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1

Melchiora Wańkowicza dwa odmienne spojrzenia na Rosję

100%

Malcer-Zakrzacka A.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2016

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issue 5 "Reportaż literacki. Pogranicza"

67-86

EN

Melchior Wańkowicz in reportages on Russia is about two non-fiction reportages about Russia: one written before the Second World War called Opierzona rewolucja and the other written during the war called Dzieje rodziny Korzeniewskich. There are two different, ambivalent views on communist system. The first one seems to be apologetic and appreciative for this, in writer's opinion, successful country and its people after communist revolution. Dzieje rodziny Korzeniewskich written in 1942, edited in English in New York in 1945 was one of the world's first non-fiction reportages which gives a report from Russian communist crime on Polish society exiled on northern and southern parts of Russia during the Second World War.

2

„Braterstwo krwi”. Historia Stanisława Aronsona

87%

Ratajczak W.

Poznańskie Studia Polonistyczne. Seria Literacka

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2013

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issue 22

83-93

EN

Based on conversations with the hero, Patrycja Bukalska’s Rysiek z Kedywu. Niezwykłe losy Stanisława Aronsona [Rysiek from Kedyw. Incredible Tribulations of Stanisław Aronson], is an important contribution to the study of Polish-Jewish relations. This is because Aronson’s life is a unique combination of various elements of Polish and Jewish biographies in the 20th century. His life story includes: a happy childhood in a wealthy assimilated Jewish family, the nightmare of Soviet and German occupation, deaths of closest relations, participation in Armia Krajowa resistance movement and Warsaw Uprising, military service in general Anders’s corps, and then in Israeli army. Jew, Pole, Israeli: each of these identies demanded a different ordering and expression of memory, different omissions and declarations. With such an unusual and mixed experience, Aronson had a vantage point to look at the images that Poles, Jews, Holocaust survivors and citizens of newly created Israel, had of one another. Bukalska’s book can be read as a voice against generalizations, as a narrative about a concrete human life immersed in history, a narrative about individual choices, courage, and friendship.

3

Kriegsliteratur aus der DDR und die Zensur in der Volksrepublik Polen in den ersten Nachkriegsjahren

75%

Rajch M.

Studia Germanica Posnaniensia

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2016

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issue 37

253-262

EN

From all of the German literature distributed in Poland during the first half of the nineteen fifties, that of the GDR was the most strongly represented, because like the People's Republic, it was part of the Eastern Bloc. A substantial part of this literature touched upon the themes of the Second World War. As some prominent Eastern German authors had taken part in the Spanish Civil War in 1936-1939, this subject also couldn't be ignored. The introduction in 1949 of socialist realism as the most important criterion of art, and particulary strong political pressure, led to a great deal of confusion and insecurity, not only for Polish publishing houses, but also among the censors, whose task was to take decisions about what literature could be printed. Censors’ opinions in this period often differed, not only in terms of detailed matter, but also in the final decisions about the eventual fate of the title submitted for evaluation.

DE

From all of the German literature distributed in Poland during the first half of the nineteen fifties, that of the GDR was the most strongly represented, because like the People's Republic, it was part of the Eastern Bloc. A substantial part of this literature touched upon the themes of the Second World War. As some prominent Eastern German authors had taken part in the Spanish Civil War in 1936-1939, this subject also couldn't be ignored.The introduction in 1949 of socialist realism as the most important criterion of art, and particulary strong political pressure, led to a great deal of confusion and insecurity, not only for Polish publishing houses, but also among the censors, whose task was to take decisions about what literature could be printed. Censors’ opinions in this period often differed, not only in terms of detailed matter, but also in the final decisions about the eventual fate of the title submitted for evaluation.

4

“The Blackest Kernel”: Irony and the Poetics of Fear in Selected American Texts of the War in Vietnam

63%

Musiał A.

Świat i Słowo

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2021

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vol. 36(1)

183-195

EN

This article discusses several American texts about the war in Vietnam, paying particular attention to Michael Herr’s memoir Dispatches and Gustav Hasford’s The ShortTimers. Using Paul Fussell’s model of the ironic pattern of war experiences recounted in literary texts authored by soldier-writers, the article argues that the close entanglement of the poetics of fear and a sense of Fussellian irony permeate the representations of the Vietnam War in these, as well as in other American books. The article also attempts to briefly categorise the representations of fear in several narratives of the war.

5

„Doświadczenie podmiotu” i „muzyczna melancholia” – o dwóch wierszach Witolda Wirpszy

45%

Mizerkiewicz M.

Ogrody Nauk i Sztuk

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2015

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issue 5

594-600

PL

„Doświadczenie podmiotu” i „muzyczna melancholia” to dwa najważniejsze aspekty wczesnej twórczości Witolda Wirpszy. Powstałe w 1945 r. wiersze – Rytm i Koncert, należy interpretować w kontekście innego tekstu z tomiku Mały gatunek – Wierszopisarstwo. Poeta szuka odpowiednich środków, by wyrazić swoje uczucia. Dwa najważniejsze elementy dzieła muzycznego, czyli rytm i melodia, są dla Wirpszy paradygmatem. Traktuje je w sposób nowatorski, z ich pomocą podmiot uzewnętrznia się. Próba opisu doświadczeń pozwala osobie mówiącej uwolnić się od strachu. Podmiot odnajduje wewnętrzną równowagę, ale traumatyczne doświadczenia sprawiają, że pozostaje mu muzyczna melancholia.

EN

"Experience of the subject" and "musical melancholy" are the two most important aspects of Witold Wirpsza's early creativity. Poems from 1945 – Rytm and Koncert, should be interpreted in the context of another poem from the volume Mały gatunek – Wierszopisarstwo, in which the poet searches for suitable means to express his emotions. The most important elements of musical work - rhythm and melody - are a paradigm for Wirpsza. He treats them in an innovative way - an individual can externalize their emotions with their help. An attempt to describe feelings allows an indivudual to free themself from fear. The individual finds internal balance, but traumatic experiences mean that melancholy music remains.

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1 Jednak Książki. Gdańskie Czasopismo Humanistyczne

1 Ogrody Nauk i Sztuk

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Studia Germanica Posnaniensia

1 Świat i Słowo

1 Malcer-Zakrzacka A.

1 Mizerkiewicz M.

1 Musiał A.

1 Rajch M.

1 Ratajczak W.

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Melchiora Wańkowicza dwa odmienne spojrzenia na Rosję

„Braterstwo krwi”. Historia Stanisława Aronsona

Kriegsliteratur aus der DDR und die Zensur in der Volksrepublik Polen in den ersten Nachkriegsjahren

“The Blackest Kernel”: Irony and the Poetics of Fear in Selected American Texts of the War in Vietnam

„Doświadczenie podmiotu” i „muzyczna melancholia” – o dwóch wierszach Witolda Wirpszy