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EN
For Stempowski the act of reading is inevitably linked to assessment and valuation. In his writings the poetics of reading takes shape of a specific axiology of reception. It becomes the theory of worthful reading. Looking from a perspective of an amateur reader allowed for the essayist to recognize the fragile bases of literary criticism, the dogmatism of a theoretic approach, and finally, the literary historians’ insensitivity to the contextual and situational values of the analysed works. It is precisely this attachment to the amateurish, i.e. affective and ‘loving’, relation with a piece of written work that prompted Stempowski to search for a look at literature that would not kill the joy of reading; one that would not limit the cognitive horizons and would also take into account the contextuality of literary works and their inevitable relation with the extra-literary reality that the reader is plunged into.
PL
Artykuł zgłębia problematykę obecności w pismach Jerzego Stempowskiego wątków oświeceniowych.
Colloquia Litteraria
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2013
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vol. 14
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issue 1
51-66
PL
Jerzy Stempowski on Józef Wittlin’s Salt of the Earth [Sól Ziemi]   In a 1936 text dedicated to Józef Wittlin’s novel Jerzy Stempowski tries to position it within the context of the contemporary political, social and cultural events. He also analyses the artistic values of the novel in relation to the changes of the world-view caused by the traumatic events of the First World War
Colloquia Litteraria
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2013
|
vol. 14
|
issue 1
29-39
PL
For Stempowski the act of reading is inevitably linked to assessment and valuation. In his writings the poetics of reading takes shape of a specific axiology of reception. It becomes the theory of worthful reading. Looking from a perspective of an amateur reader allowed for the essayist to recognize the fragile bases of literary criticism, the dogmatism of a theoretic approach, and finally, the literary historians’ insensitivity to the contextual and situational values of the analysed works. It is precisely this attachment to the amateurish, i.e. affective and ‘loving’, relation with a piece of written work that prompted Stempowski to search for a look at literature that would not kill the joy of reading; one that would not limit the cognitive horizons and would also take into account the contextuality of literary works and their inevitable relation with the extra-literary reality that the reader is plunged into.
Pamiętnik Literacki
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2019
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vol. 110
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issue 1
211-225
PL
Korespondencja między Zygmuntem Hauptem a Jerzym Stempowskim trwała od kwietnia 1963 do stycznia 1966. Wywołało ją przyznanie Hauptowi Nagrody Literackiej „Kultury” za rok 1962, co zawdzięczał on pozytywnej opinii Stempowskiego, wydrukowanej następnie na łamach paryskiego miesięcznika. Zarysowujące się w listach spore różnice między pisarzami co do gustów artystycznych i stylistycznych, a także widoczna dysproporcja w dziedzinie erudycji i wykształcenia oraz odmienność zainteresowań lekturowych i onieśmielający Haupta respekt dla wysokiej rangi literackiej Stempowskiego – wszystko to sprawiło, że ich korespondencja trwała krótko i była niezbyt obfita. Dlatego w oczach dzisiejszego czytelnika owe listy stają się w większym stopniu przyczynkiem do poznania biografii i osobowości Haupta niż ważnym źródłem wiedzy o Stempowskim.
EN
The correspondence between Zygmunt Haupt and Jerzy Stempowski lasted from April 1963 to January 1966. It was triggered by Haupt’s award of “Kultura” (“Culture”) Literary Prize for the year 1962 which Haupt owed to Stempowski’s positive opinion subsequently published on the pages of the Paris monthly. The substantial differences sketched in the letters between the two figures as far as artistic and stylistic tastes are concerned, as well as marked disproportions in the sphere erudition, education, distinctness of reading interests and Haupt’s astonishing admiration for Stempowski’s high literary range—all of them explain why the correspondence was short and scarce. All things considered, the correspondence in today reader’s eyes become more contribution to Haupt’s personality and biography than important source of knowledge about Stempowski.
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PL
Artykuł wprowadza do problematyki numeru, poświęconego twórczości Jerzego Stempowskiego.
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Tematy i Konteksty
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2017
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vol. 12
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issue 7
283-299
EN
This article presents the story of an unfinished book by Jerzy Stempowski about the Roman poet Ovid. The author analyzes the reasons for giving up this project by Stempowski so that in this way Stempowski’s attitude towards emigration and exile was reconstructed. In Stempowski’s eyes Ovid’s attitude towards exile was too unambiguous so that it could become the model for 20th century emigration writers.
EN
This article recalls the circumstances of the first edition of the novel by Boris Pasternak, Doctor Zhivago, in Polish translation, which appeared in 1959 in volume XLIV of the Biblioteka ‟Kultury” series, published by the Paris Literary Institute. Reconstruction of the history of this publishing initiative in the context of the political situation is possible thanks to historical sources preserved in the Paris and Warsaw archives, publications in periodicals, memoirs and epistolary culture. The circumstances in which the typescript was imported to Poland and in which the Literary Institute obtained a license for a Polish translation, the choice of translator, and Jerzy Giedroyc and Gustaw Herling-Grudziński’s correspondence are discussed. An important source of information is the lively correspondence between Maria Dąbrowska and Jerzy Stempowski, the son of a publicist and social activist, and Mason Stanisław Stempowski, a longtime life partner of the writer. The fragments of epistolary culture discussed here allow a better understanding of these outstanding individuals of the twentieth century. The content of the correspondence analyzed also allows us to reconstruct many interesting facts from the field of translating Russian literature into Polish, as well as the complex situation of Polish-Russian relations in the post-war period.
EN
The focus of the article is the analysis of the literary expressions of neighbourhood affinities in the Dniestr River basin featured in Wspomnienia Odessy, Jedysanu i Budżaku. Dziennik przejażdżki w roku 1843 od 22 czerwca do 11 września (1845–1846) by Józef Ignacy Kraszewski and in Jerzy Stempowski’s essay W dolinie Dniestru (1941). The center of attention was captured by the myriad forms of contiguity seen in the topography of the banks of the Dniestr River – namely, the middle course in a sketch by Hostowiec and the lower one, surrounded by a liman, in Kraszewski’s diary. The midsection of the article deals with the fluidity of languages used by representatives of the various ethnic groups and social strata living on both banks of the Dniestr, as well as the multiplicity of religious denominations. The third contention bears on both writers’ attempts to overturn the dominance of history drawing on both writers’ strong tendency to exploit the motif of ruin. Neighbourhood relations set aglow both a nineteenth- and twentieth-century writer. Both writers also achieve an effect of contiguity and fluidity within the composition and style of their respective works.
PL
W artykule poddano analizie pisarskie ekspresje sąsiedztwa nad Dniestrem zawarte we fragmentach Wspomnień Odessy, Jedysanu i Budżaku. Dzienniku przejażdżki w roku 1843 od 22 czerwca do 11 września (1845–1846) Józefa Ignacego Kraszewskiego oraz w eseju Jerzego Stempowskiego W dolinie Dniestru (1941). Najwięcej uwagi poświęcono rozmaitym formom przyległości obecnych w topografii brzegów Dniestru – środkowego w szkicu Hostowca oraz dolnego, otoczonego limanem, w dzienniku Kraszewskiego. Płynności języków używanych przez reprezentantów różnych grup etnicznych i warstw społecznych zamieszkujących oba brzegi Dniestru, a także wielości wyznań religijnych – tego dotyczy środkowa partia artykułu. W ogniwie trzecim postawiono tezę o próbach uchylenia dominacji historii przez obu pisarzy i wskazano na silną skłonność obu do operowania motywem ruiny. Sąsiedztwo pasjonuje zarówno pisarza dziewiętnasto-, jak i dwudziestowiecznego. Obaj twórcy osiągają także efekt przyległości i płynności w ramach kompozycji i stylu swoich wypowiedzi.
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