Search results

1

"Komedia" Apolla Nałęcz-Korzeniowskiego wczoraj i dziś (rozważania na temat miejsca utworu w literaturze)

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Samsel K.

Tematy i Konteksty

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2023

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vol. 18

|

issue 13

206-217

EN

To this day, Apollo Nałęcz-Korzeniowski’s "Comedy" seems to be an insufficiently, or even incorrectly, problematized work. Problems begin already at the stage of discussion about the genre of the text: is it a social drama or a modern, commercial-industrial tragedy stylized in a slightly Schillerian way – in the spirit of "Intrigue and Love"? Despite the complete accuracy of Roman Taborski’s judgment on the formal similarities between "Comedy" and "Fantazy by Juliusz Słowacki, noattention has been paid to Aleksander Fredro’s mature playwriting written at the same t"ime (e.g. "Wychowanka"), which – as many presumptions may indicate – is an intriguing and inspiring comparative pair for Korzeniowski’s play, which still requires accurate literary commentary.

PL

"Komedia" Apolla Nałęcz-Korzeniowskiego wydaje się aż po dziś dzień utworem niedostatecznie albo wręcz – niewłaściwie – sproblematyzowanym. Problemy zaczynają się już na etapie dyskusji o gatunkowej przynależności tekstu: czy to dramat obyczajowy, czy stylizowana nieco po schillerowsku – w duchu "Intrygi i miłości" – nowoczesna, kupiecko-przemysłowa tragedia? Mimo zupełnej trafności sądu Romana Taborskiego o podobieństwach formalnych pomiędzy "Komedią" a "Fantazym" Juliusza Słowackiego, nie zwrócono żadnej uwagi na powstające w tym samym czasie dojrzałe dramatopisarstwo Aleksandra Fredry (np. na "Wychowankę"), a to właśnie – jak wiele na to wskazuje – intrygująca oraz inspirująca para porównawcza dla wciąż domagającej się trafnego literaturoznawczego komentarza sztuki Korzeniowskiego.

2

Literackość korespondencji Fryderyka Chopina

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Samsel K.

Poznańskie Studia Polonistyczne. Seria Literacka

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2021

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issue 41

39-64

EN

In some measure, in opposition to the contemporary studies on Chopin’s letters emphasising their non-literary character, the aim of this study is to point at the multifaceted literariness of the correspondence of the author of the Revolutionary Etude. One of its crucial aspects would be the intertextual one: Chopin’s letters constitute an intriguing community of style, including, above all, the schemes of Fredro-like comedy and Henryk Rzewuski’s gawęda szlachecka (nobility tale). The idea of writing in the spirit of disciplined lightness, rigour of formulating thoughts in a casual, colloquial and easy manner, as Wiktor Weintraub put it, affects Chopin’s planned skill of self-creation and autothematical procedures, always in similar styles that use humour for the purpose of making thing unusual, or even obscene. The arguments collected in the article force one to withdraw Ryszard Przybylski’s conviction about Chopin’s epistolography as representing the language “serving life” only outside of literature and literariness.

3

„Późny wnuk”, słowiarz, sukcesor

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Samsel K.

Studia Norwidiana

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2015

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vol. 33

285-293

EN

The study is a “multiple hybrid” combining the features of a review of Małgorzata Rygielska’s monograph Przyboś czyta Norwida [Przyboś reads Norwid] and a polemic with the theses contained in the volume. It is also a form of a notebook for an exhaustive and still not finished – albeit quite possible in its utmost form-parallel Przyboś – Norwid. Rygielska’s volume, although it has not proven a complete discussion of the present report, surely is the most detailed one as for today (against the background of the texts, among others by Barbara Łazińska and Przemysław Dakowicz). The context of the author’s reconnaissance is – it has to be admitted – specific. It is formed, on the one hand, by the theory of reading, and on the other, by the area of theory of interpretation. A lack of discussion of Norwid’s Test as a whole (for generally unknown reasons the author passes over Part V and Part VI of Przyboś’s essay, both of them symptomatic, sketching a peculiar, the author’s own psycho-biography of Norwid). Also missing a chance to reinterpret the whole volume More about the Manifesto as “coming to terms with Norwid’s influences” that does not have its counterpart in Polish literature seems to be a drawback.

4

On “taking the bones away”: the body of Cyprian Norwid and Montmorency

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Samsel K.

Studia Norwidiana

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2016

|

vol. 34 English Version

141-153

EN

Taking into account the funeral scandal related to the poet’s burial, it can be rather difficult to study the fates of Norwid’s body or to put under scrutiny the whole problem area of the poetic “necrography” of the author of Promethidion as well of the broadly understood funeralism of the Great Emigration. In the sense presented above, the author follows the steps taken by Stanisław Rosiek, who focused his research on Adam Mickiewicz’s body and devoted him a monograph entitled Zwłoki Mickiewicza. Próba nekrografii poety [Mickiewicz’s body: an attempt at the poet’s necrography]. The necrographic myth related to Cyprian Norwid has never emerged and is very unlikely to develop in the future. Yet, it may be worthwhile to venture an opposite myth in Norwid studies, which can be described with the use of the metaphor proposed by Jean-Pierre Richard of “depriving culture of the bones of (its) fathers.” The article also takes a view of Norwid as “an émigré against the émigrés” in the sense of his opposition to the funeral propaganda of the supporters of the Czartoryski Family using the Montmorency cemetery, while Norwid contested their choice, acting as “Norwid of Montmartre.”

5

Conrad – Hume

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Samsel K.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2017

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vol. 96

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issue 3

204-217

EN

This study is an attempt to reassess the state of research on Joseph Conrad, his life and literary work. This research is strongly subjugated to only one line of anthropological discourse. It was developed around the cultural anthropology paradigm, and only in accordance with this discipline, thus determining not only basic notions of a narrative, but also the concept of cognition which is organising these narratives. It is not the aim of this paper to distinguish any components of Conrad’s philosophical worldview. Instead, the author would like to present Conrad’s work within the framework of, and using tools proffered by, philosophical anthropology, regardless whether they may be ignored by cultural anthropologists. The comparison of Conrad’s protagonists’ ethics (the author here analyses Victory, Chance, Nostromo and Duel) with the philosophical system of David Hume signifies, according to the author, a shifting emphasis in the perception of the role of auxiliary sciences in building knowledge about the world of values of Conrad’s novels and novellas. Not only has a cultural anthropologist working in the field of philosophy, using the classic quotations from Immanuel Kant, the potential to unlock this convoluted universe, but also a philosophical anthropologist is capable of comparison of fictional moral values attributed to the Conrad world with sophisticated texts such as less known Kants’s essay Anthropology from a Pragmatic Point of View. The final conclusion of these explorations is establishing the somewhat blurry attributes of the Scottish School of Common Sense which impacted Conrad’s work.

6

Joseph Conrad’s Independence Journalism and its “Post‑romantic Entanglement”

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Samsel K.

Perspektywy Kultury

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2019

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vol. 24

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issue 1

39-50

PL

Studium spośród niewielkiego kręgu Conradowskiej publicystyki niepodległościowej i okołoniepodległościowej wyróżnia Zbrodnię rozbiorów jako ten tekst autora Lorda Jima, w którym ostatecznie i w pełni dojrzale dochodzi do głosu polskoromantyczna, tyrtejsko-balladowa intertekstualność. Conrad wszelako, odnosząc się do Mickiewiczowskich Lilii oraz Ksiąg narodu polskiego i pielgrzymstwa polskiego, nie pozostaje bynajmniej niewolnikiem własnej aluzji czy reminiscencji. Romantycyzacja, którą nasyca swój szkic, integruje raczej cały wywód, co więcej – sprzyja też jego intrygującej intelektualizacji: polska tradycja literacka, zredukowana tutaj bowiem do barwnej (np. frenetycznej jak w Liliach) konwencji, a uwolniona ze swoich „usztywniających” ram, stanowi dla Conrada rodzaj skrzętnie zaplanowanej, wyszukanej „gry literackiej”, którą docenić może niewtajemniczony w patos sprawy polskiej, zagraniczny czytelnik Conrada – ten, na którym pisarzowi zależy w tym przypadku najbardziej.

EN

The following study of a small collection of Conrad’s journalism related to Polish independence distinguishes The Crime of Partition as the final and most mature voicing of the Polish-Romantic, tyrtaean, and balladic intertextuality of Lord Jim’s author. Conrad, however, while referring to Adam Mickiewicz’s Lilie and The Books and the Pilgrimage of the Polish Nation, does maintain some distance from his allusions and reminiscences. Rather, the romanticizing that saturates the sketch integrates the entire argument, and what is more, it also promotes intriguing intellectualization: the Polish literary tradition, here reduced to a colorful convention (e.g. frenetic, as in Lilie), released from its “limiting” framework, is a kind of carefully planned, sophisticated literary play for Conrad. It can be appreciated by Conrad’s non- Polish reader, uninitiated in the pathos of the Polish problem, the one to whom the writer speaks in particular in this case.

7

O „odebraniu kości”, czyli ciało Cypriana Norwida i Montmorency

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Samsel K.

Studia Norwidiana

|

2016

|

vol. 34

141-153

EN

Taking into account the funeral scandal related to the poet’s burial, it can be rather difficult to study the fates of Norwid’s body or to put under scrutiny the whole problem area of the poetic “necrography” of the author of Promethidion as well of the broadly understood funeralism of the Great Emigration. In the sense presented above, the author follows the steps taken by Stanisław Rosiek, who focused his research on Adam Mickiewicz’s body and devoted him a monograph entitled Zwłoki Mickiewicza. Próba nekrografii poety [Mickiewicz’s body: an attempt at the poet’s necrography]. The necrographic myth related to Cyprian Norwid has never emerged and is very unlikely to develop in the future. Yet, it may be worthwhile to venture an opposite myth in Norwid studies, which can be described with the use of the metaphor proposed by Jean-Pierre Richard of “depriving culture of the bones of (its) fathers.” The article also takes a view of Norwid as “an émigré against the émigrés” in the sense of his opposition to the funeral propaganda of the supporters of the Czartoryski Family using the Montmorency cemetery, while Norwid contested their choice, acting as “Norwid of Montmartre.”

8

Joseph Conrad and Alexander Fredro. Inspirations and parallels in the light of the subject matter of Fredro’s Trzy po trzy

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Samsel K.

Yearbook of Conrad Studies

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2014

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vol. 9

PL

The similarities between the works of Alexander Fredro and Joseph Conrad beg the question of the extent to which a comparative interpretation can be made. However, before this question can be answered, we must first redefine the concept of the comic for the purpose of making such a comparison. The aim of this article is to show both authors in a new light as (unwitting?) deconstructors of the traditional concept of the comic (which for Fredro was still associated with that of Molière) and as creators of a new, existential concept of the comic that is tied up with human existence and that can be understood as being heightened by the tragic. An excellent example of this is provided by Fredro’s memoirs of the Napoleonic campaign entitled Trzy po trzy (Tittle-Tattle), which – thanks to the testimony of Aniela Zagórska – we know Conrad read in 1922. The manner of Fredro’s narration – which he himself likens to playing with a shuttlecock – in time proves to be that of a particular literary commemoration, i.e. bearing witness. Identified thus as a component of human existence, the comic serves to provide an escape from the “trauma of death”. A similar evolution can be traced in the style of Marlow’s narration in Conrad’s Youth and Heart of Darkness. Like the narrator of Fredro’s memoirs, Marlow makes the transition from “feat” to “testimony”.

9

Rzeki w „Królu-Duchu”

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Samsel K.

Prace Filologiczne. Literaturoznawstwo

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2015

|

issue 5(8)

479-505

EN

The river theme is one of the most outstandingly presented aquatic themes of The Spirit King. It is accumulated in four scenes of the poem. In the first rhapsody: in the symptomatic descent of Her-Armenian to the Styx, Lethe or Neman; next, in Popiel’s civil war at the Vistula. In the third rhapsody (as in Juliusz Kleiner’s edition), the theme is situated in Dobravna’s dream depicting her journey by the subterranean river to sunlit Jerusalem; and also in Bolesław Śmiały’s passages across the Bug and Dnieper. Rivers in genesian landscapes become mainly conceptualised as a part of genesian psychomachia, a battle of spirits included in the realistic/historic domain of conquests, passages, massacres and attacks. As the essentials of a prewar scenery in The Spirit King, they rarely happen to be an aspect of domestic life or Slavic hierophanies. In Slavic genesian calendar, water appears to be only a companion of the mystic fire ceremonies, like the rite of St. John’s Eve or the wedding of Mieczysław and Dobrawna (L. Nawarecka). That is also the reason why the interpretation of aquatic context of The Spirit King as yet another immanent context of the ‘great Slavic epic’ seems to be a form of reductionism, as it does not consider the ‘mystic structure of Słowacki’s imagination’ (M. Cieśla-Korytowska). The Vistula is a Polish Nile, the Neman becomes a Polish Lethe and the scene of cleaning the wounds by Her-Armenian on the banks of the Neman inherits somehow (right after the poem Beniowski) the dimension of the bards’ antagonism (Mickiewicz against Słowacki). The mythical hero of the poem may be seen, in a deeply intermediary manner, as the surpassing and overcoming of Mickiewicz’s Konrad from Dziady, Part III.

10

A dispute over the philosophy of clothes. Cyprian Norwid versus Thomas Carlyle

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Samsel K.

Studia Norwidiana

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2020

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vol. 38 English Version

65-79

EN

Cyprian Norwid’s attitude to the philosophy of clothes developed by Thomas Carlyle in Sartor Resartus may indeed be perceived only as an object of speculation, but undoubtedly the author of Vade-mecum must have been familiar with him (as confirmed in his lectures on Juliusz Słowacki). This article outlines two areas of potential intertextual crossroads between Norwid’s literary motives and the philosophy of life espoused by the legendary Carlyle: one is delimited by the poem Promethidion and a passage from the dialogue Wiesław, which may constitute a polemic with Carlyle’s sartorial philosophy, while another is delineated by Lord Singelworth’s Secret, where the figure and attitude of Singelworth may reveal the eccentricities of Carlyle himself, which is corroborated after Carlyle’s death in 1881, when Norwid began to write his so-called Italian novelettes.

11

Apollo Nałęcz-Korzeniowski and Cyprian Norwid: looking for common ground

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Samsel K.

Yearbook of Conrad Studies

|

2013

|

vol. 8

PL

The aim of the present article is to determine the extent to which Apollo Nałęcz-Korzeniowski (Joseph Conrad’s father) and Cyprian Norwid - both of whom can be linked to the development of European modernism - shared a common approach to literature and the main social questions of their times. To this end I have made an analysis of the translation and metadramatic strategies adopted by both writers, whose approach to the practical problems of translation is modern in every respect. Korzeniowski and Norwid draw attention to the difficulties involved in adapting a writer’s natural style not only to a different linguistic context, but also to the specific translatability limitations imposed by a different literary culture. Both authors cite the symptomatic example of the musicality of Shakespearean verse, which Korzeniowski examines in the case of A Comedy of Errors and Norwid in Julius Caesar. Unlike Korzeniowski, who treats the original text as a literary whole, Norwid strays beyond the bounds of his own theory of translation by adding a philosophical component based on neoplatonism - as well as his own theory of “reading idiolects” - thus assuming the position of a ‘modern fragmentarist’ who makes a creative selection of text to be translated. The metadramatic ideas of Korzeniowski and Norwid found their fullest expression in the former’s Studya nad dramatycznością w utworach Szekspira (An Enquiry into Shakespeare’s Dramatic Art - 1868) and in the latter’s preface to his play entitled Pierścień Wielkiej-Damy (The Great Lady’s Ring - 1872). In their reinterpretations of Shakespearean drama, both writers sought to join in the literary ‘revisionism’ that took place in Europe after 1848 (and in Polish literature only after 1863) in order to lay the foundations of ‘modern comedy’. What they came up with was Norwid’s concept of the tragicomic (or ‘white tragedy’) and Korzeniowski’s concept of ‘flight into the realm of delusion’, both of which relate to the Shakespearean experience of ‘theatre within theatre’: in Norwid’s ‘actor’ and Korzeniowski’s ‘Man being in a state of delusion’ we have two models of a humanity that resorts to internal escapism in reverse, as it were - a Hamlet-like ‘flight into consciousness’. The legacy of the events of the 1863 January Uprising can be seen in the idea - put forward by both authors (albeit from differing standpoints) - of a synthesis of dramatic art and the life of the nation, in order that Society may take a long, hard look at itself.

12

„Rozebrana”, czyli Norwidowska ballada o kresie metody alegorycznej

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Samsel K.

Prace Filologiczne. Literaturoznawstwo

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2016

|

issue 6(9)

225-338

EN

Undressed, Cyprian Norwid’s poem written in 1881, defined by himself as ‘a ballade’, for years has bothered many norwidologists interpreting this text. Nevertheless, a particular paradigm of interpreting Undressed has been established, as built up by connectable (in the most significant statements) conclusions of scholars such as Michał Głowiński, Stefan Sawicki or lately – Grażyna Halkiewicz-Sojak. The aim of my study is to attempt to reinterpret Norwid’s ‘ballade’ as a lyrical study of a specific aesthetic problem, in other words, as a parabolic and poetised study on the art of allegory, which for Norwid was ‘art passé’. Viewed in this light, peculiar, Norwidian ‘ballade-non-ballade’ seems to give to the reader of the poem knowledge about the waning possibility of allegorisation at the moment of the modern breakthrough. The explication of Undressed could be therefore (as well as other, less complicated, explications) the national ‘iconological aporia’. ‘Polish iconoclasm’ i.e. reaching the very limit of national representation, is the pure inability to create the „finite portrait of the fatherland” and the petrification of Poland’s picture by its allegories. Acceptance of such interpretation leads to viewing Norwid’s poem from the perspective set by Stanisław Wyspiański’s Liberation and unexpectedly reveals Norwid’s precursory.

13

Possible, impossible. Difficult Norwid in difficult Norwid studies

100%

Samsel K.

Studia Norwidiana

|

2017

|

vol. 35 English Version

219-248

PL

Tom Trudny Norwid jest nie tylko próbą stworzenia „monografii niemożliwej”, lecz także ważnym, bo przekrojowym dokumentem ewolucji polskiej norwidologii (być może właśnie ta, a nie inna problematyka książki ów interesujący horyzont szczególnie uprzystępniała). Skutkiem tego – analizowany tu zbiór tekstów domaga się niejako dwóch dróg odczytywania i podlega tak samo dwóm równoległym ścieżkom interpretacyjnym. Jedna została wyznaczona przez temat całości tomu, druga realizowana jest mimowolnie, zwłaszcza w toku omawiania dyskusyjnych kwestii w obrębie dyscypliny. Ta druga wydała się autorowi niniejszego omówienia równie pasjonująca, co pierwsza. Stąd też jego próba syntetycznego połączenia obu interesów tej książki, choćby w ramach podtytułu niniejszego studium – hasła „trudnego Norwida trudnej norwidologii”.

EN

The volume Trudny Norwid [Difficult Norwid] marks not only an attempt to create an “impossible monograph” but also an important, large-scale record of the evolution of Norwid Studies in Poland (perhaps it is exactly this and not the other issues addressed in the book that made this interesting perspective particularly accessible). As a result, the collection of texts examined here requires at least two ways of reading and is subject to the same two parallel interpretive paths. One of these was defined by the subject of the entire volume, while the other one is performed involuntarily, in particular in the course of discussing issues that are disputable in the discipline. The author of this review found the second interpretive path as exciting as the first, hence this attempt to synthesise the two interests of the book, if only under the heading of this study – the headword “difficult Norwid in difficult Norwid Studies”.

14

Vade-mecum wobec anglojęzycznego cyklu poetyckiego drugiej połowy XIX wieku

100%

Samsel K.

Studia Norwidiana

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2021

|

vol. 39

99-115

EN

The aim of the study is to initiate the considerations over the systemic ways of Vade-mecum’s reading that at the same time may determine the new starting point to rearrange the comparative reflection on the cycle and its precursorship. Possibilities of reading as such seem to be given by so called synthetic comparatistics, and in that spirit there is being coinstuted the basic line of compilating and comparing – Vade-mecum with Alfred Tennyson’s In Memoriam, Walt Whitman’s Leaves of Grass as well as Gerard Manley Hopkins’s Poems. The result of confronting of those perspectives have been expressed in specific conclusions, among others – the strong cycle’s semanticising tendency in Norwid’s, Tennyson’s, Whitman’s and Hopkins’s cases and, after all, the experiments in the area of maintaining and breaking the continuity of cycle’s diegesis – clearly outlined within the Norwid’s and Whitman’s cycles. Studying as well as comparing the structural aspects of cycles of Norwid, Tennyson, Whitman and Hopkins may lead to the cautious fixing the new point zero of research – literary comparatistics, which could be named the conditional and analytical ones.

PL

Celem studium jest zainicjowanie rozważań nad systemowymi sposobami czytania Vade-mecum, które zarazem stanowić mogłyby punkt wyjścia do uporządkowania porównawczego namysłu nad cyklem i jego prekursorstwem. Możliwości lektury podobnego typu wydaje się stwarzać tzw. komparatystyka syntetyczna i to w jej duchu ustanawiana jest w niniejszym artykule podstawowa linia zestawiania, a także porównywania: Vade-mecum z In Memoriam Alfreda Tennysona, Leaves of Grass Walta Whitmana, a także Poems Gerarda Manleya Hopkinsa. Rezultatem konfrontowania tych ujęć stają się konkretne wnioski, m.in. silna tendencja semantyzacyjna cyklu obecna zarówno u Norwida, jak i u Tennysona, Whitmana albo Hopkinsa, a także eksperymenty w zakresie utrzymywania i zrywania ciągłości diegezy cyklu pojętego jako całość, widocznie zarysowujące się w obrębie cyklów Norwida i Whitmana. Badanie i porównywanie aspektów strukturalnych cyklów Norwida, Tennysona, Whitmana oraz Hopkinsa może wieść w kierunku ostrożnego ustalania nowego punktu wyjścia w badaniach: komparatystyki, którą można by naraz określić mianem warunkowej i analitycznej.

15

Możliwe, niemożliwe. Trudny Norwid trudnej norwidologii

100%

Samsel K.

Studia Norwidiana

|

2017

|

vol. 35

207-236

PL

Tom Trudny Norwid jest nie tylko próbą stworzenia „monografii niemożliwej”, lecz także ważnym, bo przekrojowym dokumentem ewolucji polskiej norwidologii (być może właśnie ta, a nie inna problematyka książki ów interesujący horyzont szczególnie uprzystępniała). Skutkiem tego – analizowany tu zbiór tekstów domaga się niejako dwóch dróg odczytywania i podlega tak samo dwóm równoległym ścieżkom interpretacyjnym. Jedna została wyznaczona przez temat całości tomu, druga realizowana jest mimowolnie, zwłaszcza w toku omawiania dyskusyjnych kwestii w obrębie dyscypliny. Ta druga wydała się autorowi niniejszego omówienia równie pasjonująca, co pierwsza. Stąd też jego próba syntetycznego połączenia obu interesów tej książki, choćby w ramach podtytułu niniejszego studium – hasła „trudnego Norwida trudnej norwidologii”.

EN

The volume Trudny Norwid [Difficult Norwid] marks not only an attempt to create an “impossible monograph” but also an important, large-scale record of the evolution of Norwid Studies in Poland (perhaps it is exactly this and not the other issues addressed in the book that made this interesting perspective particularly accessible). As a result, the collection of texts examined here requires at least two ways of reading and is subject to the same two parallel interpretive paths. One of these was defined by the subject of the entire volume, while the other one is performed involuntarily, in particular in the course of discussing issues that are disputable in the discipline. The author of this review found the second interpretive path as exciting as the first, hence this attempt to synthesise the two interests of the book, if only under the heading of this study – the headword “difficult Norwid in difficult Norwid Studies”.

16

Possible, impossible. Difficult Norwid in difficult Norwid studies

100%

Samsel K.

Studia Norwidiana

|

2017

|

vol. 35 English Version

219-248

EN

The volume Trudny Norwid [Difficult Norwid] marks not only an attempt to create an “impossible monograph” but also an important, large-scale record of the evolution of Norwid Studies in Poland (perhaps it is exactly this and not the other issues addressed in the book that made this interesting perspective particularly accessible). As a result, the collection of texts examined here requires at least two ways of reading and is subject to the same two parallel interpretive paths. One of these was defined by the subject of the entire volume, while the other one is performed involuntarily, in particular in the course of discussing issues that are disputable in the discipline. The author of this review found the second interpretive path as exciting as the first, hence this attempt to synthesise the two interests of the book, if only under the heading of this study – the headword “difficult Norwid in difficult Norwid Studies”.

17

Cypriana Norwida ogród świata − symbolika kwiatów w perspektywie europejskiego modernizmu

100%

Samsel K.

Prace Filologiczne. Literaturoznawstwo

|

2011

|

issue 1(4)

157-174

EN

The author attempts to present the garden motif, especially − the flower motif, in the writings of one of the most original Polish poets of the 19th century. In France, as an inheritor of romanticists, Norwid continuously participated in the forming of modernist poetics with their distinctive features like ethical naturalism, prophetism and also negative ontology. In this frame, the garden as a motif seems to be not only infinite space, but also a manufactory, an area of absence and oblivion, and at last − a place of illumination.

18

On “taking the bones away”: the body of Cyprian Norwid and Montmorency

100%

Samsel K.

Studia Norwidiana

|

2016

|

vol. 34 English Version

141-154

EN

Taking into account the funeral scandal related to the poet’s burial, it can be rather difficult to study the fates of Norwid’s body or to put under scrutiny the whole problem area of the poetic “necrography” of the author of Promethidion as well of the broadly understood funeralism of the Great Emigration. In the sense presented above, the author follows the steps taken by Stanisław Rosiek, who focused his research on Adam Mickiewicz’s body and devoted him a monograph entitled Zwłoki Mickiewicza. Próba nekrografii poety [Mickiewicz’s body: an attempt at the poet’s necrography]. The necrographic myth related to Cyprian Norwid has never emerged and is very unlikely to develop in the future. Yet, it may be worthwhile to venture an opposite myth in Norwid studies, which can be described with the use of the metaphor proposed by Jean-Pierre Richard of “depriving culture of the bones of (its) fathers.” The article also takes a view of Norwid as “an émigré against the émigrés” in the sense of his opposition to the funeral propaganda of the supporters of the Czartoryski Family using the Montmorency cemetery, while Norwid contested their choice, acting as “Norwid of Montmartre.”

19

„Bo wajdelotom powiem − że na ciele jesteś kosmaty”. Dekonstrukcja mitów Mickiewiczowskich w [„Wallenrodzie”] Słowackiego

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Samsel K.

Prace Filologiczne. Literaturoznawstwo

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2020

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issue 10 (13)

137-150

EN

Author of the article aims to show the sophisticated intertextuality of Juliusz Słowacki’s unfinished drama [“Wallenrod”] [“Wallenrod”]. Firstly, he exposes the anti-Marivauvian line of [“Wallenrod”]’s reading as well as emphasises Słowacki’s game with Boccaccio’s Decameron. Secondly, he changes the supposed date of writing the drama − from 1841 to the later years − because of the genesian symbols present in [“Wallenrod”]. Thirdly, at last, he confronts the previous research locating the text primarily in the context of Słowacki’s juvenile works and Shakespearean intertextuality. Meanwhile − a new type of multi-intertextual rereading of [“Wallenrod”] should illustrate that for Słowacki even the textuality of the drama happened to be an instrument supporting the deconstruction of Mickiewicz’s original.

PL

Autor artykułu stawia sobie za zadanie ukazanie skomplikowanej intertekstualności niedokończonego dramatu [Wallenrod] Juliusza Słowackiego. Po pierwsze, wskazuje na anty-marivaux’owską linię czytania utworu, a także uwypukla grę Słowackiego z Dekameronem Boccaccia. Po drugie, przesuwa datę powstania tekstu z 1841 roku na lata późniejsze − ze względu na obecną w [Wallenrodzie] symbolikę genezyjską. Po trzecie wreszcie, rozlicza się z dotychczasowym stanem badań sytuującym utwór przede wszystkim w świetle młodzieńczej twórczości Słowackiego oraz intertekstualności szekspirowskiej. Nowy typ − multiintertekstualnego – odczytywania [Wallenroda] ma tymczasem unaocznić, że nawet tekstowość utworu jest dla Słowackiego instrumentem wspomagającym dekonstrukcję Mickiewiczowskiego pierwowzoru.

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Norwid w Czytelni Polskiej w Paryżu

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Samsel K.

Prace Filologiczne. Literaturoznawstwo

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2019

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issue 9(12) cz.2

115-123

EN

The aim of the study is to present Norwid’s ‘paper activity’ in Paris in the light of specific rhetorical and diegetic strategies, which were ‘available’ for the poet in the years 1873–1875 and formed his voice of the writer and public speaker. This is how a certain area of the poet’s word arises, which may be called doubly: literary and public. Norwid aims to act with words in an extreme manner quite frequently, which is enchanting on the one hand and evoking mixed feelings on the other. He employs erudition on the edge of extravagance and tests his audience, rather not accustomed to take such kinds of challenges. The years after the Siege of Paris 1870 are of particular importance here, as this is when The Polish Reading Room is becoming the democratic and people’s reading room, whereas Norwid is supporting the idea of the so called natural centralisation of Polish emigrants, which is to happen, most likely, with the mediation of the Reading Room’s Circle.

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Possible, impossible. Difficult Norwid in difficult Norwid studies

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On “taking the bones away”: the body of Cyprian Norwid and Montmorency

„Bo wajdelotom powiem − że na ciele jesteś kosmaty”. Dekonstrukcja mitów Mickiewiczowskich w [„Wallenrodzie”] Słowackiego

Norwid w Czytelni Polskiej w Paryżu