Search results

1

Od redakcji

100%

Galant A., Gajewska A., Jaworski M., Śniedziewski P.

Poznańskie Studia Polonistyczne. Seria Literacka

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2013

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issue 21

7-10

2

Rekonstrukcja portretu psychologicznego Zofii Nałkowskiej (na podstawie jej Dziennika 1918–1929)

62%

Ogonowska A.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2018

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issue 10(2)

116-132

PL

Celem artykułu jest rekonstrukcja portretu psychologicznego pisarki w oparciu o treść wybranego dziennika. Pisanie siebie i pisanie sobą zostaje wykorzystane do analizy tekstu literackiego o charakterze (auto)biograficznym. Analiza ta została uzupełniona o konteksty psychologiczne (analiza archiwalna, psychologia rozwoju człowieka dorosłego, kryzys wieku średniego).

EN

The aim of the article is to reconstruct the psychological portrait of the writer based on the content of the selected work. Writing yourself and writing yourself are used to analyze a (biographical) autobiographical text. This analysis was supplemented with psychological contexts (archival analysis, adult development psychology, midlife crisis).

3

Czego nie wiemy o Hannie Szumańskiej-Wertheimowej? Wydawnictwo (in spe) „Wisła” 1943–1944

58%

Mitzner P.

Poznańskie Studia Polonistyczne. Seria Literacka

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2022

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issue 43

57-62

EN

The aim of this paper is to try and outline the activities of Hanna Szumańska-Wertheim in Warsaw during the 1943–1944 period. It provides information about the arrest of her husband, Stanisław Wertheim, and about her underground cultural undertakings (the “Wisła” publishing house). The author also draws the readers’ attention to Szumańska-Wertheim’s activities as a courier in the resistance movement.

4

Alla ricerca di un capolavoro. Il teatro e la traduzione nelle lettere inedite di Sibilla Aleramo a Emilia Szenwicowa

52%

Kłos A.

Italica Wratislaviensia

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2019

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issue 10.2

239–256

EN

Sibilla Aleramo (1876–1960) and Emilia Szenwicowa (1889–1972), Polish journalist and translator, met in 1927: the Italian writer hoped that Szenwicowa would translate her novel Amo dunque sono into Polish. A year later, Aleramo spent a few weeks on vacation in Positano, in the villa of the Szenwic family, where she often returned until the outbreak of World War II. In 1931, thanks to Szenwicowa’s mediation, Aleramo undertook the translation of Dom kobiet, a theatrical piece by Zofia Nałkowska, into French and literal Italian, using mediatory versions. A collection of Aleramo’s letters has recently been found in the family archive of the Polish journalist’s heirs. The letters, published for the first time in the present paper in fragments, testify to the profound friendship that united the two intellectuals, and document, amongst other things, their various collaborative projects concerning the translation of theatre plays from Polish to Italian. The aim of the paper is to analyse the moments of correspondence between Aleramo and Szenwicowa that refer to the theatre.

IT

Sibilla Aleramo (1876–1960) ed Emilia Szenwicowa (1889–1972), giornalista e traduttrice polacca, si conobbero nel 1927: la scrittrice italiana sperava che Szenwicowa avrebbe tradotto in italiano il suo romanzo Amo dunque sono. Un anno dopo, Aleramo trascorse qualche settimana di vacanza a Positano, nella villa della famiglia Szenwic, dove ritornò spesso fino allo scoppio della seconda guerra mondiale. Nel 1931, grazie alla mediazione di Emilia, Aleramo intraprese la traduzione di Dom kobiet, una pièce teatrale di Zofia Nałkowska, basandosi su traduzioni mediatorie in italiano e francese. Nell’archivio familiare degli eredi della giornalista polacca è stata recentemente ritrovata una collezione di missive aleramiane. Le lettere, per la prima volta pubblicate in frammenti nel presente saggio, testimoniano la profonda amicizia che univa le due intellettuali e documentano, tra l’altro, diversi progetti di collaborazione inerenti la traduzione di testi teatrali dal polacco in italiano. I momenti della corrispondenza tra Aleramo e Szenwicowa che si riferiscono al teatro vengono sottoposti nel presente intervento ad un’analisi approfondita

5

La casa delle donne. Sulla storia della traduzione italiana di Dom kobiet di Zofia Nałkowska

51%

Kłos A.

pl.it / rassegna italiana di argomenti polacchi

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2015

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issue 6

107-123

EN

In 1930 Sibilla Aleramo translated the play Dom kobiet by Polish writer Zofia Nałkowska into Italian. This three-act drama, probably the first play with only female characters in the history of theatre, was set in Warsaw the same year and was suddenly a huge success in Poland. Aleramo’s translation has remained unpublished and has been preserved (as a manuscript and a typescript draft) in the author’s archive belonging to the Fondazione Istituto Gramsci in Rome. The paper focuses on the history of this text, based mainly on the analysis of Nałkowska’s diary and unpublished letters and documents from Aleramo’s archive.

6

Sama wśród mężczyzn. Zofia Nałkowska jako instytucja życia literackiego w międzywojennej Polsce

51%

Kraskowska E.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2013

|

issue 21

13-22

EN

The article presents the role of Zofia Nałkowska in inter-war Polish literary culture. Her activity in the structures of literary life was combined with personal commitment to promotion of young talented authors. While she maintained close bonds with the political elites of the Polish Republic, she also functioned above the ideological divisions, actively supporting authors who were opposed the state. As the only woman she was member of the Polish Academy of Literature. Her participation in the official forms of public life forced her to spend time mostly in male company. At the same time, Nałkowska’s most important relationships, both with women and men, developed in private space.

7

Glosa o narcyzmie na marginesie Lodowych pól Zofii Nałkowskiej

51%

Zawiszewska A.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2013

|

issue 21

99-121

EN

The article suggests a reading of Nałkowska’s first work, treated as a literary study of narcissism. In Lodowe pola Nałkowska made an unsuccessful attempt to express the work through an inner narcissistic conflict, giving the protagonist, Janka Dernowiczówna, the qualities of narcissistic personality, such as individualism, dandyism, estheticism, Nietzscheism, atrophy of instinct, need for self-control, stage directing of life, and never-satisfied self love. The author also transferred her own feeling of emotional neglect by her mother in infancy onto the feeling of rejection of Janka’s proposal by Rosławski. The image and experience of “ice fields” as the emptiness of life, chaos, and powerlessness, becomes a metaphor of narcissistic “abandonment depression”, which became, in Nałkowska’s later work, a constantly present emotional mood and a source of artistic “tanatic imagination”.

8

Spotkanie w pół drogi. O Marii Konopnickiej i Zofii Nałkowskiej (z Katherine Mansfield w tle)

51%

Magnone L.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2013

|

issue 21

69-98

EN

The author discusses the relationships between Maria Konopnicka’s and Zofia Nałkowska’s works, the two writers who are usually contrasted. The main body of the article is a comparison between Konopnicka’s prison reports, written for the press in the 1880s, and the 1931 short-story collection by Nałkowska, Ściany świata [The Walls of the World]. For Nałkowska, the author of Za kratą [Behind the Bars], the documen tary form of a press report was an opening point, and her experiments with prose were crowned twenty years later with the intimate, modernist short-story collection called Na normandzkim brzegu [On the Shores of Normandy]. Nałkowska goes in the opposite direction: she gradually turns away not only the from the egocentrism of her modernist novels, but also from the over-structured language and style of her Young Poland phase. She was going in the direction of the pure, precise narrative of Medaliony [The Medallions], for which Ściany świata are a kind of prefiguration. The author of the article proposes to conclude that both writers met halfway. The convergences between short-story writing by Konopnicka and some works by Nałkowska (Charaktery, Dom nad łąkami) have been underscored by the comparison with Katherine Mansfield, a comparison which seems obvious for both Polish writers. Both Konopnicka and Nałkowska could be described as “the Polish Katherine Mansfield”, and the similarity is the best indication of the relationship between the two writers.

9

Two Sisters: the Sculptor Hanna Nałkowska in the Light of Zofia Nałkowska’s Novel Węże i Róże

44%

Kasa M.

Roczniki Humanistyczne

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2019

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vol. 67

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issue 4: Historia sztuki - Selected Papers in English

125-150

EN

The Polish version of the article was published in Roczniki Humanistyczne vol. 65, issue 4 (2017). The article focuses on Ernestyna Śniadowiczówna, the main character in a novel by Zofia Nałkowska, Węże i róże [Snakes and Roses] (1913). The main purpose of the work is to show that the character had its real counterpart in Zofia’s younger sister, the sculptor Hanna Nałkowska. The words of Zofia herself were crucial, who in her Diary confessed that all her novels were autobiographical to some extent. Still, researchers have not paid sufficient attention to the significant similarities between Ernestyna and Hanna Nałkowska. Węże i róże is the only piece in the writer’s output in which she analyzed the issues related to art and pointed out some characteristics of the artist. Zofia was writing her novel when Hanna was entering the world of art. A comparison between Ernestyna Śniadowiczówna and Hanna Nałkowska, as well as the information from Zofia’s Dziennik and reminiscences of their friends show that the literary character is likely to be based on a real person.

10

Duma tych, co cierpieli niewinnie. Ludobójstwo Ormian w Turcji

42%

Szmurło Z. T.

Cywilizacja i Polityka

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2015

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vol. 13

245-264

EN

In the article shown genocide of Armenians in Turkey in 1915 and and the picture of pogroms of Armenians who is found in the composition „Choucas: an international novel” by Zofia Nałkowska (1884–1954). She is regarded as a pioneer of the psychological novel in Poland. Set in the Swiss Alps, her novel „Choucas” (1927) reflects the author’s experience of a sanatoria village in the mountains above Lake Geneva, where she stayed from February to April 1925, and the international community she encountered there, including Armenian survivors of the genocide placed there by the Swiss Red Cross. In this text c read fragments of Genocide placed in the creation of the Zofia Nałkowska. Elements of the tragedy of the Armenians and the genocide perpetrated by the Turks in 1915 can be found in the logs of the author and her work „Choucas: an international novel” based on the meeting with Armenian refugees from Turkish pogroms who stay on treatment in a sanatorium in Switzerland.

11

Dwie siostry: rzeźbiarka Hanna Nałkowska w świetle powieści Zofii Nałkowskiej Węże i róże

42%

Kasa M.

Roczniki Humanistyczne

|

2017

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vol. 65

|

issue 4: Historia sztuki

87-113

PL

Artykuł koncentruje się na Ernestynie Śniadowiczównie, bohaterce powieści Zofii Nałkowskiej Węże i róże (1913). Głównym celem pracy jest wykazanie, że jej postać miała swój rzeczywisty odpowiednik w osobie młodszej siostry pisarki, rzeźbiarce Hannie Nałkowskiej. Decydującym impulsem do postawienia takiej tezy stały się słowa samej autorki, która w swoich Dziennikach wyznała, że wszystkie jej powieści są w pewnym stopniu autobiograficzne. Mimo to żaden z badaczy nie zwrócił dotychczas uwagi na istotne podobieństwa między Ernestyną i Hanną Nałkowską. Węże i róże to jedyny utwór w dorobku pisarki, w którym podjęła zagadnienia związane ze sztuką i nakreśliła figurę artystki. Moment powstania powieści zbiegł się z czasem, kiedy rzeźbiarka właśnie wkraczała w świat sztuki. Zestawienie rysów sylwetki Śniadowiczówny z biografią Hanny Nałkowskiej, a także wiadomościami pochodzącymi z Dzienników jej siostry oraz wspomnieniami wspólnych przyjaciół wykaże, jak wiele wspólnego miała literacka kreacja z autentyczną postacią.

EN

The article focuses on Ernestyna Śniadowiczówna, the main character in a novel by Zofia Nałkowska Snakes and Roses (1913). The main purpose of the work is to show that the character had its real counterpart in Zofia’s younger sister, the sculptor Hanna Nałkowska. The words of Zofia herself were crucial, who in her Diary confessed that all her novels were autobiographical to some extent.Still, researchers have not paid sufficient attention to the significant similarities between Ernestyna and Hanna Nałkowska. Snakes and Roses are the only piece in the writer’s work, in which she analyzed the issues related to art and pointed out some characteristics of the artist. Zofia was writing her novel when Hanna was entering the world of art. A comparison between Ernestyna Śniadowiczówna and Hanna Nałkowska, as well as the information from Zofia’s Diary and reminiscences of their friends show that the literary character is likely to be based on a real person.

12

Velká válka, velké naděje, velké pochybnosti. Smysly, emoce a komplikovaný patriotismus v deníku Zofie Nałkowské

42%

Rodak P.

Slovo a smysl - Word & Sense

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2018

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vol. 15

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issue 30

16-27

EN

The article describes the experience of World War I and the period just after the war (1914–1919) as written in the diary of prominent Polish novelist Zofia Nałkowska (1884–1954). For Nałkowska, World War I presents strong sensory experiences (new sounds and images that permeate domestic and other private spaces). At the same time, war reveals the truth about human life — a life full of cruelty —, creating a situation in which the collective expression of patriotism demands individual sacrifice. This article explores the tension in Nałkowska’s diary between what is collective and patriotic, on the one hand, and what is individual and private on the other (patriotism is a valuable aspect of the national ethos for Nałkowska, but at the same time she realizes that it can be a source of nationalistic and chauvinistic behaviours). Finally, the article shows Nałkowska’s critical attitude at the end of the war and the immediate post-war period, connected with the awareness that the regained independence will not solve all Polish problems.

13

Stać się sobą. O Narcyzie

38%

Graczyk E.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2013

|

issue 21

23-49

EN

The author analyzes and interprets the style, structure, and narration in the novel that marked the transition in Nałkowska’s fiction from the Young Poland phase to the inter-war phase. The author shows the place of the novel in Nałkowska’s work, presenting the links with the work of other women writers of the 19th century, especially Orzeszkowa and Zapolska. The author attempts to demonstrate that Narcyza’s features elements of novelistic, feminine polyphony and irony (thanks to the use of the work of literary mothers); such elements were rare in the novelists earlier texts. The second part of the article is devoted to the analysis of the main heroine; the author demonstrates that Nałkowska wants to make the character a problematic and ideological heroine in the Bakhtinian sense. The author analyses the novelist’s techniques of “advancing” Narcyza, and the attempts to extricate the heroine, who is a marriageable maid, from the romance-like situation and to turn her into a serious character in the sense that used to be exclusively possible for male characters.

14

Przyjaźń u Nałkowskiej (na przykładzie powieści Narcyza, Hrabia Emil, Niedobra miłość)

38%

Gajewska A.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2013

|

issue 21

147-161

EN

The article, while discussing the concept of friendship, presents social and personal relations between the protagonists of Zofia Nałkowska’s fiction. Against the background of tragic social conflicts, numerous shows of disloyalty, trade in women, low motives, and thoughtlessness, the writer points out to friendship as the only worthwhile relationship, even if it brings many disappointments. Apart from her enormous sensitivity to women’s plight, and focus on their mutual solidarity, Nałkowska often focused on friendship between men, representing their emotional engagement and delight of one man in another. In Nałkowska’s fiction, friendship is linked to risk, opening up to otherness, and internalization of the gaze of another human being. Friendly relationships, although they are fleeting and full of ethical tensions, help people to free themselves from their mould, change their character, and escape from dependencies that discipline their desires. Thus, friendship means a personality crisis, weakening of character, and temporary transgression. The passage, a temporary escape from entrenched ways of living, is possible in Nałkowska’s fiction only at the cost of a friendly bond.

15

O adaptacji filmowej opowiadania Zofii Nałkowskiej "Przy torze kolejowym"

37%

Jazdon M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2009

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vol. 7

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issue 13-14

141-149

EN

Andrzej Brzozowski directed a live action short subject based on Zofia Nałkowska’s short story Aside of the Railway in 1963. The film was banned by the communist authorities and presented for the first time as late as in 1992. This is a story of runaway Jewish woman who jumped out of a train aiming at a concentration camp somewhere inPoland occupied by he Nazis. With a heavily wounded knee she lies aside of the railway looking at Polish countrymen who gathered near her and see no chance to help her as they fear of the Nazis. When she ask them not to carry her to Germans’ one of the onlookers shots her on the spot. Brzozowski made numerous modifications to present the tragic situation from the short story in film. One of them is the change of the point of view. In film it is the POV of the wounded woman, when in the short story it is presented by a witness who told the writer about the events only after the war. Brzozowski also changed the time of events from spring in the story to snowy winter in the film and focused on two main characters – the Jewish woman and the man who seemed most determined to help her and shot her in the end.

PL

About the Film Adaptation of Zofia Nałkowska’ short story “Aside of the Railway” Andrzej Brzozowski directed a live action short subject based on Zofia Nałkowska’s short story Aside of the Railway in 1963. The film was banned by the communist authorities and presented for the first time as late as in 1992. This is a story of runaway Jewish woman who jumped out of a train aiming at a concentration camp somewhere inPoland occupied by he Nazis. With a heavily wounded knee she lies aside of the railway looking at Polish countrymen who gathered near her and see no chance to help her as they fear of the Nazis. When she ask them not to carry her to Germans’ one of the onlookers shots her on the spot. Brzozowski made numerous modifications to present the tragic situation from the short story in film. One of them is the change of the point of view. In film it is the POV of the wounded woman, when in the short story it is presented by a witness who told the writer about the events only after the war. Brzozowski also changed the time of events from spring in the story to snowy winter in the film and focused on two main characters – the Jewish woman and the man who seemed most determined to help her and shot her in the end.

16

Tadeusza Różewicza wycieczka do muzeum (i biblioteki)

30%

Morawiec A., Uniwersytet Łódzki I. F. P.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2013

|

vol. 02

PL

Artykuł dotyczy opowiadania Tadeusza Różewicza Wycieczka do muzeum. Rozpatrywane jest ono w kontekście literatury Zagłady, literatury lagrowej oraz utworów aktualizujących temat odwiedzin muzeum byłego obozu koncentracyjnego, w tym tekstów samego Różewicza. Okazuje się, że istotną, dotąd niedostrzeżoną (kamuflowaną przez pisarza) inspiracją, podejmujących motyw wycieczki do muzeum, wierszy Rzeź chłopców i Warkoczyk, a także opowiadania W najpiękniejszym mieście świata oraz dramatu Pułapka, jest relacja Rudolfa Redera z obozu zagłady w Bełżcu. Można przypuszczać, że zarówno ten tekst, jak i inne utwory o charakterze wspomnieniowym, paraliterackim i literackim, traktujące o okrucieństwach drugiej wojny światowej w jakimś stopniu ukształtowały Różewiczowską poetykę „ściśniętego gardła”, przyczyniły się do „prozaizacji żywiołu lirycznego”, ale też uformowały światoobraz pisarza. Medaliony Nałkowskiej oraz proza obozowa Borowskiego stanowią istotny kontekst interpretacyjny Wycieczki do muzeum. Dostrzeżone w twórczości Różewicza ślady wymienionych tekstów (Redera, Nałkowskiej, Borowskiego), a więc także ich lektur, przekonują, że Różewicz wcale nie rozpoczynał, jak się mniema, jako pisarz odwracający się od tego, co tekstualne.

17

Wczesna twórczość prozatorska Zofii Nałkowskiej i Iryny Wilde w kontekście literatury modernistycznej

30%

Yaniv Y., Uniwersytet im. Iwana Franki L., Yaryna Yaniv – absolwentka Narodowego Uniwersytetu Lwowskiego im. Iwana Franki. Przygotowuje pracę doktorską pt. „«Pełnoletnie dzieci» Iryny Wilde jako powieść rozwojowa”. Jej zainteresowania naukowe koncentrują się wokół literatury ukraińskiej XX wieku (w szczególności twórczości Iryny Wilde i środowiska literackiego Lwowa) a. t. u.-p. r. l. P. З. п. з. у. р. І. В. П. д., yarynaya2@gmail.com

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2015

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vol. 04

PL

W artykule dokonano analizy porównawczej wczesnej twórczości Zofii Nałkowskiej i Iryny Wilde pod względem nowatorstwa zastosowanych technik pisarskich. W toku analiz wiele uwagi poświęcono motywom wspólnym obu pisarkom, zwłaszcza eksponowaniu przez nie wewnętrz-nego świata kobiety. Szczegółowo zanalizowano wypowiedzi współcze-snych krytyków na temat dzieł obu pisarek, wskazując pewne paralele.

EN

The article presents a comparative analysis of early works by Zofia Nałkowska and Iryna Vilde due to their innovatory character in the literature of their era. The article examined the critical assessment of their works in detail and points out certain parallels in the reception of critics at the time. In the analysis,special attention has been given to similar themes in the works by both these writers, especially their focus on women’s inner world and search for new means of artistic expression.

Refine search results

Od redakcji

Rekonstrukcja portretu psychologicznego Zofii Nałkowskiej (na podstawie jej Dziennika 1918–1929)

Czego nie wiemy o Hannie Szumańskiej-Wertheimowej? Wydawnictwo (in spe) „Wisła” 1943–1944

Alla ricerca di un capolavoro. Il teatro e la traduzione nelle lettere inedite di Sibilla Aleramo a Emilia Szenwicowa

La casa delle donne. Sulla storia della traduzione italiana di Dom kobiet di Zofia Nałkowska

Sama wśród mężczyzn. Zofia Nałkowska jako instytucja życia literackiego w międzywojennej Polsce

Glosa o narcyzmie na marginesie Lodowych pól Zofii Nałkowskiej

Spotkanie w pół drogi. O Marii Konopnickiej i Zofii Nałkowskiej (z Katherine Mansfield w tle)

Two Sisters: the Sculptor Hanna Nałkowska in the Light of Zofia Nałkowska’s Novel Węże i Róże

Duma tych, co cierpieli niewinnie. Ludobójstwo Ormian w Turcji

Dwie siostry: rzeźbiarka Hanna Nałkowska w świetle powieści Zofii Nałkowskiej Węże i róże

Velká válka, velké naděje, velké pochybnosti. Smysly, emoce a komplikovaný patriotismus v deníku Zofie Nałkowské

Stać się sobą. O Narcyzie

Przyjaźń u Nałkowskiej (na przykładzie powieści Narcyza, Hrabia Emil, Niedobra miłość)

O adaptacji filmowej opowiadania Zofii Nałkowskiej "Przy torze kolejowym"

Tadeusza Różewicza wycieczka do muzeum (i biblioteki)

Wczesna twórczość prozatorska Zofii Nałkowskiej i Iryny Wilde w kontekście literatury modernistycznej