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1

Wilno w twórczości Romualda Mieczkowskiego

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Węgrzyniak A.

Śląskie Studia Polonistyczne

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2017

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vol. 10

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issue 2

155-172

EN

The subject of the essay is Romuald Mieczkowski’s picture of Vilnius emerging from poems and short stories that reveal the value of key themes. They are topoi and at the same time they refer to biographical facts. The poet-chronicler exposes the “cordial” memory of trees, houses and stones. It is his way to emphasize “thinking with the heart”, attachment to the place and a loving attitude toward nature. He draws attention to the Vilnius mentality, inherited from the ancestors raised in the tradition of Vilnius, which was the capital of the Grand Duchy of Lithuania. In the volume Objazdowe kino… Mieczkowski creates his Home-world, he talks about the progressive devastation of the family home and the mythical City, which appears due to his allusions. Vilnius appears here as if emerging from the chronicle of events and it is seen from the perspective of an ordinary inhabitant. Relations with Lithuanian neighbors are good, it is the authorities that treat Poles foully. The editor of the “Znad Wilii” magazine and the curator of Polish culture fights for their “homeland” by deed and word, while the poet perpetuates the myth of the city and mourns the “cemeteries” of the former Polish-Lithuanian Commonwealth.

2

Tuwim: Years After

100%

Węgrzyniak A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 36

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issue 6

7-23

EN

The subject of the article is to present an outline of the reception of Julian Tuwim’s works in the last decade. “The Prince of Poets” of the interwar period, well known in the post-war era, is less and less known today. Post-war generations of poets made no particular references to Tuwim and his poetry, and even though many critical works are being published about him, Tuwim’s works do not engage critics who would be able to reconnect his writing with the contemporary world. Tuwim is disappearing from school literary curricula, contemporary readers remember only his children’s poems and one can doubt whether this situation can be changed by an extensive, multifaceted work by Piotr Matywiecki Twarz Tuwima (Tuwim’s face), the comprehensive and readable biography of the poet. It is an important book which tackles a number of vital questions concerning for instance the tragic alienation of the Polish Jew who lived between two cultures and wanted to be excluded from neither.

3

Ćwiczenie ekologicznej wyobraźni. O poezji Julii Fiedorczuk

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Węgrzyniak A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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issue 33

219-235

EN

The key to reading Julia Fiedorczuk’s poems – interpreted within the paradigm of eco-poetry – are the words used in the titles of her poetry volumes: “bio”, “planet” and “oxygen”, which foretell bio-centrism. The poetic imagery unites organic tissues with the artist’s “texture”. A love relationship of a human with a non-human reveals ecological sensitivity, yet it is a painful “love” because it is accompanied by the disagreement about the fragility of existence and the progressing degradation of the planet.

4

„Smak męskiej przygody”, czyli Przewóz Andrzeja Stasiuka

100%

Węgrzyniak A.

Świat i Słowo

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2021

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vol. 37

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issue 2

23-32

EN

Przewóz (Transit) is a novel dominated by the Bug river – we flow down its stream as the story flows onward. The narrative interweaves many strands, the motif of the ferryman – the boatman named Lubko, and his customers from 1941 is complemented by the memories of the narrator, who is an autobiographic creation here. The novel’s wartime events (June of 1941) are located by the author in his native Polesie, where he spent his childhood holidays at his grandparents’ house. On the one side are Russians, on the other – Germans, who are running away, crossing the Bug by a pontoon bridge, while the swamp by the river swarms with Home Army soldiers, refugees, Jewish siblings... Chaos, darkness, tense waiting for an invitation to the boat. Any moment now the Bug will become the Styx, and Lubko will be transformed into Charon.

PL

Przewóz to powieść „nadbużańska” – płyniemy z nurtem rzeki i nurtem opowieści. Narracja tka się wielowątkowo, do wątku przewoźnika – łódkarza imieniem Lubko i jego klientów z roku 1941 dochodzą wspomnienia narratora, który jest tutaj kreacją autobiograficzną. Powieściowe zdarzenia wojenne (czerwiec 1941) autor umieścił na rodzinnym Polesiu, gdzie jako dziecko spędzał wakacje u dziadków. Po jednej stronie Rosjanie, po drugiej Niemcy, którzy mostem pontonowym przekraczają Bug, a w bagnach nad rzeką AK-owcy, uciekinierzy, żydowskie rodzeństwo… Chaos, ciemności, napięte oczekiwanie na zaproszenie do łódki. Za chwilę Bug stanie się Styksem, a Lubko Charonem.

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Śląskie Studia Polonistyczne

1 Świat i Słowo

4 Węgrzyniak A.

1 2021

1 2018

1 2017

1 2016

Wilno w twórczości Romualda Mieczkowskiego

Tuwim: Years After

Ćwiczenie ekologicznej wyobraźni. O poezji Julii Fiedorczuk

„Smak męskiej przygody”, czyli Przewóz Andrzeja Stasiuka