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Syndrom Charouska. Tomasza Judyma problemy z tożsamością

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Samborska-Kukuć D., Uniwersytet Łódzki I. F. P., ddsk@wp.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2016
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vol. 33
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issue 3
EN
In literary studies, Judym, the protagonist of Ludzie bezdomni, is usually treated as a social activist fixated on the mission to improve the world. However, such interpretation is not exhaustive because the character’s behaviour, not always rational and sensible, is a result of his beliefs and worldview. His identity problems, which pose the principal difficulty for him and which are the driving force of his actions, are rooted in his inferiority complex, born and developed on the foundation of his dysfunctional upbringing with an alcoholic father and later his aunt, a prostitute. Aversion to his familial heritage makes Judym a profoundly emotionally repressed man, unable to cope with life and emotional relationships. Understanding these difficulties helps readers to see the character’s alienation and motivations, which he would like to be considered as “paying the debt” he owes to the social group from which he came.
2
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What a Suave Man he Was! […] The Earth Trembled as he Perished Two Polish Suicides: Wołodyjowski – Wokulski

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Samborska-Kukuć D., University of Lodz F. o. P., ddsk@wp.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2016
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vol. 38
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issue 8
EN
There is more to the literary polemic between the author of The Doll and the creator of The Trilogy than merely Prus’ contradictory review of Sienkiewicz’s With Fire and Sword. It also includes The Doll’s multifarious allusiveness to Fire in the Steppe, manifested in particular in the meaningful, symbolic ending, whereby both protagonists blow themselves up, literally and metaphorically cornered in old buildings. Prus converses with Sienkiewicz in a discreet manner, though the careful reader will spot contentious issues. These include the struggle for a different type of protagonist – not a hero, but an individual entangled in romantic myths, paralysing their life forces; a different perception of the past, rational and fair rather than glorified and martyrological; finally, a different outlook on the present and the future, promoting entrepreneurship and economy as tools for the development of Poland as a European partner, rather than the idealistic focus on the utopian, foregone concepts of military achievements. The text highlights the similarities in the characters of Wokulski and Wołodyjowski, with special emphasis on the final scenes and the demise of the world after the protagonists’ respective disappearance. The two famous literary suicides, patterning after the deed of Ordon as depicted in Mickiewicz’s poem, have been parodied (e.g. by Mrożek) and adopted, thus becoming literary weapons in the struggle with the Polish mythopoeia, xenophobia, and exaggerated patriotism.
3
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Inflanty Polskie Bolesława Limanowskiego – wspomnienia i relacje

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Samborska-Kukuć D., Uniwersytet Łódzki K. L. P. i. M. P., ddsk@wp.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2013
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vol. 22
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issue 4
EN
Polish Livonia was the little homeland of Boleslaw Limanowski, a socialist and a popular political activist. The author reminisces about it in his Memoirs and in his correspondence reviving the past – both private and the history of the region (his work about Emilia Plater). Limanowski’s statements, because of his highly detailed observations, are the source of the history of the province and character of its customs. They also reveal a private side of the evolution of the author’s views. His accurate remarks connected with the peculiarities of the identities of Poles living in Livonia, especially their relationships with Russians, enabled the reader to think about the uniqueness of the author’s thoughts and his sagacity.
4
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Moje czytanie "Lalki"

100%
Samborska-Kukuć D., Uniwersytet Łódzki W. F., ddsk@wp.pl
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2012
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vol. 01
EN
Lalka is an open literary work that becomes richer as the reader is growing older and is, therefore, an “infinite” task for interpretation. My look at the masterpiece by Prus as a text based on the model of Greek tragedy refers rather to tradition and is against modernity. Repeated reading of the novel, searching for the writer’s autothematic statements and the 19th century discussions about theatre and novel allowed me to formulate a new research proposal — a palimpsest reading of Lalka. The qualities of Greek tragedy include: the construction of the hero, the narrative, the structure of the novel (episodes and „stasimons” of Rzecki) and the dramatized style. These elements allowed Prus to give his story contemporary features and inscribe it into a universal perspective.
5
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„Ale jaki to człowiek stylowy! […] zginął, aż ziemia zadrżała”. Dwa polskie samobójstwa: Wołodyjowski – Wokulski

100%
Samborska-Kukuć D., Uniwersytet Łódzki W. F., ddsk@wp.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2015
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vol. 30
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issue 4
EN
There is more to the literary polemic between the author of "The Doll" and the creator of "The Trilogy" than merely Prus’ contradictory review of Sienkiewicz’s "With Fire and Sword". It also includes "The Doll’s" multifarious allusiveness to "Fire in the Steppe", manifested in particular in the meaningful, symbolic ending, whereby both protagonists blow themselves up, literally and metaphorically cornered in old buildings. Prus converses with Sienkiewicz in a discreet manner, though the careful reader will spot contentious issues. These include the struggle for a different type of protagonist – not a hero, but an individual entangled in romantic myths, paralysing their life forces; a different perception of the past, rational and fair rather than glorified and martyrological; finally, a different outlook on the present and the future, promoting entrepreneurship and economy as tools for the development of Poland as a European partner, rather than the idealistic focus on the utopian, foregone concepts of military achievements. The text highlights the similarities in the characters of Wokulski and Wołodyjowski, with special emphasis on the final scenes and the demise of the world after the protagonists’ respective disappearance. The two famous literary suicides, patterning after the deed of Ordon as depicted in Mickiewicz’s poem, have been parodied (e.g. by Mrożek) and adopted, thus becoming literary weapons in the struggle with the Polish mythopoeia, xenophobia, and exaggerated patriotism.
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