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1

Błogosławiony widok i architektura pustelni. Stefana Żeromskiego epizod z dziejów szlaku na Kalatówki

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Łoboz M.
Góry, Literatura, Kultura
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2018
|
vol. 12
277-286
EN
The article seeks to interpret the motif of Brother Albert Chmielowski (participant in the January Uprising, social activist as well as a Young Poland painter) in Stefan Żeromski’s 1913 novel Nawracanie Judasza (Converting Judas) and to answer the question about the role of the Albertine hermitage on Kalatówki. The Albertine congregation played an active part in the development of infrastructure in Zakopane, with the brothers working, for example, on the construction of the most popular tourist trail in the Tatras — to Giewont — an important thread in Żeromski’s novel. Żeromski sees Brother Albert not only as a spiritual idealist and social activist, but also a fine artist creating works typical of modernism (painting in the altar in the Kalatówki chapel featuring the crucifix with the suffering Christ). The crucial motif of “converting Judas” lies in the enhancement of the status of landscape, an example of Żeromski’s typical lyricisation of descriptions of nature. For the author of Converting Judas, the subjectification of landscape as well as numerous metaphorised images of nature are used mostly as means to illustrate the protagonist’s inner landscape. The dominant myth in the novel — of eternal creative nature: changeable but personifying the evolutionary continuity of life — is an optimistically soothing answer to decadent dilemmas. In the mountain landscape, surrounded by nature and accompanied by a friar, the protagonist experiences a real katharsis. The “blessed sight” generates strength needed for the construction of the trail and personal spiritual renewal.
2
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„Bo jak poezja i sztuka, tak miłość jest ideą”. Józefa Kremera peregrynacja do grobu Julii w Weronie

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Łoboz M.
Prace Filologiczne. Literaturoznawstwo
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2009
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vol. 57
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issue (2)
149-162
EN
The subject of this article is the interpretation of one part of “Journey to Italy” by J. Kremer (1859-1864) which describes his visit to Verona (in 1852). This description constitutes an intellectual pilgrimage to Shakespearean literary tradition of drama (Romeo and Juliet). Kremer moralized this legend seeing the cause of the characters' tragedy in the 'sin' of their passion. At the same time he was fascinated by the parable of complexity of human lot and relativity of moral values. The text by Kremer explains the importance of the literary legend of which there are few reinterpretations in Polish romanticism. The most important part of this description is a very interesting essay about love. This essay can be regarded as the interpretative key to the romantic understanding of the literary legend.
3

„Z gór, gdzie dźwigali” — a słuchali w salonach. Zygmunta Krasińskiego transgresje na szczycie góry

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Łoboz M.
Góry, Literatura, Kultura
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2017
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vol. 11
101-109
EN
The present Article is an attempt at an analysis and interpretation of Zygmunt Krasiński’s 1847 poem “Z gór, gdzie dźwigali” (From the mountains, where they carried). The poem, full of sceptical pessimism, refers to the Biblical episode featuring Moses, whom God showed the vast expanse of the promised land from the top of a mountain, telling him, however, that he would see the land but would never enter it. Krasiński addressed this Biblical analogy to participants in the Great Emigration and his entire generation. The metaphorical mountain carries an ambiguous message: on the one hand it radiates (heavenly) light and on the other is a symbolic place of suffering, a Golgotha on the top of which each participants in the Messianic process carries his own cross — the burden of superhuman torment and penance. The mountain top is a place in which each of them experiences transgression, overcoming their own physical and intellectual weaknesses, and achieving spiritual stability by accepting the ungrateful role of “intermediaries” in the journey towards a free homeland. When it comes to the literature of Polish Romanticism, this is a noteworthy and important reflection.
4
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Napłakać się z Chopinem. Stefana Witwickiego śpiew przez łzy

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Łoboz M.
Prace Filologiczne. Literaturoznawstwo
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2017
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issue 7(10)
363-379
EN
The article focuses on the artistic collaboration of the Romantic poet Stefan Witwicki with Frederic Chopin. Chopin’s compositions called Polish Songs  (op.74) are the most noteworthy example of the correspondence of music and literature in Polish Romanticism. The first seven songs inspired by Witwicki’s lyrics were created between 1828 and 1831 (the composer, however, had never played them during his concerts). The fact that Chopin’s songs combine both the sentimental and the insurgent tradition is essential for the understanding of the compositions. The interpretation of the selected poems of Witwicki shows that one can distinguish at least three types of nostalgia present in his works. They are as follows: nostalgic love, the nostalgic feeling connected with the collapse of the November Uprising and nostalgia caused by parting with family. It was observed that  Chopin and Witwicki easily succumbed to the feeling of nostalgia. Witwicki dedicated his Pastoral Songs to Chopin in 1830 and the composer began to write music for ten of Witwicki’s songs. His first composition was called The Wish. After leaving Warsaw, Chopin continued his work and composed A Fickle Maid, The Messenger, The Warrior, Drinking Song, Witchcraft. Other songs such as Troubled Waters, The Bridesgroom Return, The Ring, and Spring were written in Paris in the years 1838 – 1840. Witwicki’s death in 1847 came as a great shock for Chopin, he often complained about his loneliness. The close relationship of Chopin and Witwicki manifested itself not only in their artistic collaboration but also in their private lives.
5

Zakryte Zaryte, czyli zakopiańszczyzna na styku kultur. Dygresje na marginesie lektury Witkacego

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Łoboz M.
Góry, Literatura, Kultura
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2016
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vol. 10
187-195
EN
The article is an attempt to describe the cultural phenomenon of Zakopane in the early 20th century on the basis of Witkacy’s Pożegnanie jesieni [Farewell to Autumn]. In the dynamic and multi-layered plot of his novel Witkacy, emotionally involved but also with his usual sarcastic and critical distance, presents a collection of characters who make up a collective model of a specific group of residents of Zakopane set against the background of a clearly defined mountain space (the action of the novel takes place in Zakopane). The key motifs of the novel correspond to the narcotic Zakopane demonism — a style characteristic of the Zakopane culture at the turn of the centuries and using the legend and creative capital of the Young Poland movement in the Tatras. An important pla­ne bringing together the protagonists’ sentimental sublimations in the novel is music as a universal form of art, using the power of sound, i.e. communication tool available to all sensitive recipients. Two protagonists compose and perform it (Żelisław Smorki and Prince Azalin Prepudrech), others listen to it. Smorski is a pupil of Karol Szymanowski (who lived in Zakopane at the time); the name of the composer recurs several times, which testifies to the author’s intention to make his literary fiction credible. The model of the protagonists’ pianistic interpretation also draws on the virtuoso method of Egon Petri, who in the inter-war period ran his own piano school in Zakopane.
6
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„Śniegiem zaprawione cukry” − frenetyczna wizualizacja przestrzeni w „Agaj-Hanie ”Z. Krasińskiego. Glosa

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Łoboz M.
Prace Filologiczne. Literaturoznawstwo
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2010
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vol. 59
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issue (3)
241-253
EN
This article is concerned with the aesthetic differentiation of the landscape in the novel Agaj-Han by Z. Krasiński. The novel constitutes a literary experiment, in which the author presents dilemmas of an individual who wants to achieve freedom. Agaj-Han can be perceived as a combination of a historical novel and romance enriched with the element of the Gothic genre, which is characterized by the original and colourful exoticism, acoustical effects and a very sensual visualization of the landscape inspired by Byron.
7

Wyjaśni się lub nie wyjaśni... Józefa Ignacego Kraszewskiego tatrzańska meteorologia

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Łoboz M.
Góry, Literatura, Kultura
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2012
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vol. 6
29-39
EN
The article is an attempt to interpret Józef Ignacy Kraszewski’s novel Wielki nieznajomy [The Great Stranger], the plot of which includes reminiscences of the writer’s brief stay in Zakopane in 1866. The most interesting thread in the novel is a trip to the Tatras that is interrupted and put on hold by bad weather. The protagonists are impatiently waiting for it to improve, expressing their scepticism about holidaying in the Tatras. In the novel, Kraszewski ridicules and exposes pathological forms of behaviour of intellectuals in the mountains. All protagonists expected not only entertainment from the trip, but, first of all, extraordinary, ecstatic experiences. They were not wrong when, in Nowy Targ, enchanted by the sight of a mountain range stretching before their eyes on the horizon, they observed the sunset, presented by Kraszewski in the convention of a painting, emphasising the colourful palette of changing hues, turning gradually from bright to dark colours. It is the only bright episode in the entire trip to the Tatras. Rainy weather put Kraszewski himself off Zakopane, but by that time the writer had become such a well-known and respected figure that members of the Tatra Society decided in 1877 to commemorate this biographical episode of the author of Wielki nieznajomy by calling two rocks at the exit from the Kościelisko Valley (which the writer visited personally) the Kraszewski Gate and placing a commemorative plaque on the spot. The plaque was blessed on 14 August 1879 in the presence of members of the clergy and guests from all three partitioned parts of Poland.
8

Obrazki z Delille'owskiej sielanki. Józefa Kremera podróż przez Styrię

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Łoboz M.
Góry, Literatura, Kultura
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2010
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vol. 5
101-108
EN
Józef Kremer, a professor of philosophy and history of art at the Jagiellonian University, travelled through Styria in 1852, on his way to Italy. He described this journey in a work entitled A Journey to Italy (published between 1859 and 1864), which was inspired by Goethe’s Italian Journey. In Styria’s idyllic, bucolic image he noticed harmonious, colourful pictures modelled on Jacques Delille’s descriptive poem. He described not only the picturesque area around the Mur Valley (and the Mura River), but also his fellow travellers. He was interested in local legends and folklore tradition. However, the conventional and idyllic Styrian Alps, deprived of the romantic mountain horror and mysticism, seemed tiresome to him. That is why the Styrian episode in Kremer’s journey plays an insignificant role in the research into the Alpine motif in literature.
9
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Ikona Beethovena i korespondencja sztuk. Kilka interpretacjach literackich

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Łoboz M.
Prace Filologiczne. Literaturoznawstwo
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2016
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issue 6(9)
93-108
EN
The article describes various aspects of the 19th-century myth of Beethoven that can be found in selected works of the 19th and 20th century. In literary adaptations, the Beethoven's myth is realised in a very unambiguous way, yet the issue should be treated more broadly. The selected literary works discussed in the article are typical examples of the iconic images of Beethoven although they vary in the aspects of both form and content. The present article uses certain determiners as presented by Irena Poniatowska in her paper The Iconic Image of Beethoven in Polish Poetry. The analysis of specific semantic fields (suffering, overcoming suffering and victory over suffering) suggested by Poniatowska may seem not entirely verifiable, however, the universal aspect of literary interpretations is guaranteed by the expressive ideas concealed in the music and the fragmentation of composition frequently employed by Beethoven. The Beethoven case was an inspiration for creating many different literary representations of an icon. The nostalgic image of ponds in Soplicowo (Pan Tadeusz by Adam Mickiewicz) is just one of many possible ways of translating a literary text into a particular work of music. Revolutionary phrases by Ujejski (Translations of Beethoven) are a perfect illustration of Beethovenian emphasis related to overcoming suffering. Both examples prove that the 19th-century literary adaptations are more consistent with the overall concept of correspondence of arts (synaesthesia) than any of the 20th century realizations (i.e. Quasi uni fantasia by Teresa Weyssenhoff, Beethoven by Zbigniew Herbert or Beethoven’s Tomb, Niobe by Konstanty Ildefons Gałczyński) as those focus more on the portrayal of the personage, who experienced both failure and victory, and therefore seem to have more loose connection with specific works of Beethoven. 
10

Piękna Żydówka czyta Mohorta. Przyczynek do spisu lektur toksycznych

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Łoboz M.
Prace Literackie
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2015
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vol. 55
61 - 70
EN
The article focuses on the interpretation of a forgotten book of Wilhelm Feldman Beautiful Jewess (1877). The heroine of the story, after reading Pol’s Mohort, tries to assimilate to Polishness and later decides to leave for Lviv where, as expected, she does not find true happiness. The conclusion of the novel indicates that the mentioned heroine was, in fact, the victim of so called “toxic books”. Despite her intellectual aspirations, she constantly questions her own life choices. In Feldman’s novel beside the issue of Jewish assimilation, we can also notice a controversial enquiry concerning the existential repercussions of literary analyses.
11
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Patent na piosenki. Wincentego Pola śpiew nie tylko z mogiły

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Łoboz M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
|
2018
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vol. 18
3-18
RU
This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.  
EN
This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.
DE
This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.
12

„Idę ku Tobie, Tajemnico...”, czyli co św. Franciszek mówi na ostrym cyplu góry?

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Łoboz M.
Góry, Literatura, Kultura
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2014
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vol. 8
35 - 44
EN
The article is an attempt to interpret The Stigmata of St. Francis — a poem by Tadeusz Miciński from the In the Darkness of the Stars cycle (1902) and expressing (in scholars’ view) a controversial version of Franciscanism of the Young Poland era. In it, the poet transforms the image of the Assisi legend of the advocate of nature and animals glorifying the Creator. The piece provokes a new reading of the complex dilemmas of the lyrical subject. St. Francis’ utterance on top of La Verna recreates the intense mental experiences of a tormented decadent although undoubtedly a man made happy by suffering caused by the stigmata. From the point of view of Young Poland Franciscanism the work is exceptional, it does not replicate its naive-popular, primitivist style. There is no doubt either that the work is a manifestation of a decadent crisis of culture as well as a reaction to the spleen of the Young Poland period and the lack of direction among the decadents. The final fragment of Miciński’s poem became the basis of Karol Szymanowski’s song entitled St. Francis speaks (published in 1925 and dedicated to the memory of Miciński).
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