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Grzegorzewska |19th century Polish diaries |personal archives |literary legacy |genetic criticism

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The aim of the article was to describe the collection of manuscripts preserved in the family archives as a memorial to Sabina Grzegorzewska née Gostkowska, a 19th‑century writer, which are currently in the possession of The Scientific Library of the PAAS and the PAS in Cracow. That analysed archival legacy consists of various documents, which include a few letters, several rough drafts with notes and quotations on Grzegorzewska’s philosophical and religious lectures, excerpts from her dissertations, and drafts and fair copies of novels and memoirs. The article presented their content and material condition. The prospects for further processing of that legacy were also discussed. An important issue is the question on the importance of the task for the history of Polish literature of the 19th century, especially with regard to the creator of minorum gentium. According to the author of the article, it would be reasonable to link the methods of the analysis of avant-textes, adopted in genetic research, with the proposals of the so-called cultural genetics.

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manuscript |Asnyk |poem |rhyme |notes

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The material basis for the article was Adam Asnyk’s notebook, which is presently owned by The Jagiellonian Library in Kraków (Manuscript Archive, 7185I, no. 16261). The notebook contains 56 pages handwritten by Asnyk on both sides of a sheet. Asnyk wrote down the words which rhymed. He made use of the notebook when he needed set rhymes as a tool while composing poems. The list of these words demonstrates a high frequency of words borrowed from Latin, Greek, and French. They apply to abstract nouns, antiquity, literary classics, as well as proper nouns related to world geography and history. All indicates the intellectual and intelligentsia model of his poetry. The sets of words often included associations which emphasised Asnyk’s irony towards Romanticism. The rhymes were not accidental sets of words phonetically similar but instead they indicated grammatical and semantic fields. The analysis of Asnyk’s notebook enabled the following conclusions: 1) in spite of some scholars’ opinions, in his rhymes Asnyk used noninflectional grammatical forms (infinitives, adverbs); and 2) partial rhyme in Polish poetry had appeared earlier than it was commonly assumed (the end of the 19th century).

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novel |Sienkiewicz |rough draft |textual varieties

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The archived rough draft of Legiony, the last novel by Henryk Sienkiewicz, contains 139 separate pages, including drafts of textual varieties, subsequent variants, and the printed version. The diverse material and the remaining writer’s notes enabled the researcher to present the author’s writing methods and his dilemmas. The rich collection of letters was the source of additional facts on his writing process. Similarly to other creative situations, Henryk Sienkiewicz worked in his characteristic way on the concept of the crucial fragments as well as on the mode of narration.

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vital records |archives

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A literary historian finds birth, death, and marriage certificates incredibly useful as primary research sources. Detached as it is, this knowledge serves as a solid basis both for individual biographies and contexts meant to reconstruct a particular historical thread. Personalised documentation is subjective by nature, while the discussed documents tend to contain accurate and unbiased data. The cases discussed herein prove the need to consult both standard documents for personal data and dates of birth/death, as well as the information on occupation, place of birth/residence/death, kinship and affinity, even milieu. Thanks to the discovery of the birth certificate of Maria and Wawrzyniec Puttkamer’s daughter, the Philomaths’ letters of 1823 could be seen in a different light, as could the alleged affair between Maria Puttkamer and Adam Mickiewicz. To explicate and substantiate the personal data included in Maria Konopnicka’s letters and notes, a genealogical reconstruction of her family is in order. Bolesław Leśmian’s vital records revealed hitherto unknown details of his biography (and of people associated with him). A scrutiny of Maria Piotrowicz’s biography, based almost exclusively on certificates, disclosed the legendary story of her life. The above are mere examples of all the cases that can prompt researchers to explore archives in search of fundamental documentation, which can prevent paralogisms and help break the chain of errors with a view to further data mining.

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tekst |interpunkcja |szkic |rękopis |Puszkin |analiza funkcjonalna |geneza

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В статье сделана попытка дать функциональное описание пяти наиболее значимых индивидуально-авторских знаков препинания, используемых в рукописях стихотворений Пушкина. Представлена типология базовых и частных функций пунктуации. Предложенное описание позволяет говорить об очевидных признаках системности неканонической пунктуации Пушкина, в частности о закономерностях дистрибуции знаков препинания. Изменчивая картина пунктуации текста позволяет составить более полное представление о рукописи как экспоненте творческого процесса и обеспечить более объемное понимание ритмико-синтаксической композиции и семантики текста как в его становлении, так и в условной окончательной версии.

Artykuł podejmuje próbę opisu funkcjonalnego pięciu najbardziej indywidualnych znaków interpunkcji, które wykorzystuje Puszkin w swoich rękopisach. Przedstawia klasyfikację podstawowych oraz okazjonalnych typów interpunkcji. Analiza pozwala zobaczyć charakterystyczne cechy systematycznie nietypowej interpunkcji Puszkina, m.in. prawidłowość dystrybucji znaków interpunkcyjnych. Zróżnicowany obraz interpunkcji autorskiej poety daje pełniejszy obraz jego rękopisów jako zwierciadła procesu twórczego oraz zapewnia pełniejsze zrozumienie kompozycji rytmiczno-syntaktycznej i semantycznej jego tekstów zarówno w procesie powstawania, jak i w wersji końcowej.

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Religion |poetry |Edward Stachura |Wincenty Różański |Grzegorz Ratajczyk |mother |flâneur |Mosina |Poznań

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The article is an attempt at discussing the most important features of Wincenty Różański’s poetry written in the final years of his creative period. This poetry is strongly subjective, manifesting the poet’s Catholicism, and entrusting himself to the Blessed Virgin Mary, but it also tackled the subject of everyday life, routine behaviors and activities. In addition, the poet’s poems are characteristic in terms of their dialogical and stylistic relations compared to other cultural contexts, especially in the case of Grzegorz Ratajczyk’s paintings, as well as the prose and poems by Edward Stachura.

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genetic criticism |Poznań |Włodzimierz Odojewski |editorship |textual studies |avant-texte |writing archive

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The article consists of two parts. The first includes a presentation of the records collected in the Archive of Włodzimierz Odojewski in Poznań and a reflection on the writer’s creative method. The second part presents an outline of research prospects in the field of genetic criticism, which opens materials gathered in that archive. The authors discussed how to study typescripts and manuscripts of the writer and how editors should prepare them, bearing in mind Odojewski’s specific work method.

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Władysław Terlecki archives |writing method

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The article is devoted to the Władysław Terlecki archives stored in Ossolineum. It presents a cross-section of their content as well as the meaning of the drafts of printed texts and unpublished works of the author within the meaning of his creative imagination. The author taps into the metaphor of writing as building a honeycomb, which she found in his drafts and with it, she explains Terlecki’s creative method on selected examples from the archives. In the case of his works, recreation of the  technical side of writing is extremely important as it casts a light onto poetics of the published material. The analyses of individual typescripts as well as published texts also show Terlecki’s self-awareness connected with creative processes.

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Leopold Tyrmand |textual criticism |Hoover Institution |manuscripts

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The Hoover Institution at Stanford University holds the largest collection of manuscripts by Leopold Tyrmand in the world. An analysis of the materials stored at the Hoover Institution provides grounds for dissipating some doubts about the authenticity of his Diary 1954. Today, we are certain that Tyrmand’s work is an original diary that had been written in Poland. However, before it was published, it underwent various modifications (in terms of style, composition, and material). A very important issue is the kind of censorship made by the publishing house. The reading of Tyrmand’s letters proves that not all of the modifications were in accordance with his will, and that not all of them were initiated by him. Moreover, readers of the article will learn some facts about Tyrmand’s creative process and different variants of his works.

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Leopold Buczkowski |Journal |new edition |Second World War

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The paper discussed Dziennik wojenny [War Journal] by Leopold Buczkowski. It posed a question concerning the origins of the text and the subsequent stages of its development. That is a challenging task since the original version of the work is not available. Additionally, the lack of the first version makes it difficult to examine the so-called material sphere of the journal. It can be reconstructed only based on the surviving manuscript version. The author of the paper also discussed Dziennik wojenny against the background of other early works by Buczkowski (Wertepy and Czarny potok, a collection of a few dozen poems), from the perspective of editorial and philological problems. He also demonstrated the need for a new edition of Dziennik wojenny, and indicated the errors committed in the existing edition.

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poetry |Tadeusz Różewicz |manuscripts |literary archive |Odrodzenie weekly

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Tadeusz Różewicz was a poet for whom works of literature, poetry in particular, were never finite entities. He often changed his poems in consecutive editions. This article discusses the poem Ranny, several versions of which have survived, and which was included in Różewicz’s first poetic collection entitled Niepokój (1947). The discussion applies to the initial four versions of the poem: its evolution starting with the manuscript kept in the archive of the writer’s brother (Stanisław Różewicz), through two typescripts kept in the Archive of the “Odrodzenie” journal, to the first printed edition from that journal. The changes introduced by the poet, who in his actions seems true to the principles of the avant-garde, striving to fulfil the principle proposed by Julian Przyboś, whom he considered a master: the least words, the most content.

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poetry |creative history of text |draft |layers |Vladimir Aristov

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В статье исследуется творческий метод поэта В. Аристова на примере двух стихотворений, с привлечением авторских комментариев и уникальных рукописных материалов. Прослеживаются все этапы создания этих текстов. Рассматривается особый тип творческого мышления Аристова – дискретный, или «слоистый», при котором каждый этап работы над произведением фактически представляет собой отдельный и относительно автономный слой, а процесс творчества присутствует в сознании автора как переход из одного слоя в другой. Показано, что каждое произведение не только создается послойно, но и его окончательный вариант имеет слоистую структуру, эксплицитно отражаемую разбивкой текста на части-уровни с помощью пунктирной горизонтальной черты. Наконец, мотивы слоев присутствуют и в семантике стихотворений Аристова (слои личной памяти, слои истории, геологические слои и др.).

W artykule tym autorzy prześledzili metodę twórczą Wladimira Aristova, opierając się na dwóch utworach z komentarzem autora i unikalnych rękopisach. Przebadane i przeanalizowane zostały wszystkie etapy tworzenia tekstu. Niezwykłe twórcze myślenie Arystowa można określić jako dyskretne lub wielowarstwowe. W rzeczywistości każdy etap jego pracy nad wierszem tworzy osobną i autonomiczną warstwę, a sam proces twórczy jest przedstawiony w umyśle autora jako przejście z jednego poziomu na drugi. Pokazano nie tylko to, że praca nad tekstem dokonuje się w jego poszczególnych warstwach, ale również to, że ostateczna wersja utworu ma strukturę wielopoziomową, co wyraźnie widać dzięki podziałowi tekstu za pomocą poziomej linii przerywanej. Struktura wielowarstwowa ujawnia się również poprzez semantykę tekstów Aristova (warstwy pamięci osobistej, warstwy historii, warstwy geologiczne itp.).

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Polish literature |Place of Isolation at Bereza Kartuska |concentration camps |theme and motif |politics of memory

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The article concerns the presence of the theme and motif of the Place of Isolation at Bereza Kartuska in broadly understood Polish literature. It presents the most important facts pertaining to this institution and the controversy related to its name (considered a euphemism) and the similarity of the “place of isolation” to other places of repression, such as the Russian Katorga, the communist Solovetsky Special Purpose Camp, or the Nazi Dachau concentration camp. The disputes that took place around the Place of Isolation during its functioning (1934–1939) are discussed, in which the writers also participated. Information on writers imprisoned at Bereza (Stanisław Mackiewicz, Leon Pasternak, Andrzej Wolica et al.) and poetry (also non-Polish) created there are also included. The subject of consideration are also literary works created outside the Place of Isolation during its functioning.

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Polish literature |concentration camps |theme and motif |politics of memory |Confinement Centre in Bereza Kartuska

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The article concerns the inclusion in the broadly understood Polish literature of the theme and motif of the Confinement Centre in Bereza Kartuska (1934–1939). I discussed in it the formation of the image of the concentration camp since it ceased its operation (in 1939), mainly defined by ideology and politics, including the politics of memory. I particularly focussed on works of literature regarding the Confinement Centre created after the Centre ceased its operations. Those include both recollections, mainly by communists (e.g. by Michał Mirski and Jan Wójcik), and works of fiction, including the short story Jestem by Leon Pasternak, the play Bereziacy by Karol Obidniak and Roman Sykała, and novels: Wzbierająca fala by Czesław K. Domagała, Król by Szczepan Twardoch, and Szakale by Robert Żółtek.

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classified bulletins of the censorship office |censorship in post-war Poland |censorship of literature |censor |cryptotexts

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The aim of the article is to discuss selected research perspectives offered by the bulletins of the censorship office created in Poland from 1945 to 1956. Due to the chiefly confidential nature of the analysed documents I defined them as classified papers, ordered by the state, directed mainly to censors. These documents were internally circulated in the Main and Voivodship Offices of Control of Press, Publications and Shows. Due to their aim bulletins played an informational, tutorial or training role, and functioned as a type of a guide for censorship practices. Due to the distribution they are cryptotexts (i.e. classified texts of intentionally limited distribution). In the article I discussed the state of knowledge on the bulletins and I also considered the context-based identity conditions of the periodical. I indicated the pitfalls which accompany any attempt at recreating the profile of the implied censor and I discussed the language of the bulletins. I also indicated the content of the paper. Bulletins presented mainly the materials on censorship and on the organisations of work in the Office of Control. The research material consists of both articles from the editorial office and from the voivodship’s offices (i.e. censorship reviews, reports, letters from the censor units or from the particular censors) and even literary attempts of the censors themselves.

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wolność słowa |wolność myśli |wolność działania |pomniki XX wieku |pomniki XXI wieku |Memoriał Wolnego Słowa

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Artykuł przedstawia strategie reprezentowania idei w przestrzeni publicznej w przeciągu drugiej połowy XX wieku z naciskiem nie na klasyczne pomniki-obiekty lecz na strategie takiej modyfikacji parametrów „pustej” przestrzeni, aby jej ukształtowanie stało się nośnikiem zamierzonych treści. Gdy tą treścią jest sprawa wolności słowa, a zadaniem – upamiętnienie ludzi zasłużonych dla tej sprawy ‒ stawia to przed projektantami specyficzne, a chwilami rozbieżne wymagania. Jeden ze sposobów, w jaki starano się sprostać tym wymaganiom, ilustruje koncepcja konkursowa Memoriału Wolnego Słowa w Warszawie (2013) autorstwa Katarzyny Wojtygi, Olafa Ciruta, Piotra Winskowskiego i Jacka Godlewskiego.

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Polish Dante’s studies |Józef Ignacy Kraszewski |Dante Alighieri |Studies on The Divine Comedy

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The article analyses the Józef Ignacy Kraszewski’s contribution to the development of Dante studies in Poland. It was thanks to his lectures on Dante, held in Krakow and Lviv in 1867, and later published under the title Studies on The Divine Comedy, 1869. The article presents other opinions of Dante scholars of the time and more or less critical reviews of the results of Kraszewski’s research.

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20th-Century Italian Poetry |Imaginary translations |translation studies

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The article analyses Franco Fortini’s two poems written in 1944 during his exile in Switzerland: Warsaw 1939 and Warsaw 1944 (the latter’s former title was Warsaw 1943). The poet defined them Imaginary Translations, because he conceived them as translated from an inexistent original, written in occupied Poland. In this way, the Italian poet experimented for the first time with imaginary translations. Following Macpherson and Leopardi’s tradition of “Literary Hoaxes”, he sought new forms and “new words” for Poetry on WW II. The article compares the Fortini’s“Polish” poems with later comments on Imaginary translations (they are akin to “Imitation or Parody”, are created “taking delight in prank and experiment” and derive from a certain dominant conception of a foreign literature), paying particular attention to their strong intertextuality and their allusions to the practice of translating poetry in Italy.

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light |Czesław Miłosz |poetry |symbolism of color |white |lux |lumen

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The use of the colour white, as with other colours evoked by Czesław Miłosz, is not the result of conscious elaboration (technical, philosophical or mystical). Instead, it seems that the colours belong to another level of thought; they are not chosen, they choose us. However, and this is the object of my demonstration, white and its various nuances structure Miłosz’s work. This work, which has been called the “wonderful mess” due to the many antithetical and apparently disparate themes with which it overflows, has already been explored using several critical approaches and following various common threads. Here, my chosen common thread is the colour white.

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topos |topos of the gardener |garden |utopia |God |Satan |paradise |Adam and Eve

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The article is a detailed consideration of a poem by Czesław Miłosz entitled Ogrodnik [Gardener]. The main object of the hermeneutic and structural analysis of this poem is the “topos of the gardener”. The analysis is meant to characterize the topos of the gardener and point to the role of a modern poet and modern Polish literature.

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Discourse of heresy |Polish post-WWII literature |heretic image of Christ |Gustaw Herling-Grudziński |Zbigniew Herbert

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The present text explores the theme of heresies and their persecution in the works of a group of writers, survivors of World War II and of the two dictatorships of the century – Gustaw Herling-Grudziński, Zbigniew Herbert, Czesław Miłosz, Andrzej Szczypiorski, Jerzy Andrzejewski. An artistic-documentary reconstruction of medieval processes and executions of heretics, as well as striving for protection and rehabilitation are observed in a series of their works. Deep allusions to the dictatorships of the 20th century are made. Particular attention is being paid to Herbert’s essays, connected with heresies and to a heretic image of Christ in the short story Drugie przyjście by Herling-Grudzinski.

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literatura polska |Polacy na Litwie |Kresy Wschodnie |Litwa

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Artykuł jest opisem kondycji kultury polskiej na Litwie i środowiska ją tworzącego. Zostały zdiagnozowane przyczyny słabości tej kultury, takie jak m.in. pogarszająca się sytuacja demograficzna litewskich Polaków czy zła sytuacja gospodarcza regionu, który w przeważającej większości zamieszkują. Zły stan wynika też z braku inteligencji polskiej na Litwie po II wojnie światowej oraz powolność procesu jej odradzania się. Przyczyn słabości upatruje się ponadto w etnocentryzmie tej kultury, skoncentrowaniu się na sobie i braku zainteresowania innymi grupami etnicznymi. Mimo wszystko w ostatnich latach na Wileńszczyźnie podejmowane są próby wyrwania się z ograniczeń, związanych z kulturą kresową. Została założona grupa poetycka „Nowa Awangarda Wileńska”, ukazała się powieść Cień słońca czy zbiór opowiadań Thriller po wileńsku. Jest to inne niż dotychczas zaprezentowanie polskości na Litwie.

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theatre |body |death |memory

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European theatre engages with the problems of our time with ever greater commitment and responsibility, crucial both on the existential and the social level. At the same time it is researching and experimenting with a language suited for the communicative and aesthetic horizon of our age. This essay, intended to inaugurate in this journal a series of critical studies of the theatre, analyses two works, highly successful internationally, emblematic both by their theme (the body, death, memory) on which they invite the spectators to reflect and the experimental technique through which they involve audiences. The performances analysed are “La Merda” by the Italian Cristian Ceresoli, interpreted by Silvia Gallarani and “Nachlass” by the Swiss-German Stephen Kaegi for the Berlin group Rimini Protokoll.