scholarly journals Польська та українська польськомовна проза XVII століття

2020 ◽  
Vol 48 (3) ◽  
pp. 339-345
Author(s):  
Lech Suchomłynow
Keyword(s):  
17Th Century ◽  
Polish Literature ◽  
Literary Process ◽  
Polish Language ◽  
Baroque Era

This article is a review of Svitlana Sukhareva’s monograph Polish and Ukrainian Polish-language prose of the 17th century (ukr. «Польська та українська польськомовна проза XVII століття»). The author of the review assesses the results of the research contained in the above-mentioned monograph as necessary for the development of Ukrainian-Polish studies, primarily for the study of Polish prose of the Baroque period, because the mentioned dissertation allows for a comprehensive reflection on the literary process of the Polish-Ukrainian borderland, which the author of the monograph understands as Polish-language Ukrainian literature of the 17th century. According to Sukhomlynov, the most important achievement is the isolation of the dominant concepts of historical and regional progress, namely rhetorical, genealogical, intertextual, mythological, historical and axiological. Besides, it is one of the first detailed analyzes of Polish literature of the Baroque era in Ukrainian philology. The monograph introduces the concept of micro- and mega-species in Baroque literature, which the author of the review considers as an innovative contribution to the described research. The author of the review does not see any drawbacks in the dissertation under examination. 

scholarly journals From Japanese Schulz to Polish Parnicki – around the year 1974

2019 ◽  
Vol 26 ◽  
pp. 487-500
Author(s):  
Tokimasa Sekiguchi
Keyword(s):  
French Literature ◽  
World Literature ◽  
Contemporary Literature ◽  
Witold Gombrowicz ◽  
Polish Literature ◽  
The World ◽  
Polish Language ◽  
The 1960S ◽  
Polish Government ◽  
Bruno Schulz

The major works by Bruno Schulz and Witold Gombrowicz were translated into Japanese in the 1960s, mainly by Yukio Kudō. I was enchanted by those Japanese texts to such an extent that I decided to abandon French literature and switch to Polish contemporary literature. In 1974, I came to Poland on a post-graduate fellowship of the Polish government, and I began studies in literature and the Polish language at the Jagiellonian University. During that two-year stay in Krakow, my view of Polish literature changed several times. The phase well established in the Japanese translations I had known ended quickly. Then I began to “hunt” for promising Polish authors not yet present in world literature. I thus discovered the prolific, esoteric and difficult Teodor Parnicki (1908–1988). This essay is my description of my “penetrating” the world of the Polish language at that time.

scholarly journals Romantyczne wędrówki Polaków po Szwajcarii Saskiej

2019 ◽  
Vol 12 ◽  
pp. 149-175
Author(s):  
Ewa Grzęda
Keyword(s):  
19Th Century ◽  
Travel Literature ◽  
Early 19Th Century ◽  
Polish Literature ◽  
History Of ◽  
Polish Language ◽  
The Aesthetic ◽  
Spatial Imagination ◽  
Aesthetic Sensibility ◽  
The 19Th Century

Romantic wanderings of Poles across Saxon SwitzerlandThe history of Polish tourism in the Elbe Sandstone Mountains as well as the literary and artistic reception of the landscape and culture of Saxon Switzerland have never been discussed in detail. The present article is a research reconnaissance. The beginnings and development of tourism in the region came in the late 18th and early 19th century. The 1800s were marked by the emergence of the first German-language descriptions of Saxon Switzerland, which served as guidebooks at the time. From the very beginning Poles, too, participated in the tourist movement in the area. The author of the article seeks to follow the increasing interest in Saxon Switzerland and the appearance of the first descriptions of the region in Polish literature and culture. She provides a detailed analysis of Polish-language accounts of micro-trips to the Elbe Sandstone Mountains by Andrzej Edward Koźmian, Stanisław Deszert, Antoni Edward Odyniec, Klementyna Hoffman née Tańska and a poem by Maciej Bogusz Stęczyński. As the analysis demonstrates, in the first half of the 19th century Poles liked to visit these relatively low mountains in Central Europe and tourism in the region is clearly part of the history of Polish mountain tourism. Thanks to unique aesthetic and natural values of the mountains, full of varied rocky formations, reception of their landscape had an impact of the development of the aesthetic sensibility of Polish Romantics. Direct contact with nature and the landscape of Saxon Switzerland also served an important role in the shaping of spatial imagination of Polish tourists, encouraging them to explore other mountains in Europe and the world, including the Alps. On the other hand thanks to the development of tourist infrastructure in Saxon Switzerland, facilitating trips in the region and making the most attractive spots available to inexperienced tourists, micro-trips to the Elbe Sandstone Mountains marked an important stage in the development of mountain tourism on a popular-recreational level. Polish-language accounts of trips to Saxon Switzerland from the first half of the 20th century are a noteworthy manifestation of the beginnings of Polish travel literature.

scholarly journals Alien—Different—One’s Own. North-east ethnic and lingual cultural frontier of Ukraine (Kharkiv, Donbas)

2020 ◽  
pp. 3-30
Author(s):  
Yurii Barabash
Keyword(s):  
20Th Century ◽  
17Th Century ◽  
North East ◽  
Literary Life ◽  
Cultural Renaissance ◽  
Literary Process ◽  
Essential Function ◽  
Diachronic Analysis ◽  
Historical Periods

In the article, which continues the discourse of ethnocultural frontier, the attention is focused on the facts and problems referring to the Ukrainian-Russian cultural frontier of Eastern Ukraine. Polyethnic character of the society initially, since the mid 17th century, determined the presence of two culture-forming components in the region, namely Ukrainian and Russian ones, the dynamics of their correlation in various historical periods, the motion of transitive forms and ambivalent conditions. (The Jewish element acquired the essential function in the ethnocultural system of the region later, mainly in the 20th century.) In the frames of the so-called Kharkiv school of romantics a unique linguocultural situation, not deprived of paradoxicality, was formed, in which Ukrainian-Russian bilingualism objectively performed as one of the factors shaping the development of the Ukrainian literature. From this perspective, the article conducts the diachronic analysis of the main stages of the literary process in Ukrainian Slobozhanshchyna, mainly in its center, Kharkiv. The researcher focuses on such issues and phenomena as the role and signiƗ cance of Kharkiv University founded in 1805; Kharkiv periodicals and collections in the Russian and Ukrainian languages; the activity of such influential figures as H. Skovoroda, H. Kvitka-Osnovianenko, P.Hulak-Artemovskyi, I. Sreznevskyi, M. Kostomarov, O. Potebnia, etc.; contradictory and dramatic literary life in Kharkiv of the national cultural Renaissance epoch in the 1920s and early 1930s (‘Executed Renaissance’) and during the subsequent periods. The ‘Donbas segment’ of the eastern ethnocultural frontier, with its history being much shorter than the Kharkiv one though also abundant with contradictions, is considered in the synchronic aspect, in comparative contrast of the diferent writers’ fates and creative phenomena, including the background of the modern dramatic situation in the region.

scholarly journals The Topos of Childhood in Modern Poetry (1939–1989)

2020 ◽  
Vol nr specjalny 1(2020) ◽  
pp. 364-394
Author(s):  
Robert Mielhorski ◽  
Keyword(s):  
20Th Century ◽  
New Wave ◽  
Wave Groups ◽  
Polish Literature ◽  
Research Paradigms ◽  
Political Events ◽  
The World ◽  
Literary Process ◽  
Poetic Texts

The paper problematises the literary image of childhood in poetry in relation to external historical and socio-political events. The material analysed covers Polish poetry from 1939 – 1989 (a clearly distinguished segment of the historical-literary process). The choice and ordering of the case studies results from the application of two research paradigms: (i) the paradigm concerned with autobiographical motifs, which refers to such topics of 20th century writings as exile (poetry of return by Łobodowski, Wierzyński etc.) immigration (nostalgic [pansentimentalism] and emotionally neutral motifs), Holocaust (motifs of fear, division between now and then, the role of imagination) and (ii) a generation-related paradigm, which allows us to follow the topos of childhood viewed from the perspective of history according to the order of generations entering Polish literature (from the 1920 Generation to the New Wave Groups) up to the succession of consecutive literary trends in the second half of the 20th century (e.g. soc-realism and soc-plans). Poetic texts concerning childhood in the light of history are viewed as records of “rites of passage” operating from the child’s phase of the pre-personalisation area – the child’s sense of being one with the world, experiencing the harmony of being – to the period of personalisation – when history leaves its mark on this period; characterised by the sense of one’s distinctiveness from reality, individual alienation, the need for rationalisation of one’s own existence and the existence of the surrounding reality. The role of history is to lead the child from the pre-personalistic period to the experience of personalisation.

scholarly journals Od „śmierdzącego dudka” po banialuki. Obraz ptaków w literaturze renesansu i baroku – rekonesans

2020 ◽  
Vol 20 ◽  
pp. 76-96
Author(s):  
Dariusz Chemperek
Keyword(s):  
Fairy Tales ◽  
17Th Century ◽  
Individual Sensitivity ◽  
Polish Literature ◽  
The Third ◽  
New Meanings ◽  
The Fantastic ◽  
Agricultural Literature ◽  
The Individual ◽  
Second Category

Birds function in Polish literature of Renaissance and Baroque in three paradigms. Mostly they appear as creatures gifted with a symbolic (allegoric) meaning, seen through the prism of the tradition reaching to Aristotle’s Zoology, Physiologist, and later symbological compendia. The second category is describing birds as food or pests (especially in hunting and agricultural literature). Apart from this ‘practical’ paradigm, there is also a third one: birds as a source of an aesthetic thrill, fascination with them includes both lyricism and a ludic element. The first two categories fit into a more general utilitarian paradigm. Handbooks, treaties, sermons, fairy tales, paroemias and animal epigrams showcase birds almost exclusivelyas tools of moral, religious and conventional reflection, or as objects to be obtained and consumed. Interestingly, the symbological activity of the creators does not cease in the Renaissance and Baroque periods, the representatives of avifauna are burdened with new meanings, while the fantastic creatures slowly disappear from the creators’ fields of view. In the third group of works distinguished here, one can notice the phenomenon of the emancipation of birds as objects of interest just as they are, although their voice is heard mostly in the digressions scattered throughout the big epic works. The autonomy of birds in the literature of Renaissance and Baroque is not linear, the way of perceiving them is determined by the individual sensitivity of the authors, the most prominent of whom are Hieronim Morsztyn (early 17th century) and an anonymous translator of the Italian Adon (2nd half of the 17th century).

scholarly journals The (Non)Presence of Julian Tuwim in Lithuania

2017 ◽  
Vol 36 (6) ◽  
pp. 153-160
Author(s):  
Teresa Dalecka
Keyword(s):  
National Literature ◽  
Soviet Period ◽  
Complex Phenomenon ◽  
Public Figure ◽  
Polish Literature ◽  
Avant Garde ◽  
Polish Version ◽  
Article Analysis ◽  
Long Time ◽  
Polish Language

The reception of Polish literature in Lithuania is a complex phenomenon. For a long time there was a dominant trend of expanding the area of Lithuanian literature by incorporating into it some of the Polish-language authors who maintained contacts with Lithuania. As a result, the horizons of national literature naturally broadened. However, the reception of Julian Tuwim’s writing belongs to a different category. It needs to be remembered that in the Soviet period Polish literature offered Lithuanian intellectuals a passage to the outside world. It was in the work of western poets, Tuwim’s work included, that Lithuanian authors sought ways of expanding their avant-garde forms and dictions. Tuwim’s poetry has been largely read in its original, Polish version; therefore, there are few books collecting his poems. However, the influence of Tuwim’s work is recognized by some experts in translations of his work. However, Tuwim was made publicly known in Lithuania thanks an argument over the naming one of the street in Vilnius after his name. The article analysis public reactions to this argument and shows how this non-literaryevent made Tuwim a public figure in the country.

scholarly journals Женский голос в современной польской поэзии

2021 ◽  
Author(s):  
О. В. Гусева ◽  
Keyword(s):  
Women's Writing ◽  
Rapid Development ◽  
17Th Century ◽  
Women's Poetry ◽  
Polish Literature ◽  
Important Phenomenon ◽  
History Of ◽  
The Creation ◽  
Characteristic Features ◽  
Women’S Writing

Women have been involved in the creation of Polish literature since the 17th century. A new page in the history of Polish literature, which came after 1989, is associated with the rapid development of feminism. An important phenomenon of poetry at the beginning of the XXI century was the abundance of female names: at this time, the authors of the older generation, such as V. Szymborska, E. Lipska, K. Miłobędzka, J. Hartwig, continue to create, but new names also appear: J. Mueller, M. Cyranowicz, J. Bargielska, M. Podgórnik, M. Lebda, J. Fiedorchuk, M. B. Kielar. Contemporary Polish women’s poetry is very soulful, sensual and deep, it is filled with empathy, and at the same time it is subjective. Corporeality and frankness become one of the characteristic features of women’s writing: women’s poetry tells more openly and directly about the most intimate experiences.

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