Aleksander Wat and romanticism (once more) In the sketch, the problem taken is the relation of Aleksander Wat to the Polish romanticism, both in terms of how to troubleshoot inherently more formal as well as final transfer of the works. Analysis of individual poems (including The Persian Parable, Across the Square) lead to the conclusion of a distinct connection between Wat and the Lausanne lyricism of Adam Mickiewicz.
In the sketch, the problem taken is the relation of Aleksander Wat to the Polish romanticism, both in terms of how to troubleshoot inherently more formal as well as final transfer of the works. Analysis of individual poems (including The Persian Parable, Across the Square) lead to the conclusion of a distinct connection between Wat and the Lausanne lyricism of Adam Mickiewicz.
The article focuses on the research of Władysław Nehring on Polish Romanticism. It attempts an analysis and assessment of the researcher’s achievements in this field. Polish Romantic literature became an object of Nehring’s interest ever since he worked in schools of Great Poland so before his taking over chair of Slavic philology at the University of Wrocław (1868–1907). Evidence of his fascination with the period of Adam Mickiewicz (this is how Nehring described Polish Romanticism) are substantial passages on this period in his coursebook Kurs literatury polskiej dla użytku szkół (Poznań 1866). Nehring clearly stated there that development of Polish Poetry took place no sooner than in the period of Mickiewicz. In the mature period of his scientific work on literature of Romanticism there are outstanding studies on the most prominent texts by Polish inspired poets. Most important are essays on Grażyna, Konrad Wallenrod and Pan Tadeusz by Adam Mickiewicz, Balladyna and Lilla Weneda by Juliusz Słowacki and Nie-Boska komedia by Zygmunt Krasiński. In his research Nehring particularly paid attention to both cultural background and literary genetics (genre.) He was also the first scholar to systematically research on Mickiewicz’s lectures in Paris (O paryskich prelekcjach Adama Mickiewicza). One of Nehring’s most interesting scientific projects was an attempt to explain the influence of Andrzej Towiański’s texts and personality on Polish Romanticists (Nieznane szczegóły z nauki Andrzeja Towiańskiego).
The aim of the text is to present images of Camões created by nineteenth-century Polish writers. The author of the article refers to the following literary works: Kamoens w szpitalu [Camões in Hospital] by Julian Korsak, Kamoens by Fryderyk Halm and Don Sébastien de Portugal by Aleksander Przezdziecki. All these authors regarded Camões as an outstanding and suffering poet, who believed in a specific form messianism.
Between realism of observation and vision. Creative process and the value of its outcome A case study of Zygumnt Krasiński’s The Un-Divine Comedy. The article touches upon the characteristics of Zygmunt Krasiński’s creative process. The author analyses this issue in reference to the wellestablished in the history of literature argument of predominantly intellectual, historiosophical and visionary background to Krasiński’s writing. Using the example of the first part of The Un-Divine Comedy, she brings forward an argument on the weight and relevance of realistic observation of reality in the writings of this romantic author.
The Foundational Myth of the Polish-Lithuanian Commonwealth in Mickiewicz’s Kurs pierwszy from Paris Lectures The article attempts to recreate Mickiewicz’s vision of Polish Medieval history in the context of the history of Slavdom as it is presented by him in the speeches from Kurs pierwszy from the Paris lectures. Invoking particular facts from the first centuries of Polish history and interpreting them in a particularly individual manner – frequently contrary to the traditional historical narrative, Mickiewicz rediscovered the foundational myth of the Commonwealth of the nobles in the history of the Piast and Jagiellonian Poland; furthermore, the whole of the Medieval period served Mickiewicz as a universal political model worthy of translation to the poet’s contemporary period. The modern christianitas state model, which Mickiewicz will later design in his writings from 1830s and 1840s, had its roots precisely in this reinterpreted political history of the Middle Ages. When discussing the past, Mickiewicz first and foremost advocated talking about the present and the future of Poland and Europe. Underscoring the strong relationship between Poland and Rome as well as the ties with Western Christendom – as it used to be done in the Middle Ages – was meant to produce a propagandist image: it attempted to demonstrate that the Byzantine-Orthodox culture could neither serve to unite Slavic peoples nor rejuvenate Europe in any way.
Old-Polish Sources of the Romantic Image of Podolia The article considers romantic preoccupations with the traditions of the Polish Republic of Nobles. The author indicates how the Romanticism authors reached out to the history of Podolia and how literary images of Podolia are rooted in texts from older periods. She never points to individual Old-Polish texts quoted by nineteenth-century authors; she highlights, instead, how Old-Polish literature dealing with Podolia and certain anti-Turkish texts inspired Romantic authors in general. The author pays particular attention to selected motifs from Old-Polish literature that used to be employed in Romantic texts to create historical image of Podolia; among these one can distinguish such motifs as the utility of Podolian lush nature, Turkish captivity (“jasyr”), Polish-Lithuanian Eastern borderlands knight, and the soil that is fecund yet scorched by war. The article discusses sixteenth- and seventeenth-century authors, including Bartosz Paprocki, Piotr Gorczyn, and Marcin Paszkowski as well as Romantic writers such as Maurycy Gosławski, Tymon Zaborowski, and Seweryn Groza.
This paper deals with the issues of the genre of the 19th century folk songs. It begins with the reflexion on the works of Tomasz Zan, and then moves to describe melodie daurskie [Daursk Melodies].
Exultation, that is about gradual opening of the borders The article brings about an attempt to define exultation in the context of literary criticism from the period of the ‘aesthetic split’ (between late enlightenment and early romanticism currents) and pre-November heat of the 1830. It calls to attention the discussions in which Kazimierz Brodziński, the author of O egzaltacji i entuzjazmie [On Exultation and Enthusiasm], and his adversaries Maurycy Mochancki and Józefat Bolesław Ostrowski played crucial roles.
Ponieważ temat rewolucji w Nie-Boskiej komedii jest skrupulatnie przebadany i przeanalizowany, dlatego przedmiotem rozważań niniejszej rozprawy nie jest problematyka sensu stricto rewolucyjna. Celem artykułu jest ukazanie zagadnienia rewolucji oraz kilku innych wątków z dramatu Krasińskiego na szerszym tle historii idei. Ściślej rzecz ujmując, próba unaocznienia konotacji stanowiska Krasińskiego wobec rewolucji z poglądami innych myślicieli, którzy poruszali ów problem.
The article Philosophy and nation. On the essence of the romanticism of Józef W. Gołuchowski, poses a reconstruction and analysis of the philosophy of a preromantic theoretician coming from Galicia. Through the negation of the tradition of the Enlightenment rationalism, J.W. Gołuchowski promotes the philosophy based on feelings (love) and shows the vision of nation whose spirit and uniqueness cannot be annihilated. Polish state was erased from the political map of the world – Gołuchowski notes – but the spirit of the nation based on the philosophy of ,feelings’ is alive and strives for the synthesis with religion.
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W artykule podjęto próbę rekonstrukcji i analizy filozofii pochodzącego z Galicji preromantyka. J.W. Gołuchowski poprzez negację tradycji racjonalizmu oświecenia propaguje filozofię opartą na uczuciu (miłości) oraz wizję narodu, którego „duch” i oryginalność nie mogą być zniszczone. Państwo polskie zostało wymazane z mapy politycznej świata – zauważa Gołuchowski – ale duch narodu oparty na filozofii „uczucia” żyje i dąży do syntezy z religią.
Artykuł stanowi prezentację wypowiedzi literackich i paraliterackich Krasińskiego zdradzających wyczulenie poety na kwestię kobiecą, wyłamujących się ze stereotypowego, konserwatywnego – także silnie obecnego u autora Przedświtu – postrzegania ról społecznych. Analiza wybranych tekstów ujawnia wrażliwość na opresję społeczeństwa patriarchalnego w stosunku do kobiet pisarza, piętnującego rozmaite sposoby ich reifikacji (także wynikające z romantycznego ubóstwienia drugiej płci). Rozważania zamyka przypomnienie stworzonego przez Krasińskiego obrazu „trzeciej epoki”, zawierającego zapowiedź metafizycznego i społecznego zrównania płci.
The subject of this article is the intellectual origins of Anti-Americanism, the author of which claims that the most important ideas of contemporary Anti- Americanism are present in the cultural current called the Counter-Enlightenment. The article traces roots of Anti-Americanism in the Romantic notions of ”culture” and ”civilization” and in the Conservative attacks on principles of the Enlightenment. Among disciples of the Counter-Enlightenment thought were many different thinkers such as Arthur de Gobineau, Oswald Spengler and Martin Heidegger. The article examines ideas of the Russian Slavophiles, racists and the Cultural Pessimists in order to reconstruct symbolic representations of America in the modern political thought.
Even a cursory overview of Caspar David Friedrich’s works shows that the clothes of people portrayed, often his contemporaries, differ from trends of the German fashion (and European) of the first half of the 19th century. Apart from a few exceptions (e.g. Wanderer above the Sea of Fog, 1818; Dreamer, 1835), the heroines and heroes of Friedrich’s canvases were wearing the so-called old-German clothes (Die Altdeutsche Tracht). The article focuses on discussing the symbolism and meaning of the role of this garment in the works of the German Romantic painting precursor.
Days of Choice. About Morfina (Morphine) by Szczepan Twardoch The purpose of this article is to show the way of presenting the national identity issues, which are present in the Morphine by Szczepan Twardoch. The unclear situation of main character is a starting point of my reflections. He is situated between Polishness and Germanness, femininity and masculinity, being active and being passive. In my analysis I concentrate on patterns into which the main character cannot (or perhaps does not want to) be written, and which have theirs roots in Polish national myths and stereotypes. Key words: Morphine; identity; collective memory; narrative identity; romanticism;
Tematem artykułu są związki poezji polskiej epoki oświecenia i wczesnego romantyzmu ze współczesną filozofią dziejów. Obok tematyki historii narodowej w poezji polskiej tego okresu daje się zauważyć także zainteresowanie historią powszechną ludzkości. Poeci polscy starają się określić pozycję Polski – dawnej i współczesnej – w historii powszechnej. Ukazują przebieg dziejów ludzkości oraz w różny sposób odpowiadają na pytanie, czym są dzieje i czy rządzą nimi jakieś stałe prawa. Franciszek Karpiński (1741-1825), wybitny reprezentant sentymentalizmu, opłakuje upadek złotej wolności szlacheckiej po I rozbiorze Polski (1772) oraz ukazuje historię, zgodnie z poglądami Jana Jakuba Rousseau, jako proces stopniowego upadku wolności w miarę oddalania się od pierwotnego stanu natury. Jakub Jasiński (1761-1794) uważa z kolei, że wolność jest prawem naturalnym człowieka, a historia spełni swój cel, gdy prawo to zostanie przywrócone dzięki zwycięstwu rewolucji francuskiej i polskiego powstania przeciwko zaborcom. Julian Ursyn Niemcewicz (1757-1841) twierdzi natomiast, że postęp nie jest możliwy, bo natura ludzka jest pełna wad, a historia ludzkości to „Boże igrzysko”. Adam Mickiewicz (1798-1855) i Juliusz Słowacki (1809-1849), najwybitniejsi poeci polskiego romantyzmu, przedstawiają dzieje powszechne jako postęp wolności. Młody Mickiewicz w roku 1822 utożsamia postęp z realizacją haseł rewolucji francuskiej, choć krytycznie ocenia jej przebieg. Natomiast Słowacki w okresie powstania listopadowego (1830) za ideał ustroju gwarantującego wolność jednostki i narodu uznaje brytyjską monarchię konstytucyjną. Analizowane w artykule wiersze dowodzą, że poeci polscy rozpatrują sprawę polską na tle historii powszechnej. Ich spektrum ideowe obejmuje staropolską tradycję republikańską i myśl Rousseau (Karpiński), hasła rewolucji francuskiej (Jasiński, Mickiewicz) oraz liberalizm brytyjski (Słowacki). Niemcewicz natomiast jest pesymistą i nie wierzy w postęp.
The notions of both a ‘romantic comedy’ and ‘Romanticism in comedy’ were used in the 19th-century Polish literary and theatre criticism, which at that point had already outlined some accomplishments of Romanticism, as a means of comparative analysis as well as historical and literary periodisation. Curiously enough, such issues as semantic contents and the time frames defining the phenomenon, were not specified or better still problematized at that time. This article attempts to reconstruct the unexpressed insights into the meanings and time frames and as a result leads towards a model stretching chronologically from ‘cosmopolitanism’, which was at that time attributed to the 18th-century classicistic comedy, allegedly eradicated by Aleksander Fredro as late as at the beginning of the 1930s, and tendentiousness, considered to be one of the traits of modern comedy of the second half of the 19th century, and detected by critics as early as in the first half of the 1940s in Józef Korzeniowski’s comedies.
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W polskiej krajowej krytyce literackiej i teatralnej XIX w., dokonującej już pewnych bilansów dorobku romantyzmu, pojęcia „komedii romantycznej” i „romantyzmu w komedii” służyły za środek do porównawczych analiz i historycznoliterackich periodyzacji, choć jednocześnie takie kwestie, jak semantyczna zawartość tych terminów czy granice czasowe określanego nimi zjawiska, nie były precyzowane ani nawet problematyzowane. Podjęta w niniejszym artykule próba rekonstrukcji ówczesnych niewypowiedzianych wyobrażeń o tych znaczeniach i granicach wiedzie w kierunku formuły chronologicznie rozpiętej między „kosmopolityzmem”, przypisywanym wtedy klasycystycznej komedii XVIII w. i zwalczonym rzekomo dopiero w utworach Aleksandra Fredry z początku lat trzydziestych następnego stulecia, a tendencyjnością, uznaną w drugiej połowie XIX w. za atrybut komedii nowoczesnej i odnajdywaną przez krytyków już w komediach Józefa Korzeniowskiego z pierwszej połowy lat czterdziestych.
The article discusses intertextual connections of the novel Barbara Radziwiłłówna z Jaworzna-Szczakowej by Michał Witkowski with Poema Piasta Dantyszka herbu Leliwa o Piekle by Juliusz Słowacki. Due to remarkable similarity of Witkowski’s novel to the poem from the nineteenth century, Barbara Radziwiłłówna z Jaworzna-Szczakowej may be treated as a mirror image of Poema Piasta Dantyszka herbu Leliwa o Piekle, respectively distorted by postmodern worldview and aesthetics, which the contemporary writer’s prose is saturated with. Moreover, the author compares various ways of presenting identical problems in both works, e.g. labyrinth structure of the in-text world, to show two different ways of comprehension and presenting the same problems by Romanticism and postmodernism.
The article shows forms that neo-romantic messianism takes in Wojciech Wencel’s poetry volumes Epigonia and Polonia aeterna. The Polish nation, understood as a primordial community, is depicted through the prism of national-conservative clichés, taken from freely interpreted Sarmatian literature and Mickiewicz’s romanticism. The hero of Wencel’s poems has a sense of mission as a guide for his compatriots through the traps of late modernity and as a guardian of national memory. The language of this poetry, ostentatiously old-fashioned, serves to sacralize history seen as a continuum of struggle and martyrdom. Both books demonstrate a strongly internalized, martyrological-heroic concept of the messianic calling of Poland – although not expressed as directly as in the preceding volume, De profundis.
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