoffera, oferowany na aukcji Domu Aukcyjnego Rempex w 2015 roku. O ile w twórczości Wyspiańskiego omawiany projekt ornatu pozostaje – w świetle dotychczasowych badań – incydentalnym, o tyle w oeuvre Mehoffera projekty dekoracji szat liturgicznych pojawiają się, zwłaszcza w jego wczesnej twórczości. W artykule porównano prace obu artystów, dokonano analizy ikonograficznej, stawiając pytania o technikę i okoliczności powstania.
4
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Wawel Meets Elsinore. The National and Universal Aspects of Stanisław Wyspiański’s Vision of Shakespeare’s Hamlet

83%
Wicher A.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
214-238
EN
The aim of this paper is to show the role, the possibilities and the limits of Wyspiański’s national thinking through Shakespeare’s Hamlet. Of particular importance, in this context, is the role the Ghost takes in Wyspiański’s celebrated interpretation of Shakespeare’s Hamlet. By the Ghost we mean the spirit of history, the ghost of a father, the spirit of the fatherland, the voice of the ancestors, and particularly that of the Polish king Casimir the Great, as well as the Holy Ghost and the Evil Spirit because all these aspects of the Ghost belong to Wyspiański’s vision. The play in question bears witness to what the Polish poet calls “the truth of other worlds,” as well as the truth of the theatre, which Wyspiański calls the labyrinth. The poet manages to reduce, to some extent, this difficult truth to the truth of the world he cared most about, that is the present and historical reality of Poland, more specifically the city of Cracow, known as Poland’s spiritual, that is “ghostly,” and only virtual, capital. It is also remarkable that Wyspiański saw the Ghost in Hamlet in the context of other Shakespearean ghosts, apparitions and magicians, such as those that appear in Macbeth, The Tempest, Julius Caesar, A Midsummer Night’s Dream or Richard III. At the same time, Wyspiański realizes that the Ghost, with its irrationalism, offends the spirit of post-medieval times, and as such, is understandably neglected by Hamlet, who for Wyspiański, in anticipation of Harold Bloom, stands for modernity.
5
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Wawel Meets Elsinore. The National and Universal Aspects of Stanisław Wyspiański’s Vision of Shakespeare’s Hamlet

83%
Wicher A.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
214-238
EN
The aim of this paper is to show the role, the possibilities and the limits of Wyspiański’s national thinking through Shakespeare’s Hamlet. Of particular importance, in this context, is the role the Ghost takes in Wyspiański’s celebrated interpretation of Shakespeare’s Hamlet. By the Ghost we mean the spirit of history, the ghost of a father, the spirit of the fatherland, the voice of the ancestors, and particularly that of the Polish king Casimir the Great, as well as the Holy Ghost and the Evil Spirit because all these aspects of the Ghost belong to Wyspiański’s vision. The play in question bears witness to what the Polish poet calls “the truth of other worlds,” as well as the truth of the theatre, which Wyspiański calls the labyrinth. The poet manages to reduce, to some extent, this difficult truth to the truth of the world he cared most about, that is the present and historical reality of Poland, more specifically the city of Cracow, known as Poland’s spiritual, that is “ghostly,” and only virtual, capital. It is also remarkable that Wyspiański saw the Ghost in Hamlet in the context of other Shakespearean ghosts, apparitions and magicians, such as those that appear in Macbeth, The Tempest, Julius Caesar, A Midsummer Night’s Dream or Richard III. At the same time, Wyspiański realizes that the Ghost, with its irrationalism, offends the spirit of post-medieval times, and as such, is understandably neglected by Hamlet, who for Wyspiański, in anticipation of Harold Bloom, stands for modernity.
6
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Lucjan Rydel i piękna książka

73%
Bąbiak G. P.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2019
|
vol. 19
35-57
RU
Artistic activity at the turn of the 19th and 20th centuries resulted not only in the development of literature and art, but also functional art and crafts, e.g. graphics and book decoration. Apart from artistic press, it was clearly visible in the phenomenon of the so-called beautiful book. The most distinguished artists of that period: Stanisław Wyspiański, Jan Bukowski, Antoni Procajłowicz – designed covers, vignettes and decorations of the best-known literary works. Lucjan Rydel, who found himself among those artists, was a friend of Wyspiański and cooperated with him, which meant that their first joint works heralded the discussed phenomenon at the Vistula River. This big event was the publication of Rydel’s translation of Iliada with the pictures and illustrations by Wyspiański, who also decorated Rydels’ volumes of poetry, using floral motifs, which were typical in his later work. Also other artists in their ornaments have tried to refer to the motifs which were dominant in Rydel’s works. Thanks to this practice, some editions of dramas (1902, designed by A. Procajłowicz) and Bajka o Kasi i królewiczu (1904, designed by S. Dębicki) should be regarded as the most renowned works of the ‘beautiful book’ trend, not only in Poland, but also in East-Central Europe. This paper focuses on the most representative ‘beautiful books’, based on Lucjan Rydel’s works from the period 1896–1911.
7
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A forgotten dramatic trilogy by Stefan Grabiński

71%
Majewska J.
Nauka
|
2019
|
issue 2
EN
The article treats about a forgotten play Zaduszki (All Souls’ Day) by Stefan Grabiński, widely known as the author of fantastic literature and horror stories. The play Zaduszki consists of three parts: 1. Strzygoń. Klechda zaduszna; 2. W dzień zaduszny; 3. Sen Krysty. Misterium zaduszne. First of them is written in folk dialect. The second one, sometimes named „the longest one-act play ever staged in Polish theatre”, considers a problem of a fault and a punishment. The third one, similarly to the first one, presents folk beliefs in supernatural phenomena which take place on All Souls’ Day. Moreover, it partly resembles a mystery play. Although the trilogy got an unfavourable reception (it was shown only seven times in Juliusz Słowacki Theatre in Kraków), it may be considered as an ambitious attempt to match the heritage of Stanisław Wyspiański – according to Grabiński, the greatest authority in the field of theatre.
8
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The relevance of history: Dramatic history poems by Stanisław Wyspiański and Tytus Czyżewski

48%
Sienkiewicz B., Sienkiewicz B.
Ruch Literacki
|
2019
|
issue 6
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