We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Cu un an înainte de apariția volumului Sanatoriul timpului (1937), Bruno Schulz a publicat eseul Mitizarea realității (1936)1, care avea să devină bază a majorității exegezelor critice. De altfel, J. JarzQbski, excelent cunoscător al prozei avangardiste, în prefața la volumul Citindu-l pe Schulz (Czytanie Schulza)12, în care stabilește trei etape de receptare a operei scriitorului polonez, afirmă, printre altele, că „locul central în analiza acestei opere l-a ocupat mitologia - cheie universală pentru sensul lumii”, cercetătorii din generația mai nouă pornind tocmai de la eseul sus-menționat, considerat „cel mai important text programatic al scriitorului”. într-adevăr, se poate spune că aproape toți exegeții de seamă n-au putut trece indiferenți pe lângă acest aspect esențial și original al operei schulziene, oferind interpretări și comentarii menite nu numai să adâncească înțelegerea și deslușirea textului, ci și să extindă semnificativ sfera conotativă a conceptului de mit în sine.
More...
Fiecare cititor are exemplele sale favorite. Acest fapt nu ține doar de obișnuințele sale de lectură, de tabieturi, de universul privat și plezirist al înțelegerii literaturii. Hermeneutica filosofică și literară, concepte precum acela al „orizontului de așteptare” ne-au convins că există lecturi fondatoare, că interpretările noastre trăiesc în orizontul unor texte întemeietoare. Un uz ale cărui temeiuri și îndreptățire nu le mai interogăm astăzi ne-a obișnuit să numim aceste texte capodopere.
More...
începeam un curs mai vechi despre Gombrowicz cu observația că nu-i rău să-l gândim pe Gombrowicz alături de Eugen Ionescu. Poartă aceeași marcă, același tip de discurs, același însemn al Mitteleuropei periferiilor. Munteanul Eugen Ionescu și sarmatul Gombrowicz trăiesc aceeași depărtare de un Centru coagulant. Și abundența de regi, regine, curți regale pot să ne oblige să-i gândim alături.
More...
Am în față cele două versiuni românești (1988 și 1998) ale jurnalului lui Gombrowicz, ambele apărute la Editura Univers, în traducerea Olgăi Zaicik. în prima, constat perversitatea cenzurii. Din loc în loc sunt croșete, deci omisiuni mărturisite. Când confrunți cu cealaltă versiune, afli că omisiunile sunt mult mai multe. în loc să recunoască, croșetele ascund.
More...
Słowacki’s drawings from his journey to the East (24 August 1836 – 16 June 1837) are in two notebooks (one of them is kept in the Library of the National Ossoliński Institute in Wrocław, the second in the Russian State Library in Moscow). They are a source of information about travel (they present places not found in Słowacki’s notes and letters), but they can also be treated as an autobiographical document and as portals of the poet’s individual memory – memory of a man and a creator. They reflect the visual sensitivity of the author and the energy of his body: traces of a pencil, pen or brush correspond to the gestures of his arm and hand. In some drawings, Słowacki marked the place from which he saw the view, filling this part of the composition with disorderly, careless lines or undefined shapes. They contrast with the calm and objective registration of the object of his observation. The drawings show landscapes and monuments along the way, but also contain hidden self-portraits of the poet. They can be related to the disintegrating and reassembled identity of the sylleptic subject in his literary works written during the eastern journey. It is possible that they also played an inspiring role (as portals of memory) for Greek and Egyptian themes and motifs in Słowacki’s late works.
More...
The article attempts to analyze the mnemotopoi of Ukraine in the work of Juliusz Słowacki, with particular emphasis on the axiological context. It was noted that the concept of mnemotopoi combines the interests of humanistic geography and studies of memory. It was emphasized that Słowacki, in his early works, remembers the image of Ukraine as an exotic geographical and ethnographic space through steppe metaphors, graves, icons, and the topoi of a young Cossak-man marked ambivalently. In his later texts, among others "Sen srebrny Salomei" (“The Silver Dream of Salomea”), the mnemotopoi of Ukraine are characterized by infernality, but also by the awareness of its separateness and an important role in raising the spirit of Polishness.
More...
The article deals with the drama of the last period of the artistic creativity by Juliusz Slowacki – "Sen srebrny Salomei" (“The Silver Dream of Salomea”), which focuses on the Polish-Ukrainian conflict of the Confederation of Bar and Haydamak rebellion’s times. The focus is on the discrepancy by different researchers of the dramatic symbolic scenes and images in the context of antagonism of Wernyhorа, the prophet of the Polish-Ukrainian union, Semenko, the leader of the peasants’ uprising, and Sawа in his triple hypostasеs of “Lіakh, Kozak and the Devil”. Both the peasant community and the noble Confederates express their own “truth” in the struggle for freedom and faith. For Juliusz Słowacki, Ukraine with its freedom-loving history is inscribed in the historiosophic truth-identifying mystical plan of Poland’s transformation on the path of perfected freedom, when true “will of the spirit” therefore is born in agony, in pain.
More...
Autobiographic narratives by their nature are a sort of creation, in which a particular role is played by memory of events, places, people. The identity one builds in the course of self-narrativisation ultimately becomes a kind of construct, a literary creation, half real, half fictional, functioning in the eyes of posterity like a literary hero, sometimes even detached from biographical facts. The aim of the present sketch is to explore the character and form of the narrative very deliberately created by Słowacki, as well as the special role played in it by memory and imagination. The tale he tells about himself, composed of a variety of genres – from diary and letter, to small poetic forms – constitutes an image of the poet as a literary figure. In the present text, these forms have been limited to just a few, written in the poet’s early life, and formally related to autobiographic genres – namely "Pamiętnik" (“Diary”), "Życiorys ojca i własny" (“My Father’s Life and My Own”), as well as letters written by the poet to his mother.
More...
The article is devoted to one of the most interesting threads related to Juliusz Słowacki’s correspondence addressed to his mother – memory, but also its variation, which is forgetfulness. The poet consciously uses the power of seemingly opposing expressions, constructing a landscape of internal tensions, experiencing changes over time and gaining life experience. In his imagination, the poet links memory and oblivion with transience, displaying discretely, but no less clearly, the inscribed death. For Słowacki, memory is a kind of code, a meta-text, which in his letters to his mother allows the reader to recognize the next layers of meaning of these masterpieces.
More...
The subject of the article is the poem "Godzina myśli" (“An Hour of Thought”) by Juliusz Słowacki. Two distinguishing features of the work are subjected to clarification: autobiographism and metempsychosis. The autobiographical threads of Słowacki’s adolescence are cited, with particular emphasis on his friendship with Ludwik Spitznagel, and unfulfilled love to Ludwika Śniadecka. Memuaristic tendencies are confirmed by fragments of letters to Słowacki’s mother referred to in the article. The poem reveals not only the fate of the poet, but also his reflections, views in which metempsychosis is an important factor. The key factor integrating autobiographism and the aforementioned faith in the journey of souls in the Geneva poem turns out to be memory, in its dual role (the material from which the poet formed the “poem of the heart” and a component of the metempsychosis concept).
More...
The central place in Slowacki’s life was taken by his mother, Salomea Januszewska. His biological father, Eusebius Słowacki died when his son barely turned 5 and was poorly remembered by his son. The mother got married to doctor August Bécu, who died from lightning, when Słowacki was 14 years old. Słowacki’s scholars treat this man, who appears in Mickiewicz’s "Dziady" (“Forefathers’ Eve”) part III, as a traitor during the Vilnius youth process, as if he was not present in poet’s life. The study shows how great mistake it is. August Bécu did play a great role in Słowacki’s life, he left a great mark on his work, more important than his mother. This paper is an attempt to show the psychological processes pushing the memory of the damned stepfather to oblivion, which is a kind of specific memory revealed in the poet’s literary works. The concept of repression (Verdrängung) allows revealing the power of this creative inspiration in poetic creations of father in such works as "Wacław", "Lilla Weneda", "Beatryks Cenci" (“Beatrix Cenci”), "Ojciec zadżumionych" (“The Father of the Plague-stricken”), "Poema Piasta Dantyszka" (“Poem of Piast Dantiscus”) or "Samuel Zborowski"; it also expounds Jacques Lacan’s theory about defining father’s role over the centuries and the meaning of his death. The killing of father by son (children) is the center of Lacan’s interest (also Simone de Beauvoir) and is regarded both as a nondescript element of the human psyche and one of the biggest hidden fears. Słowacki felt guilty for the death of his stepfather, the father – son and children – father relations shown in his works are inevitably branded by this death.
More...
The presented sketch of "Priests in the memory of Juliusz Słowacki" has a historical and literary character. It concerns the poet’s contacts with priests, mainly with rank-and-file servants of the Lord’s vineyard. Apart from the factual layer, the work indirectly tries to answer the question, what resulted from the recorded meetings, to what extent they left a trace in the spiritual life of the poet. From the early period of the poet’s life, an important, remembered figure was priest Bazyli Sobkiewicz, chaplain of the Volyn Junior High School in Krzemieniec. This figure is enveloped in an aura of warm, family memories colored with fervent child religiosity. During the journey to the East, an important figure that Słowacki met was a Jesuit father, a missionary Maksymilian Stanisław Ryłło. In addition to practical help provided to his compatriot, he greatly helped him in experiencing spiritual encounters at cult sites in the Holy Land. The sketch is completed with a paragraph on the character of priest Tomasz Praniewicz, chaplain of the Lambert Hotel, le poète de grotesque. It was his pastoral ministry Słowacki asked for before his death, perhaps feeling quiet sympathy for this servant of God.
More...
Marta Białobrzeska in the article Memory of Maria and Antoni Malczewski in the poetic reflection of Juliusz Słowacki writes about the Maria and Antoni Malczewski references in the works of Juliusz Słowacki. Letter from Juliusz Słowacki to Salomea Bécu (15 VII 1833) suggest that the process of mythologisation of the life of Antoni Malczewski was developing along with the career of his poetic tale. In the we can note the indispensable elements of the mythical biography of Antoni Malczewski: romantic journeys, inspiration with the works of Lord Byron, convergence of the facts from his biography with events from the life of the author of "The Corsair", unhappy love, loneliness, underestimation by the contemporaries, and death in poverty and oblivion. In "Beniowski" the author of Maria is presented as the eulogist of Ukraine – the man of the south-eastern borderlands of the Republic of Poland. It was claimed that his work had arisen out of the very soul of the Ukrainian land, where the achievements of the ancestors were still echoing. We witness equating the existential experience of Malczewski with the vision of the world contained in "Maria". In "Beniowski" Malczewski was perceived also as the second bard – the greatest poet of his epoch next to Adam Mickiewicz. "Maria" was seen as the creation of the great national literature. Glorification of Antoni Malczewski in poetry is related to the exceptional popularity of Orpheus myths in Polish culture, both of the first and the second half of the 19th century.
More...
The article is about the issue not yet examined: how Zygmunt Krasiński’s texts were an inspiration for Juliusz Słowacki. The example of such intertextual relations is the connection between the lyrical fragment in the incipit ["Mnie smutek zabił, mnie gorzkie koleje…"] (["Sadness killed me, the bitter course killed me…"]) which is a part of two poems: "Fantazja konania" (“The Fantasy of Dying”) published after the poet’s death and the edited "Dzień dzisiejszy" (“Today”) with the fragment of "Król-Duch" (“The Spirit King”) where the three motives connected with each other are present: one about the temporary sleep of the character, one about the sleeping kingdom and one about the sleeping knights.
More...
This article asks a question about ways and cognitive effects of exploiting poet’s memory (written down, first of all, in the letters but also in the memorials) as a component of the historical documentation, which was the scientific base for Ferdynand Hoesick’s monograph "Życie Juliusza Słowackiego na tle współczesnej epoki (1809‒1849). Biografia psychologiczna", 1896‒1897 (“The Life of Juliusz Słowacki Against the Backdrop of His Times (1809‒1849). A Psychological Biography”, 1896‒1897). The researcher’s trust in Słowacki’s autobiographical testimonies is presented as a symptom of the modernist changes inhistorical and literary biography studies. The earlier poet’s monograph by Antoni Małecki is an important reference to Hoesic’s work.
More...
The main subject of my article is the reception of Słowacki’s literary heritage by Cezary Jellenta, one of the most important figures of the Young Poland’s literary criticism. The basic source texts for me are: "Juliusz Słowacki dzisiaj: szkic konturowy", 1900 (“Juliusz Słowacki Today: A Contour Sketch”), "Druid Juliusz Słowacki", 1911 and the article "Fizjognomia polityczna Juliusza Słowackiego", „Młodość” 1901, no. VI (“The Political Physiognomy of Juliusz Słowacki”). The crucial problem for my interpretation is the memory issue analysed in two aspects. On the one hand, it is the memory discourse on Słowacki, as well as the strategies and mechanisms of its creation used by modernist criticism. On the other hand, I pointed the figures of cultural memory in Jellenta’s studies, especially archetypes (the title metaphore of Słowacki as a wizard) and myths of the beginning. I tried to define their influence on the reinterpretation of Słowacki’s works and make the topics more appropriate for the 20th century point of view. I also thought about their importance for the creation of the Polish national identity in the times when our country did not exist. Jellenta’s literary research is placed in the context of studies of the romantic genealogy of modernist criticism. In my interpretation I refer to three conceptions: Carl Gustav Jung’s of archetypes, Maurice Halbwachs’s of social memory and Jan and Aleida Assmann’s of cultural memory.
More...
Adam Mickiewicz was widely considered in Vilnius and in Lithuania to be the bearer of the romantic tradition. Juliusz Słowacki, whose work was rendered ambiguous, took up the second position. Theatre performances, either from the beginning of the 19th century ("Lilla Weneda", 1909) or from the interwar period "Książę niezłomny", 1926 (“The Constant Prince”), were very helpful to popularize Słowacki’s works. An interest in Słowacki and his works increased in 1927, and was connected with bringing in the remains of Słowacki to Cracow. Słowacki today is well seen on the cultural map of Vilnius, but respected only by Polish community. Słowacki is a completely unknown author for Lithuanian readers, and such position is mainly caused by the lack of translations.
More...
The author of this article discusses the problem of the film adaptation of Juliusz Słowacki’s dramatic composition, directed in France by Walerian Borowczyk, who was at that time banned from Poland. She reflects upon the play between eros and sacrum, which is very characteristic of the Polish director, but also very different than in Słowacki’s design. She also considers the following issues: change of name and title of the work; modification of historical and geographical background; ascetic scenery (one-dimensionality and lack of pageantry like in Giotto’s paintings); functioning of things (or rather – in Borowczyk’s case – almost lack of props) and animals – different in both works: literary and cinematic.
More...
Leopold von Sacher-Masoch reprezintă fără îndoială un caz; nu doar pentru faptul că rumoarea antumă și scandalul postum l-au transformat în exemplul prin excelență al unui gust erotic particular, ci mai curând prin uitarea aproape integrală a operei lui literare în beneficiul anecdoticului vieții sale private. Leopold von Sacher-Masoch a fost un scriitor celebru și prolific : foarte repede tradus, s-a bucurat de un succes prompt și de proporții, iar cenzura literară nu a găsit nimic necuviincios în prozele sale. Notorietatea i-a jucat însă un renghi, aproape definitiv: în 1869, baronul Richard von Krafft-Ebing, medic psihiatru și profesor, publică Psychopathia sexualis, primul „inventar” complet al tulburărilor de orientare sexuală. între cele 15 capitole descriind, cum o spune chiar el, „tendințele sexuale stranii”1, unul poartă numele Masochism. Krafft-Ebing este, prin aceasta, un descălecător : până la el tulburările similare purtau numele, cu etimon grecesc, de „algolagnie”. Noul nume al perversiunii se va impune, ajutat de succesul tratatului lui Krafft-Ebing, dar mai ales de consecvența cu care noul sens al „masochismului” va fi preluat de tradiția psihiatrică. în 1869 începe așadar o concurență a celebrității pe care scriitorul Leopold von Sacher-Masoch o va pierde în beneficiul perversului Sacher-Masoch. Femeia divorțată (1870) și Venus în blană (de asemenea, 1870) vor fi uitate destul de curând; va rămâne însă amintirea tenace a anunțurilor date la mica publicitate, a corespondenței sale amoroase și mai ales a contractelor prin care se reducea pe sine la condiția de rob al femeilor iubite.
More...