The article discusses circumstances surrounding Donat Kirsch’s debut (Liście croatoan, 1977) and presents various critical responses to the novel. A special attention is given to Jerzy Sosnowski who “demonized” Liście croatoan when in his journalistic writings and his novel (Sen sów, 2016) he underlined that the novelsupposedly resists being read. The article attempts to reconstruct the inclinations of Kirsch’s book interpreters. It also raises the issue of literary skills that brought about this debut.
The author of the article deals with the poetic newspaper debut of Irena Tuwim (1898-1987), an outstanding author and translator of children’s literature, but also a poet who is forgotten or read only on the margin of the literary output of her brother, Julian Tuwim (1894-1953). The poem titled Panienka (A Maiden), published in Godzina Polski in 1916, is hereby subjected to a contextual analysis and referred to other poems by Irena Tuwim as well as confronted with her existence, also in the auto-emancipatory dimension.
In this text, I analyze Krzysztof Ptak’s contribution to such films as Kornblumenblau and Cynga by Leszek Wosiewicz, and 300 miles to heaven by Maciej Dejczera. These films belong to a time that can be characterized as a period of “hot times”, when Krzysztof Ptak was interested in using cinematographic methods to the limits of their possibilities. As far as the history of Polish cinema is concerned, it was then that Polish directors were looking for a new language to talk about the Polish past. Wosiewicz and Dejczer avoided the accusation of “americanization” of Polish cinema, which was charged to Władysław Pasikowski. This may be because Krzysztof Ptak was the cinematographer of their films.
W artykule zdefiniowano termin emisje pierwotne akcji, dokonano identyfikacji i klasyfikacji determinant rozwoju rynku emisji pierwotnych akcji na Giełdzie Papierów Wartościowych w Warszawie. Determinanty podzielono na te związane z funkcjonowaniem spółki oraz na te związane z jej otoczeniem. Na podstawie wskazanych przez autorów kryteriów dokonano również analizy tendencji na rynku emisji pierwotnych akcji. Za kryteria te uznano rodowód spółek debiutujących na rynku, zależność od indeksu WIG, przyrost kapitalizacji, liczbę wycofań spółek z giełdy, przyrost liczby rachunków inwestycyjnych, a także PKB.
EN
The article defines the term “initial public offerings”, and identifies and classifies the determinants of the development of the initial public offerings market on the Warsaw Stock Exchange. The determinants are divided into those associated with how companies function and those related to the environment. We analyse trends in the IPO market on the basis of these criteria: the origin of the companies debuting on the market, their dependence on the WIG index, the increase in capitalisation, the number of withdrawals of companies on the stock exchange, the increase in the number of investment accounts, and GDP.
The paper discusses first works, as well as the debut poem Pory roku [Seasons of the year] published in ”Gazeta Olsztyńska” [Olsztyn Newspaper] (4th December 1920) written by Maria Zientara-Malewska (1894-1984) - a Warmian poet, who was born in Brąswałd near Olsztyn. One can notice in them foremost influences of Maria Konopnicka, Adam Asnyk, Jan Kasprowicz. All of them were published in the ”Gazeta” where she worked for a short period of time and in the supplement to the magazine ”Gość Niedzielny” [Sunday Guest]. She connected creative writing with social and cultural activity, took part in establishing the Polish Women Society and the Youth Society in the East Prussia. After graduation from the Teachers College in Cracow in 1926 she founded Polish nursery schools and schools in the South of Warmia. She was teaching in the Polish school in today’s Chaberków for a short period of time.
The paper aims at presenting the community of Olsztyn authors, which has never been so dispersed and little consolidated since 1945. The authors hide in their artistic hermitages and avoid group comments. There is no literary magazine, which would constitute opinion-forming voice and create space for polemics, or exchange of views in Olsztyn, or the closes regions. Olsztyn has been becoming the real ”prose basin” recently. Włodzimierz Kowalewski, Mariusz Sieniewicz, Piotr Siwecki, Tomasz Białkowski, Joanna Wilengowska, Ewa Schilling, Tamara Bołdak-Janowska, Filip Onichimowski, Paweł Jaszczuk or Marta Syrwid are some of the well-known artists in Poland, who create their works here. Despite this fact, officially little is spoken about literature and it is not treated too seriously, although there are numerous ways of its effective promotion.
The article provides an interpretation of Middle Ages, a poem from Stanisław Barańczak’s debut publication Facial Corrections (1968). Focussing on the way that numerous examples of zeugma and syllepsis are used, the author argues that this poem, which was probably inspired by the first Polish publication of the Waning of the Middle Ages by J. Huizinga, was created through the poet’s reflections on the structure of messianic time (kairos). As such it can be seen as both a polemic with materialism and a criticism of Christianity. In this way Middle Ages proves to be the first of post-secular Barańczak’s poems which herald the wealth of spiritual explorations in his later works.
This article offers a comparative interpretation of two poems: “Ostatni mój sonet” [My Last Sonnet] by Cyprian Norwid and “Adieux à la poésie” by Louise Ackermann. Although these two authors differ in terms of sex, nationality, artistic style as well as the national and European reception of their work, these two poems are only four years apart. Both prove to be interesting material for study due to their simultaneous “debut” and “late” character: they describe gestures of bidding farewell to poetry in some specific aspect and in general. The lonely existence of the lyrical “I” in Ackermann’s poem and its sombre mood can be juxtaposed with the relation between “I” and “you” and the increasing scale of emotions in the lyric by Norwid, leading to 150 the conclusion that both works elaborate on the theme of human indifference to the feelings of others, and on the misunderstanding of both authors’ poems by their readers. What dominates in the case of Ackermann is the fear of lack of empathy, while Norwid emphasizes the problem of conventions that hinder real communication. What this is proves is that in these “debuts” the two authors bid farewell only to certain properties of poetry characteristic of the period’s lyricism (expression of the feelings of the lyrical subject and the convention of sonnet-like love lyricism), while these two poems themselves open passages to different stages of poetic creation.
PL
W artykule przedstawiono interpretację porównawczą utworów: Ostatni mój sonet Cypriana Norwida i Adieux à la poésie Louise Ackermann. Autorów dzieli płeć i narodowość, a także styl artystyczny oraz krajowa i europejska recepcja, ich wiersze powstały w odstępie czterech lat. Te dwa utwory okazują się interesującym materiałem do badania z powodu ich jednoczesnego debiutanckiego i „późnego” charakteru: opisano w nich gesty pożegnania z poezją w ogóle i w pewnym jej wymiarze. Obecność samotniczej egzystencji „ja” lirycznego w wierszu Ackermann oraz jednostajnie smutnego nastroju w tym utworze, a relacji między „ja” i „ty” lirycznym w utworze Norwida oraz większej skali emocji prowadzi do wniosków, że tym, co łączy omawiane dzieła, jest motyw ludzkiej obojętności wobec uczuć innych i niezrozumienia ich poezji przez odbiorców. U Ackermann dominuje lęk przed tym brakiem współodczuwania, Norwida zaś uwypukla problem konwencji, które uniemożliwiają prawdziwą komunikację. Udowodniono zatem hipotezę, że tym, co w istocie żegnają w swoich debiutach twórcy, są tylko pewne właściwości poezji typowe dla liryki im współczesnej (ekspresja uczuć osoby mówiącej w wierszu, konwencje sonetowej liryki miłosnej), a utwory te stanowią przejście do innego etapu ich poetyckiej kreacji.
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