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The author focuses on those of Kraszewski’s novels connected with Italy which were written about 1863 when Kraszewski no longer treated Italy as topos. Instead, the country which he had visited many times became a more familiar place sensitizing to reading the signs from the past. From these works there emerges not only a picture of ‘Polish cause’ but more a universal one, related to the changing world in search of a new shape, which the author observed with anxiety. Italy with its ruins telling the story of antique past not only offers a probe into the sense of existence but also helps to grasp the sense and direction of modern transformations. The author portrays this way of looking on Italy, a very specific one yet at the same dependent on the existing literary accounts of the topic, by analyzing the function of the introductory parts of Kraszewski’s works, investigating the language of spatial relations as well as deciphering the metaphorical language (words such as sarcophagus, goblet, conch, shell, pearl, island).
EN
Casket-like structured Pagan Woman by Narcyza Żmichowska is shown as a ‘feargenerating’ composition. The main thesis underlying the article is as follows: in her novel Żmichowska discusses the problem of love and art, but in fact shows the problem of evil and sin. She relies on such lively Gothic motifs as: castle, Satan, picture, look-alike and the icon of fear − the vampire. The motif of fire as an epiphany of fear will be analysed i  detail in the following discussion.
EN
Metamorfozy (Metamorphoses) by Józef Ignacy Kraszewski and Zygmunt Ławicz i jego koledzy (Zygmunt Ławicz and His Friends) by Eliza Orzeszkowa are treated here as two original works bearing the imprint of two separate creative personalities, although they are based on a similar creative idea and despite the fact that the structure of Orzeszkowa’s novel recalls Kraszewski’s artistic solutions. Both works are similar in content. Using similar metaphors, they attempt to portray metamorphoses in a group of young friends, which are to symbolize more than the passage of time and effects of biological and social laws − both are to express the experience of political bondage. They differ, however, in artistic solutions, which make Metamorphoses, a work based on a myth, a comforting story about the order of human existence; whereas in case of Orzeszkowa’s work they allow us to define it as a novel about dying out, a pessimistic diagnosis of social and political conditions.
EN
The rivers of Polesia and Volhynia (the Horyn, Styr, Sluch, Pina, Prypiat Rivers and other) are analysed in the present paper as waterways which bring along modernity and carry it further inland on the one hand, and on the other, as guards of patriarchal hierarchies, which according to Orgelbrand’s Encyclopedia, are equivalent to a civilization referred to as moral, affirming simplicity, religion, and selfless relations with others. In the descriptions of places which constitute Kraszewski’s autobiography (travelogues, memoirs, letters, journalistic and fiction works) one may observe a kind of internal tension of the perceiving subject, who continues to value antiquity, but notices with certain nostalgia the anachronism of the world “at the banks of great rivers” and recognises the need for civilizational transformation.
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