Search results

1

O Słowackim ponowocześnie [rec. Marek Troszyński: Słowacki. Poza kanonem. Gdańsk: Wydawnictwo Słowo/ Obraz Terytoria, 2014, ss. 411, nlb. 5, il. 65.]

100%

Piechota M.

Śląskie Studia Polonistyczne

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2016

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vol. 8

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issue 1-2

257-267

EN

The title of Marek Troszyński’s book Słowacki. Poza kanonem is excellent from the perspective of marketing, but at the same time, it succeeds in conveying thecontent of the 11 chapters of different length, supplemented with 8 interesting appendices and 65 aptly selected and described illustrations. In a way, it has a character of sylwa; its previous versions (published in refereed magazines and collective monographs) became considerably re‑edited in order to achieve the result in the form of monography. I accept the opening form of this dissertation, which is proposed by the author, as well as his affirmative attitude to the poet’s quasi‑literary achievements, which makes the author “a friendly witness” of Słowacki’s biography and writing. The work is undoubtedly original, own, exceptional and quite unique. I do not expect that in the foreseeable future we will encounter any gifted follower of the method, inquisitiveness, a highly interesting narration, and at the same time a lucky discoverer of so many philological findings, offering such a great number of the conjectures of the poems, not necessarily canonical ones, however, coming after the “canonical”, because critical, edition of Juliusz Kleiner.

2

„Balladyna”, czyli o próbie karnawalizacji literatury romantycznej

94%

Kurska A., Uniwersytet Jana Kochanowskiego w Kielcach I. F. P., Dr hab. p. n. w. Z. L. P. d. r. U. J. K. w. K. Z. s. p. w. l. r. i. n. p. e., annakurska@op.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 27

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issue 1

EN

The article presents Juliusz Słowacki’s attempts to free “Balladyna” from the pathos of the patriotic form. The poet achieves this by exploiting and confronting diverse strategies: Shakespearean and Ariostan irony as well as the carnivalization poetics. Not only do they allow Słowacki to expand his artistic freedom, but the drama also breaks free of the cultural shackles of pathos and solemnity. Moreover, these strategies make the drama more appealing owing to laughter which violates the ‘sacred’ status of a Romantic work. In “Balladyna”, Słowacki offers a carnivalistic formula of ‘play-literature’, challenging the stereotypical notions and expectations of the readership and striving to revolutionize native art. By means of irony and laughter, the poet distances himself from the ideas of Polish Romanticism, creating a new model of a literary work that aesthetically goes beyond the 19th century.

3

BIEGUNY DUCHA NARODU POLSKIEGO. WOKÓŁ NORWIDOWSKIEJ LEKCJI IV WYKŁADÓW O SŁOWACKIM

94%

Rzepczyński S.

Colloquia Litteraria

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2017

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issue 22

PL

Extremities of the Spirit of the Polish Nation. On Norwid’s Lekcja IV from his lectures on Słowacki The article attempts to reconstruct Norwid’s philosophy of history, focusing on Lekcja IV from his lectures O Juliuszu Słowackim. According to the poet every civilization (culture) has a particular mission to fulfill in history. The beginning of this mission is always a continuation of the work initiated by Christ himself. Christ turned the existential dimension of being from the individual to the collective and as such designed the scope for activity of nations as subjects of history. Nations are to liberate themselves from ethnic particularities and bring about the moral transformation of the mankind; this should happen through the recognition of the signum of their own historical time and its relations to Christ’s tradition as well as undertaking of the postulate to perfect their contemporary times. To advance his goals Norwid performs a particular, deliberate overinterpretation of works by Zygmunt Krasiński and Juliusz Słowacki. From Krasiński’s Legenda he takes the appointment of the initial ‘Roman’ (after-Christ, catholic) extremity of the Polish civilization; from Słowacki’s Anhelli the declining ‘Siberian’ extremity, which is transformed by love as a result of suffering. This concept by Norwid clashes with Romantic, mystic-messianic ideas, which bound the Redemption of the man with otherworldly heroism of the spirit denying mortal life; it, furthermore, brings out a particular criticism of all ideas linking existence with unchanging being in mortal life.

4

Jak są zrobione wykłady Norwida o Słowackim

94%

Buś M.

Colloquia Litteraria

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2017

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issue 22

PL

The article is interested in exploring the peculiarities and proper organiza- tion of Cyprian Norwid’s O Juliuszu Słowackim. The author analyzes cha- racteristics of the text such as its structure, internal links between elements, dynamics, and stylistic features; he focuses on their functions, which are considered manifestations of larger ideas and goals of the author, his psy- chological, or even psychophysical, traits. The article pays special attention to such issues as the text’s cohesion, the elaboration of the main theme of the work - the exposition of Słowacki’s oeuvre, or better say, expression of his own critical method/attitude - communication relationships advanced by Norwid (sender-receiver), reception styles (image of the reader), and forms of the objectification of views.

5

Juliusza Słowackiego theatrum mortis – wizja negatywna (na przykładzie Kordiana, Balladyny i Beatryks Cenci)

94%

Ścibek J.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2012

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vol. 19

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issue 2

133-152

PL

The author’s intention is to present the most important techniques applied by Słowacki intended to evoke a negative projection of death in three dramas written in the pre-mystic period: Kordian, Balladyna and Beatryks Cenci. The excerpted material is analysed semantically and lexically in view of its semantic contexts concerning human death. The basis of the reconstruction of the negative creation of mors, featured in these works, is provided by a description and discussion of the figures of speech and rhetorical devices with a lexical component that belongs to the semantic field ‘death’ (metaphors and personifications in particular), as well as substitute designations for designates that are related to the phenomenon of the passing of time where one’s life is slowly coming to an end. In addition, the author provides a characteristics of the Thanatic semantics of the lexeme blood and derivatives thereof, as well as names for the colour red. Verbal realizations of such conceptual constructions highlight such features of deaths as: mysteriousness, ghastliness, rapaciousness, perversity, brutality and cruelty that imply the feeling of sadness, fear and repulsion. It should be noted, however, that the “theater of death”, presented by Słowacki in the dramas, is of ambivalent nature because the negative manifestations of Thanatos are at the same time supplemented with euphemistic approaches aimed at easing the tension, softening the horror of death and camouflaging its terrifying dimension. These approaches are discussed in the following article: Juliusza Słowackiego “theatrum mortis” na przykładzie “Kordiana”, “Balladyny” i “Beatryks Cenci” – wizja ułagodzona.

6

Teatr wyobrażony. Funkcja dystopii w „Śnie srebrnym Salomei” Juliusza Słowackiego

84%

Nabiałek M.

Prace Filologiczne. Literaturoznawstwo

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2014

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issue 4(7)

345-362

EN

The article is an analysis of the function of dystopia in The Silver Dream of Salomea by Juliusz Słowacki. In this drama, dystopia is identified with an evil place which is the important part of space solutions in the world represented in the piece. A new view of Ukrainian steppe representation is possible thanks to this perspective. The analysis is focused not only on space solutions, but also on theatrical metaphors that represent the inside space of the steppe. As a result of the dystopic perspective, the formal solutions which reinforce the mystical concept of the world presented in the drama become quite conspicuous.

7

Przemówienie na bankiecie z okazji wprowadzenia orderu „Virtuti Militari” Interpretacja retoryczna mowy Józefa Piłsudskiego

84%

Obremski K.

Śląskie Studia Polonistyczne

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2018

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vol. 11

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issue 1

263-280

EN

The subject of the following rhetorical analysis is Józef Piłsudski’s speech entitled Przemówienie na bankiecie z okazji wprowadzenia orderu “Virtuti Militari” [Speech Delivered on the Banquet of Introducing The Order of “Virtuti Militari”], made on 22.01.1920 at the first meeting of the Chapter of the Order. Piłsudski’s speech at the burial of Słowacki’s remains in the crypt at Wawel Cathedral was “a masterpiece of the art of oratorical art.” The same level of mastery can be grated to the speech delivered at the first meeting of the Chapter of “Virtuti Militari”. It is not only Piłsudski, as an author, that links the two speeches, but also the fact that both of them were delivered at important historical moments: the first one is the speech of the creator of the independent Republic of Poland, the latter – a speech of the creator of the independent Republic of Poland, who rescued the Polish state by carrying out May Coup. Still, what is the most important in rhetorical interpretation is the same outstanding ars verbis that linked them, highlighting the relativity of the opposition poetry-prose.

8

Metaforyczna „boska cząstka” Higgsa w badaniach neokomparatystyki mitologicznej

84%

Piechota M.

Świat i Słowo

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2020

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vol. 35

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issue 2

375-388

EN

The book Prehistoria – średniowiecze – romantyzm. W kręgu indoeuropejskich tematów mitologicznych: od Dumézila do Słowackiego [Prehistory – Middle Ages – Romanticism. Indo-European Mythological Themes from Dumézil to Słowacki] by Dariusz Seweryn proves that the methodology suggested by the author can be applied to the Romantic literature. It reveals both the strategies that Romantic authors are fully aware of as well as those which remain unrealised, but refer to the mythological context that goes back in time to the Indo-European ‘prehistory’ (this is Higgs’ ‘God particle’). Seweryn also proves that the antic phrase Omnes viae Romam ducunt has above anything else a propaganda, Latino-centric significance. At least some roads lead from India via Iran (also) to Rome, but Romans did not realize that their customs and literature were influenced by a tradition that originated in a remote part of the world and was significantly older than ‘the City’ itself. Seweryn’s book is certainly one of the best I have studied and reviewed in the last ten years!

9

Straszno i śmieszno. Balladyna Juliusza Słowackiego i jej lektura w szkole

83%

Biedrzycki K.

Postscriptum Polonistyczne

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2012

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issue 2(10)

241-250

EN

Balladyna by Juliusz Słowacki is a text which causes controversy as its interpretation cannot be unequivocal – it results from the plot based on the rule of parallelism and parody as well as its structure and its frame that is an evident sign of irony. The history of critical reception of Balladyna demonstrates how difficult it is simply to read this drama. It can be regarded as a quintessence of Romantic playing with conventions, but it contains many elements of pre- Romantic tradition and it also opens the aesthetic and worldview perspectives for modern and postmodern literature. Such multidimensional drama is included in a core curriculum at lower secondary school. It is a source of difficulties for teachers and students and it is often read in too simplified manner during the lessons. The aim of the article is to present a sugges-tion of such attitude towards the drama that can help to discover the play of ambiguous perspectives that is inscribed in it.

10

Przysłowia i zwroty przysłowiowe w Panu Tadeuszu i Beniowskim

83%

Szydłowska N.

Stylistyka

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2010

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vol. 19

291-302

EN

The role of proverbs in the work of great Romantics was carefully analyzed, yet it was done long ago. In 1958, Stanisław Świrko studied proverbs used in Pan Tadeusz-, in 1964, Jan Mirosław Kasjan gave consideration to the use of proverbs and colloąuial metaphors in Słowacki’s works. Afterwards, that issue was only occasionally considered. The author retums to those works years later, recounts them and updates the look at that issue. In doing so, she draws the inspiration from culture experts. Walter Ong is used tor describing Mickiewicz’s nobility and folk proverbs, deeply rooted in orał culture; Jan Mukarowsky enables the author to comment on the aristocratic and noble cultural context of Słowacki’s proverbs, established in high literary culture. It allows the author to demonstrate how different the materiał they both use is (hardly any proverb is repeated in the two works) and how differently the two Romantic master writers operate that materiał

11

Higgs’ ‘God particle’ in neo-comparative research on mythology

83%

Piechota M.

Świat i Słowo

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2020

|

vol. 35(2)

375-388

EN

The book Prehistoria – średniowiecze – romantyzm. W kręgu indoeuropejskich tematów mitologicznych: od Dumézila do Słowackiego [Prehistory – Middle Ages – Romanticism. Indo-European Mythological Themes from Dumézil to Słowacki] by Dariusz Seweryn proves that the methodology suggested by the author can be applied to the Romantic literature. It reveals both the strategies that Romantic authors are fully aware of as well as those which remain unrealised, but refer to the mythological context that goes back in time to the Indo-European ‘prehistory’ (this is Higgs’ ‘God particle’). Seweryn also proves that the antic phrase Omnes viae Romam ducunt has above anything else a propaganda, Latino-centric significance. At least some roads lead from India via Iran (also) to Rome, but Romans did not realize that their customs and literature were influenced by a tradition that originated in a remote part of the world and was significantly older than ‘the City’ itself. Seweryn’s book is certainly one of the best I have studied and reviewed in the last ten years!

12

Metaforyczna „boska cząstka” Higgsa w badaniach neokomparatystyki mitologicznej

83%

Piechota M.

Świat i Słowo

|

2020

|

vol. 35(2)

375-388

PL

The book Prehistoria – średniowiecze – romantyzm. W kręgu indoeuropejskich tematów mitologicznych: od Dumézila do Słowackiego [Prehistory – Middle Ages – Romanticism. Indo-European Mythological Themes from Dumézil to Słowacki] by Dariusz Seweryn proves that the methodology suggested by the author can be applied to the Romantic literature. It reveals both the strategies that Romantic authors are fully aware of as well as those which remain unrealised, but refer to the mythological context that goes back in time to the Indo-European ‘prehistory’ (this is Higgs’ ‘God particle’). Seweryn also proves that the antic phrase Omnes viae Romam ducunt has above anything else a propaganda, Latino-centric significance. At least some roads lead from India via Iran (also) to Rome, but Romans did not realize that their customs and literature were influenced by a tradition that originated in a remote part of the world and was significantly older than ‘the City’ itself. Seweryn’s book is certainly one of the best I have studied and reviewed in the last ten years!

13

5 DYWIZJA SYBERYJSKA W PUBLICYSTYCE „SYBIRAKA”

82%

Kopeć Z.

Porównania

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2018

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vol. 22

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issue 1

315-325

EN

“The Sybirak“ quarterly appeared in the years 1934-1939. One of its goals was to re-evaluate and redefine the place of Siberia in the Polish tradition. The editors tried to partially neutralize the martyrological dimension of Siberia, presenting it as a mere geographic land. The Polish 5th Siberian Rifle Division (Polish: 5 Dywizja Syberyjska, i.e. the 5th Siberian Division) occupied an important place in the Sybirak. Its positive and heroic picture created in the quarterly was seriously disturbed by the book of the Czech diplomat, Jan Šeba, which provoked a number of polemical publications in the quarterly.

PL

Kwartalnik „Sybirak” ukazywał się w latach 1934-1939. Jednym z jego celów było przewartościowanie i przedefiniowanie miejsca Syberii w polskiej tradycji. Redakcja starała się częściowo zneutralizować martyrologiczny wymiar Syberii, przedstawiając ją jako zwykłą krainę geograficzną. Ważne miejsce w „Sybiraku” zajmowała 5 Dywizja Syberyjska. Jej pozytywny i bohaterski obraz kreowany w kwartalniku został poważnie zakłócony przez książkę czeskiego dyplomaty Jana Šeby (Szeby), która sprowokowała szereg polemicznych publikacji na łamach pisma.

14

On the hidden dimension of the romantic heritage

71%

Halkiewicz-Sojak G.

Studia Norwidiana

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2017

|

vol. 35 English Version

263-271

EN

This article examines interpretations and theses contained in two books by Ewa Szczeglacka-Pawłowska. The first of the books entitled ‘Homo legens’ Zygmunt Krasiński jako czytelnik polskich poetów [‘Homo legens’ Zygmunt Krasiński as a reader of Polish poets] was devoted to the art of Romantic reading demonstrated on the example of Zygmunt Krasiński and his readings documented in his correspondence. The second book – Romantyzm „brulionowy” [“Draft paper” Romanticism] is dedicated to the stream of Romantic poetry hidden in scattered manuscripts, draft papers, albums. In both books Norwid is just one of the heroes: in the first work, he was portrayed as one of the poets read by Krasiński, and in the second – as an author who wanted to introduce the title “draft paper” dimension of poetry to the official literary canon. The author proves the latter hypothesis, referring to the interpretation of Czarne kwiaty [Black flowers] and Vade-mecum. She also concludes that this was one of the reasons for rejecting the poet’s work by contemporary readers. Although the theses postulated by the author of both books are supported by desk research, Norwid’s thread would require broader exemplification.

15

Rzecz o ukrytym wymiarze romantycznego dziedzictwa

67%

Halkiewicz-Sojak G.

Studia Norwidiana

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2017

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vol. 35

249-257

PL

Tematem artykułu są interpretacje i tezy zawarte w dwóch książkach Ewy Szczeglackiej-Pawłowskiej. Pierwsza z rozpraw, zatytułowana ‘Homo legens’ Zygmunt Krasiński jako czytelnik polskich poetów, została poświęcona romantycznej sztuce czytania pokazanej na przykładzie Zygmunta Krasińskiego i jego lektur udokumentowanych w korespondencji. Druga – Romantyzm „brulionowy” – nurtowi poezji romantycznej ukrytemu w rozproszonych rękopisach, brulionach, sztambuchach. W obu książkach Norwid jest tylko jednym z bohaterów: w pierwszej pracy został pokazany jako jeden z poetów czytanych przez Krasińskiego, w drugiej – jako autor, który chciał tytułowy „brulionowy” wymiar poezji wprowadzić do oficjalnego kanonu literackiego. Autorka dowodzi tej ostatniej hipotezy, odwołując się do interpretacji Czarnych kwiatów i Vade-mecum. Wyciąga też wniosek, że była to jedna z przyczyn odrzucenia twórczości poety przez współczesnych czytelników. Jakkolwiek tezy Autorki obydwu rozpraw są poparte źródłowymi badaniami, to w przypadku wątku norwidowskiego wymagałyby szerszej egzemplifikacji.

EN

This article examines interpretations and theses contained in two books by Ewa Szczeglacka-Pawłowska. The first of the books entitled ‘Homo legens’ Zygmunt Krasiński jako czytelnik polskich poetów [‘Homo legens’ Zygmunt Krasiński as a reader of Polish poets] was devoted to the art of Romantic reading demonstrated on the example of Zygmunt Krasiński and his readings documented in his correspondence. The second book – Romantyzm „brulionowy” [“Draft paper” Romanticism] is dedicated to the stream of Romantic poetry hidden in scattered manuscripts, draft papers, albums. In both books Norwid is just one of the heroes: in the first work, he was portrayed as one of the poets read by Krasiński, and in the second – as an author who wanted to introduce the title “draft paper” dimension of poetry to the official literary canon. The author proves the latter hypothesis, referring to the interpretation of Czarne kwiaty [Black flowers] and Vade-mecum. She also concludes that this was one of the reasons for rejecting the poet’s work by contemporary readers. Although the theses postulated by the author of both books are supported by desk research, Norwid’s thread would require broader exemplification.

16

On the hidden dimension of the romantic heritage

67%

Halkiewicz-Sojak G.

Studia Norwidiana

|

2017

|

vol. 35 English Version

263-271

PL

Tematem artykułu są interpretacje i tezy zawarte w dwóch książkach Ewy Szczeglackiej-Pawłowskiej. Pierwsza z rozpraw, zatytułowana ‘Homo legens’ Zygmunt Krasiński jako czytelnik polskich poetów, została poświęcona romantycznej sztuce czytania pokazanej na przykładzie Zygmunta Krasińskiego i jego lektur udokumentowanych w korespondencji. Druga – Romantyzm „brulionowy” – nurtowi poezji romantycznej ukrytemu w rozproszonych rękopisach, brulionach, sztambuchach. W obu książkach Norwid jest tylko jednym z bohaterów: w pierwszej pracy został pokazany jako jeden z poetów czytanych przez Krasińskiego, w drugiej – jako autor, który chciał tytułowy „brulionowy” wymiar poezji wprowadzić do oficjalnego kanonu literackiego. Autorka dowodzi tej ostatniej hipotezy, odwołując się do interpretacji Czarnych kwiatów i Vade-mecum. Wyciąga też wniosek, że była to jedna z przyczyn odrzucenia twórczości poety przez współczesnych czytelników. Jakkolwiek tezy autorki obydwu rozpraw są poparte źródłowymi badaniami, to w przypadku wątku norwidowskiego wymagałyby szerszej egzemplifikacji.

EN

This article examines interpretations and theses contained in two books by Ewa Szczeglacka-Pawłowska. The first of the books entitled ‘Homo legens’ Zygmunt Krasiński jako czytelnik polskich poetów [‘Homo legens’ Zygmunt Krasiński as a reader of Polish poets] was devoted to the art of Romantic reading demonstrated on the example of Zygmunt Krasiński and his readings documented in his correspondence. The second book – Romantyzm „brulionowy” [“Draft paper” Romanticism] is dedicated to the stream of Romantic poetry hidden in scattered manuscripts, draft papers, albums. In both books Norwid is just one of the heroes: in the first work, he was portrayed as one of the poets read by Krasiński, and in the second – as an author who wanted to introduce the title “draft paper” dimension of poetry to the official literary canon. The author proves the latter hypothesis, referring to the interpretation of Czarne kwiaty [Black flowers] and Vade-mecum. She also concludes that this was one of the reasons for rejecting the poet’s work by contemporary readers. Although the theses postulated by the author of both books are supported by desk research, Norwid’s thread would require broader exemplification.

17

ROMANTYCZNE ANTYNOMIE IDEI REWOLUCJI

67%

Fabianowski A.

Świat Tekstów. Rocznik Słupski

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2020

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vol. 18

133–145

PL

Źródłem dziewiętnastowiecznych dyskursów na temat idei rewolucji były dwa wydarzenia, zmieniające radykalnie geopolityczny kształt Europy w ostatniej dekadzie XVIII wieku: Wielka Rewolucja Francuska i rozbiory Polski. Rewolucjonizm polski związany był z ideą odzyskania niepodległości, przyjmował więc najczęściej konserwatywną ideę pozostawienia wcześniejszych stosunków własnościowych i politycznych (Mickiewicz, Krasiński, Norwid); rewolucjonizm na zachodzie Europy radykalizował swe programy, ale nie realizował ich, osuwając się w system cezariański (I i II Cesarstwo we Francji). Rewolucja w myśli europejskiej XIX wieku była więc projektem ideowym tyleż radykalnym, co utrwalającym wcześniejsze modele władzy.

EN

The French Revolution and the Partitions of Poland were two events that radically changed the geopolitical shape of Europe in the last decade of the eighteenth century. Therefore, they became the source of nineteenth-century discourses on the idea of revolution. Polish revolutionism was associated with the idea of regaining independence. Consequently, thinkers like Mickiewicz, Krasiński, Norwid most often adopted the previously binding conservative ownership and political principles. Revolutionism in Western Europe was becoming more and more radical, however it did not implement its program, but gravitated towards the Caesarian system (First and Second French Empire). Thus, the revolution in European thought of the nineteenth century was an ideological project, that on the one hand, was radical, on the other, tended to consolidate earlier models of power.

18

„Pan Hrabia jak Diogenes z latarnią szuka człowieka” – miejsce i rola ciała w kształtowaniu tożsamości bohaterów dramatu „Horsztyński” Juliusza Słowackiego

60%

Ciechańska M., Uniwersytet Łódzki I. F. P., Doktorantka w Katedrze Literatury i Tradycji Romantyzmu Uniwersytetu Łódzkiego. Felietonistka i recenzentka internetowych serwisów czytelniczych „Opętani Czytaniem” oraz „Książki moja miłość”. Publikowała m.in. w piśmie „Folia Litteraria Polonica” oraz w tomach pokonferencyjnych Tekst – Tworzywo – Twórca Ś. z., magdalena.ciechanska@wp.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 27

|

issue 1

EN

The article is an attempt to interpret one of the most fascinating works of Juliusz Słowacki – “Horsztyński” drama. The basis of the interpretation is carnality. The main issue of the article is the designation of the role of carnality in the construction of subjectivity of the drama’s characters. The article is divided into four sections, whose titles are quotes from the drama. Each of them concerns some issues related to the category of carnality: connection of jesters’ appearance with their spiritual degeneration, presence and soothing touch, physical suffering, and the relation body-soulspirit. Considerations in the article aim to answer the question of the continuity of existence and the relation of awareness to the body.

19

Mierzyć na dzieło wielkich, widzieć pojedynczy kłos. O literackich mistrzach trzech ustrońskich „ludzi książki”

60%

Szkaradnik K.

Pamiętnik Literacki

|

2016

|

vol. 107

|

issue 4

95-114

PL

Socjologa Jana Szczepańskiego oraz bibliofilów i historyków amatorów Jana Wantułę i Józefa Pilcha łączyły nie tylko miejsce urodzenia (Ustroń, Śląsk Cieszyński), chłopskie pochodzenie, wyznanie ewangelickie i więzi rodzinno-przyjacielskie. Byli też wszyscy „ludźmi książki”, którzy projektowali swoją tożsamość w relacji do obficie czytanej literatury. Artykuł omawia stematyzowane w pisarstwie tych postaci nawiązania do ich ulubionych pisarzy i humanistów. Dla Szczepańskiego są to Słowacki, Sienkiewicz i Conrad; dla Pilcha – Mickiewicz, Pigoń i Sienkiewicz, dla Wantuły – Sienkiewicz, Prus i Ochorowicz. Autorka szkicu rozważa, na czym zasadzają się te fascynacje i co mówią o samorozumieniu bohaterów artykułu. Punkt dojścia stanowi wskazanie wspólnej dla nich postawy życiowej, którą wiązali oni z etosem chłopsko-protestanckim, a zarazem konfrontowali z ideami podziwianych literatów.

EN

Jan Szczepański, a sociologist, as well as bibliophiles and amateur historians Jan Wantuła and Józef Pilch are joined not only by their birthplace (Ustroń, Cieszyn Silesia), peasant origin and Evangelical denomination. They also were men of letters who projected their identity in relation to voraciously red literature. The article presents the references to their favourite writers and scholars systematised in their own writings. For Szczepański, these are Słowacki, Sienkiewicz, and Conrad; for Pilch – Mickiewicz, Pigoń, Sienkiewicz, while for Wantuła, Sienkiewicz, Prus, and Ochorowicz. The author of the sketch considers the reasons for such fascinations and what they speak about the article’s protagonists’ self-understanding. End point in this respect is indicating their common outlook on life which they linked with peasant-Protestant ethos and at the same time confronted with the admired writer’s ideas.

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Codzienność (w) XIX-wiecznej powieści. Przypadek Kraszewskiego. Rec.: Agnieszka Czajkowska, Kraszewski nieubrany. Szkice. Częstochowa 2012. „Studia o Literaturze XIX i XX Wieku”. T. III

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Zabielski Ł.

Pamiętnik Literacki

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2015

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vol. 106

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issue 2

246-250

PL

Książka Agnieszki Czajkowskiej "Kraszewski nieubrany. Szkice" jest zbiorem niezwykle interesujących esejów, cennych dla badaczy historii i historii literatury polskiej XIX wieku, ale w nie mniejszym stopniu również dla wszystkich czytelników dzieł autora Starej baśni. Powieściopisarstwo i działalność krytycznoliteracka Józefa Ignacego Kraszewskiego zestawiane są u Czajkowskiej z twórczością Adama Mickiewicza, Juliusza Słowackiego, Cypriana Norwida, Aleksandra Świętochowskiego, Piotra Chmielowskiego, a także Witolda Gombrowicza.

EN

Agnieszka Czajkowska’s book "Kraszewski nieubrany. Szkice" ("Kraszewski Undressed. Sketches") is a collection of interesting essays not only for historians and history of Polish 19th c. literature researchers, but also for all Kraszewski’s readers. Fiction writing and literary critical activity of Józef Ignacy Kraszewski are in Czajkowska’s book confronted with the creativity of such figures as Adam Mickiewicz, Juliusz Słowacki, Cyprian Norwid Norwid, Aleksander Świętochowski, Piotr Chmielowski, Tadeusz Konwicki and Witold Gombrowicz.

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Codzienność (w) XIX-wiecznej powieści. Przypadek Kraszewskiego. Rec.: Agnieszka Czajkowska, Kraszewski nieubrany. Szkice. Częstochowa 2012. „Studia o Literaturze XIX i XX Wieku”. T. III