The book treats about the phenomena the literary studies most often tre at in a marginal way. In ... more The book treats about the phenomena the literary studies most often tre at in a marginal way. In the form of six thematically connected though sepa rate chapters, the notion of scandal, undefiniable yet popular in the culture, is primarily given attention to. The problem in question is continued to a va rying degree in the two subsequent chapters. „Skandal i prowokacja” consti tutes a story about the unpredictability of scandal and provocation outrage unfulfilled and designed by one of the Warsaw futurists. „Wokół pornografii (dygresje dwie i pół)” is an overview of the 20th century attempts to define this phenomenon, in fact, boiling down to outrage evoked by an erotic repertoire of the literary presentations. „Sprawa Zegadłowicza” is an attempt to analyse the so far most effective Polish provocation and most popular scandal, that is „Zmory”. At the same time, it constitutes an attempt to answer the question why the provocation „Motory”, repeated two years later, being an even more controversial novel, did not bring the desired effect. The last two chapters „Jak się wstydzić” and „Lewy profil Juliana Tuwima” were devoted to embarrassment and shyness- the phenomena defiining the frame (usually the customary one) of every single performance on the one hand, and constituting one of the most important factors bringing about the poetic sensitivity on the other.
Maciej Tramer: A draft in blanco. On the poetry by Władysław Broniewski
The book consists of six ... more Maciej Tramer: A draft in blanco. On the poetry by Władysław Broniewski The book consists of six independent, though tightly intertwined and composed, parts. The first part, entitled Broniewski, almost a politician, is devoted to a specific reception of one of the most popular poets of the PRL period, consisting in, on the one hand, the attempt to “smooth” biographic details at variance with the propaganda doctrine, and, on the other hand, the attempt to justify or explain Władysław Broniewski’s political involvement and his communist sympathies. The second part A long history of one friendship is centred around friendship with Don Kichot, declared in his youthful diary and realized in life and works. It consisted in a clear literary inspiration to act and experience the world according to poetic patterns. Likewise Cervantes’ character, Broniewski joined the army and went to the war right from the library. The third part Soft revolutions of a hard revolutionist concerns above all Broniewski’s pre-war writing. Thus, a lot of attention is paid to his debut book of poems Wiatraki, clearly inspired by Don Kichot. The way the narrator of this and subsequent poetical books (cycles) goes is not on a horse, but on foot, according to the incedere necesse est maxim formulated and skillfully presented by Andrzej Kotliński. Out of an autotellic “walking”, “trudging”, “marching”, “treading”, which transforms the way to nowhere into the way to anywhere, (“the front is anywhere in the world”), the next “non-autotellic” step leads to an equally irrational writing of “the myth on the left hand”. The next, fourth part, Through this bloody world…, mainly concentrates on two war books and a constantly traveled “way to Poland”. The very way, poetically determined by the “dead road-sign” goes directly from the world that is totally ruined after his last pre-war book Krzyk ostateczny, (treated here as a literary interpretation of éschatos and lógos). The wanderer’s way to Poland was indicated by a special map because in the world in which all landmarks were “blurred” (ruined), wandering was to take place not only in a specific direction, but follow traces, at the address of no longer existing towns and streets. In a sense, such an address will lead the reader in the fifth part And there is a fog on Theatrical square. The way will not lead to the ruined towns, but to the address burdened with the legend of one of the most important places in the history of the Polish revolution in 1905. A closed, as the composition of the whole ballad, small space on the square from which one cannot go out, does not make either a topographic or reading orientation easier. A “disastrous step” is made in a place determined by the “echo from the bottom of the legend” in a night and foggy scenery of Ballada o placu Teatralnym. That is why the attention in the fifth part is paid to the ballad involved in questions which are not answered, but which, when avoiding a naïve interpretation, allow for finding lost tragedy. From the very beginning, the book is accompanied by Michel Foucault’s question concerning the lack of possibility to capture all Broniewski’s writings: […] “but what does this »all« mean?” This is responsible for mistrust towards too strong attempts to blend Broniewski many a time signaled in the narration, and those which involved in the propaganda war, postulated the exposition of the complete image of the poet and his works, also taking into account “cracks” and “scratches” in his biography and on his works. A confession made by Broniewski saying that “the most beautiful poems are the unwritten ones”, covers the works of the author of Komuna paryska with the question mark. Not each text was published, some of them – “arranged in memory” – were not even written, and some others were not signed or just nicknamed. The question on this “all”, was answered in the sixth, summarizing, part Outside the drawer. However, the question on “the meaning of »all«” was unanswered somehow on principle.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Po śmierci Władysława Broniewskiego Mieczysław Grydzewski zwrócił uwagę na, jego zdaniem, kontrow... more Po śmierci Władysława Broniewskiego Mieczysław Grydzewski zwrócił uwagę na, jego zdaniem, kontrowersyjny zapis słowa „bóg” w bardzo dobrze znanym polskiemu czytelnikowi wierszu Zagłębie Dąbrowskie. Laickie poglądy poeta deklarował na długo przed debiutem. Przez cały okres swojej działalności literackiej konsekwentnie stosował zapis korzystający z małej litery w pisowni słowa „bóg”. Nie czynił tego wbrew regułom, lecz pomimo zasad przyjętych przez polską ortografię. Zamiarem nie było bluźnierstwo, lecz wyłączenie się z opresywnej reguły uznający istnienie monoteistycznego „boga” jako bezdyskusyjny pewnik. Po przełomie 1989 roku część edytorów i badaczy uznała nawet stosowany przez Broniewskiego zapis jako wymuszony przez stalinowską i peerelowską cenzurę i starała się dokonać korekty.
The biography of Władysław Broniewski, who is considered a canonical poet of the People’s Republi... more The biography of Władysław Broniewski, who is considered a canonical poet of the People’s Republic of Poland, remains moderately recognised despite the attempts made. According to critics and readers, there is a belief that facts from Broniewski’s life which were incongruent with the socialist reality were intentionally understated or falsified. The issues are in fact more complicated in the case of the author of Bagnet na broń. In many cases there was no clear borderline between the private and official life, politics and family. The three marriages of Władysław Broniewski overlapped with three main stages of his writing intricate in complex relations with the history, however, they, above all, gave rise to a family conflict, the subject‑matter of which was, among other things, a literary heritage. A large part of archives, in line with Janina Broniewska’s decision (his first wife), was separated from the collections of Władysław Broniewski Museum, and, at the same time, a big part...
Władysław Broniewski’s poetry has usually been interpreted in close connection with the author’s ... more Władysław Broniewski’s poetry has usually been interpreted in close connection with the author’s experiences. His poems have often been treated as a unique lyric diary, which records or comments on historical events. The way the history is told, however, is rather peculiar. The author of Troska i pieśń (Sadness and Song) was in the habit of preparing his poems very carefully before submitting them for print. With the same care he worked on the final arrangement of all his volumes of verse. The only case where he accepted the “natural” chronological ordering was a collection of eight poems (although there should have been nine of them) included in his first war volume Bagnet na broń (Bayonet On). Still, the chronological and apparently natural arrangement turns out to be much more paradoxical than any invented one, because successive poems contradict each other to the point that their juxtaposition might appear a serious compositional error: the title poem Bagnet na broń (Bayonet On)...
Rzecz, którą mam do powiedzenia, nie ma na celu odkrycia na nowo Baczyńskiego, ale nie ma też na ... more Rzecz, którą mam do powiedzenia, nie ma na celu odkrycia na nowo Baczyńskiego, ale nie ma też na celu wyłącznie zreferowania literackiej legendy. Będzie to rzecz, która z założenia jest i ma pozostać przyczynkiem
O czym jest książka lakonicznie zatytułowana Grafomania? Każdy z zamieszczonych szkiców jest inny... more O czym jest książka lakonicznie zatytułowana Grafomania? Każdy z zamieszczonych szkiców jest inny, chociaż wszystkie wyrosły podczas długich dyskusji i wspólnych rozmyślań. Być może na początku chodziło młodym literaturoznawcom o wypracowanie wspólnego i możliwie precyzyjnego stanowiska, które okazałoby się przydatne w badaniach nad literaturą czy kulturą w ogóle? Zostało siedem szkiców poświęconych odmiennym aspektom grafomanii, różnym autorom, do tego szkiców o różnej rozpiętości i różnym temperamencie. A zatem stało się dobrze. Jeżeli grafomania ma jakąś (jakąkolwiek) historię — a wierzę, że ma — będzie to historia nieoficjalna „z poniżej”, „z marginesu”, „poza”, niespójna, różnorodna, przesadna… Może lepiej, że zamiast „zrobić” tę historię, siedmioro rozmówców i przyjaciół postanowiło ją po prostu opowiedzieć
Literature and Scandal. In the Interwar Period. The notion of scandal is indefinable. Scandal tak... more Literature and Scandal. In the Interwar Period. The notion of scandal is indefinable. Scandal takes place, or, as Polish has it, 'breaks out' when one is faced with the breakdown of the code by means of which we perceive reality. In other words, understanding scandal means perceiving the moment of clash between the well-stablished consciousness of the receiver and something that has not yet been recognized and thus poses danger for the present moment of cognition. Althoug it can occur in different spaces, scandal itself is invariable. Various adjectives that often describe it, such as political, social or literary, do not refer to the nature of scandal, but the nature of the code which becomes faulty and triggers off the defensive mechanism of our consciousness
The book consists of six independent, though tightly intertwined and composed, parts. The first p... more The book consists of six independent, though tightly intertwined and composed, parts. The first part, entitled Broniewski, almost a politician, is devoted to a specific reception of one of the most popular poets of the PRL period, consisting in, on the one hand, the attempt to “smooth” biographic details at variance with the propaganda doctrine, and, on the other hand, the attempt to justify or explain Władysław Broniewski’s political involvement and his communist sympathies. The second part A long history of one friendship is centred around friendship with Don Kichot, declared in his youthful diary and realized in life and works. It consisted in a clear literary inspiration to act and experience the world according to poetic patterns. Likewise Cervantes’ character, Broniewski joined the army and went to the war right from the library. The third part Soft revolutions of a hard revolutionist concerns above all Broniewski’s pre-war writing. Thus, a lot of attention is paid to his debu...
Pierwodruk w „Acta Universitatis Lodziensis. Folia Litteraria Polonica”, nr 4/2014, s. 145‒155.Au... more Pierwodruk w „Acta Universitatis Lodziensis. Folia Litteraria Polonica”, nr 4/2014, s. 145‒155.Autor analizuje Bambo Tuwima i próbuje wskazać pewne paradoksy interpretacyjne, które zebrały się wokół różnorakich odczytań dzieła. Szczególną uwagę skupiono na interpretacjach dotyczących kwestii rasowych. Co więcej autor omawia różnorakie współczesne konteksty funkcjonowania słynnego wiersza; są to często politycznie niepoprawne interpretacje nie mające sensu w odniesieniu do historycznego kontekstu okresu, kiedy powstał wiersz. Artykuł szczegółowo analizuje warunki powstania wiersza i okoliczności, w jakich trafił do szkolnego elementarza. Wiersz jest sposobem na pokazanie potrzeby akceptacji inności i zwalczanie kulturowych stereotypów.The author analyses Tuwim’s Bambo, the Black Boy and tries to point to a number of interpretative paradoxes that have accumulated around its multiple readings. Particular attention is paid to the racial readings of the poem. What is more, the author dis...
Acta Universitatis Lodziensis. Folia Litteraria Polonica, 2014
Bambo zrobił swoje Skoro tak, błędniem więc sobie, brutusie, Tłumaczył twój stan duszy, i dlatego... more Bambo zrobił swoje Skoro tak, błędniem więc sobie, brutusie, Tłumaczył twój stan duszy, i dlatego Pierś ta przed tobą ukrywała dotąd ważne, wielkiego znaczenia pomysły, Powiedz mi, proszę, brutusie, czy możesz ujrzeć twarz własną? bRuTuS Nie, kasjuszu: oko Nie może bowiem samo siebie widzieć, chyba w odbiciu 1 .
II; jego tekst miał formę dopisku do znacznie starszej notatki z nie opublikowanym fragmentem poe... more II; jego tekst miał formę dopisku do znacznie starszej notatki z nie opublikowanym fragmentem poematu Wisła. Tydzień później-w ciągu jednej doby-Broniewski napisał 3 ostatnie elegie: Firanka, Brzoza oraz W zachwycie i grozie. I tylko dwie pierwsze wersje Brzozy, opatrzone datą 11 II, pozwalają przypuszczać, że praca nad tym tekstem rozpoczęła się nieco wcześniej. Trzeci rękopis Brzozy, najbliższy wersji wydrukowanej, nosił datę 12 II, taką jak pozostałe wiersze 2. Najprawdopodobniej wszystkie 7 utworów trafiło do redakcji "Nowej Kultury" zaraz po tym, jak Broniewski je ukończył. Napisany 14 II wiersz Żyłem, który znalazł się potem w książce zbierającej wiersze poświęcone córce, nie pojawił się już w tym numerze tygodnika. Precyzja w ustaleniu dat nie jest istotna sama w sobie. Zestawienie kolejności powstania tekstów z porządkiem miejsc wyznaczonych im w cyklu pozwala zauważyć, że układ wierszy ogłoszonych w "Nowej Kulturze" wynikał z powziętej przez autora koncepcji. Ramę kompozycyjną Wierszy do Anki tworzą dwa najstarsze, powstałe niemal w tym samym czasie utwory: Trumna jesionowa i Obietnica. Jeżeli założymy, że ostatni wiersz był śladem faktycznego zobowiązania, jakie Broniewski podjął na początku pracy nad cyklem, możemy po-1
The correspondence between Maria Zarębińska-Broniewska and Władysław Broniewski covers the years ... more The correspondence between Maria Zarębińska-Broniewska and Władysław Broniewski covers the years 1938–1947. During that period they lived together for only a dozen months. They were separated by thewar for six years, and after the war, Maria spent the last year of her life in the Swiss clinic Hirslanden. The correspondence documenting the marriage of Maria and Władysław Broniewski (it was the second marriagefor both of them) is not complete. From the first – pre-war – period only correspondence of Maria addressed to Władysław survived. The second set of documents are letters written by both spouses immediately after the war. Unfortunately, their significant part was lost in transport or seized by censorship. The third one was created during the separation caused by Maria’s illness and hospitalization.
Artykuł opowiada losy powojennej edycji wierszy Krzysztofa Kamila Baczyńskiego zatytułowanej Śpie... more Artykuł opowiada losy powojennej edycji wierszy Krzysztofa Kamila Baczyńskiego zatytułowanej Śpiew z pożogi (1947). Książka przygotowana przez Stefanię Baczyńską i Kazimierza Wykę w swoim układzie całkowicie odbiegała od pozostawionej tuż przed wybuchem powstania autoryzowanej wersji Śpiewu z pożogi, który miał być pierwszym oficjalnym debiutem poetyckim Baczyńskiego. W artykule rozważany jest wpływ późniejszej całościowej edycji Utworów zebranych i na recepcję poezji Baczyńskiego, i na ustalenie w świadomości literackiej wizerunku poety.
The book treats about the phenomena the literary studies most often tre at in a marginal way. In ... more The book treats about the phenomena the literary studies most often tre at in a marginal way. In the form of six thematically connected though sepa rate chapters, the notion of scandal, undefiniable yet popular in the culture, is primarily given attention to. The problem in question is continued to a va rying degree in the two subsequent chapters. „Skandal i prowokacja” consti tutes a story about the unpredictability of scandal and provocation outrage unfulfilled and designed by one of the Warsaw futurists. „Wokół pornografii (dygresje dwie i pół)” is an overview of the 20th century attempts to define this phenomenon, in fact, boiling down to outrage evoked by an erotic repertoire of the literary presentations. „Sprawa Zegadłowicza” is an attempt to analyse the so far most effective Polish provocation and most popular scandal, that is „Zmory”. At the same time, it constitutes an attempt to answer the question why the provocation „Motory”, repeated two years later, being an even more controversial novel, did not bring the desired effect. The last two chapters „Jak się wstydzić” and „Lewy profil Juliana Tuwima” were devoted to embarrassment and shyness- the phenomena defiining the frame (usually the customary one) of every single performance on the one hand, and constituting one of the most important factors bringing about the poetic sensitivity on the other.
Maciej Tramer: A draft in blanco. On the poetry by Władysław Broniewski
The book consists of six ... more Maciej Tramer: A draft in blanco. On the poetry by Władysław Broniewski The book consists of six independent, though tightly intertwined and composed, parts. The first part, entitled Broniewski, almost a politician, is devoted to a specific reception of one of the most popular poets of the PRL period, consisting in, on the one hand, the attempt to “smooth” biographic details at variance with the propaganda doctrine, and, on the other hand, the attempt to justify or explain Władysław Broniewski’s political involvement and his communist sympathies. The second part A long history of one friendship is centred around friendship with Don Kichot, declared in his youthful diary and realized in life and works. It consisted in a clear literary inspiration to act and experience the world according to poetic patterns. Likewise Cervantes’ character, Broniewski joined the army and went to the war right from the library. The third part Soft revolutions of a hard revolutionist concerns above all Broniewski’s pre-war writing. Thus, a lot of attention is paid to his debut book of poems Wiatraki, clearly inspired by Don Kichot. The way the narrator of this and subsequent poetical books (cycles) goes is not on a horse, but on foot, according to the incedere necesse est maxim formulated and skillfully presented by Andrzej Kotliński. Out of an autotellic “walking”, “trudging”, “marching”, “treading”, which transforms the way to nowhere into the way to anywhere, (“the front is anywhere in the world”), the next “non-autotellic” step leads to an equally irrational writing of “the myth on the left hand”. The next, fourth part, Through this bloody world…, mainly concentrates on two war books and a constantly traveled “way to Poland”. The very way, poetically determined by the “dead road-sign” goes directly from the world that is totally ruined after his last pre-war book Krzyk ostateczny, (treated here as a literary interpretation of éschatos and lógos). The wanderer’s way to Poland was indicated by a special map because in the world in which all landmarks were “blurred” (ruined), wandering was to take place not only in a specific direction, but follow traces, at the address of no longer existing towns and streets. In a sense, such an address will lead the reader in the fifth part And there is a fog on Theatrical square. The way will not lead to the ruined towns, but to the address burdened with the legend of one of the most important places in the history of the Polish revolution in 1905. A closed, as the composition of the whole ballad, small space on the square from which one cannot go out, does not make either a topographic or reading orientation easier. A “disastrous step” is made in a place determined by the “echo from the bottom of the legend” in a night and foggy scenery of Ballada o placu Teatralnym. That is why the attention in the fifth part is paid to the ballad involved in questions which are not answered, but which, when avoiding a naïve interpretation, allow for finding lost tragedy. From the very beginning, the book is accompanied by Michel Foucault’s question concerning the lack of possibility to capture all Broniewski’s writings: […] “but what does this »all« mean?” This is responsible for mistrust towards too strong attempts to blend Broniewski many a time signaled in the narration, and those which involved in the propaganda war, postulated the exposition of the complete image of the poet and his works, also taking into account “cracks” and “scratches” in his biography and on his works. A confession made by Broniewski saying that “the most beautiful poems are the unwritten ones”, covers the works of the author of Komuna paryska with the question mark. Not each text was published, some of them – “arranged in memory” – were not even written, and some others were not signed or just nicknamed. The question on this “all”, was answered in the sixth, summarizing, part Outside the drawer. However, the question on “the meaning of »all«” was unanswered somehow on principle.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Po śmierci Władysława Broniewskiego Mieczysław Grydzewski zwrócił uwagę na, jego zdaniem, kontrow... more Po śmierci Władysława Broniewskiego Mieczysław Grydzewski zwrócił uwagę na, jego zdaniem, kontrowersyjny zapis słowa „bóg” w bardzo dobrze znanym polskiemu czytelnikowi wierszu Zagłębie Dąbrowskie. Laickie poglądy poeta deklarował na długo przed debiutem. Przez cały okres swojej działalności literackiej konsekwentnie stosował zapis korzystający z małej litery w pisowni słowa „bóg”. Nie czynił tego wbrew regułom, lecz pomimo zasad przyjętych przez polską ortografię. Zamiarem nie było bluźnierstwo, lecz wyłączenie się z opresywnej reguły uznający istnienie monoteistycznego „boga” jako bezdyskusyjny pewnik. Po przełomie 1989 roku część edytorów i badaczy uznała nawet stosowany przez Broniewskiego zapis jako wymuszony przez stalinowską i peerelowską cenzurę i starała się dokonać korekty.
The biography of Władysław Broniewski, who is considered a canonical poet of the People’s Republi... more The biography of Władysław Broniewski, who is considered a canonical poet of the People’s Republic of Poland, remains moderately recognised despite the attempts made. According to critics and readers, there is a belief that facts from Broniewski’s life which were incongruent with the socialist reality were intentionally understated or falsified. The issues are in fact more complicated in the case of the author of Bagnet na broń. In many cases there was no clear borderline between the private and official life, politics and family. The three marriages of Władysław Broniewski overlapped with three main stages of his writing intricate in complex relations with the history, however, they, above all, gave rise to a family conflict, the subject‑matter of which was, among other things, a literary heritage. A large part of archives, in line with Janina Broniewska’s decision (his first wife), was separated from the collections of Władysław Broniewski Museum, and, at the same time, a big part...
Władysław Broniewski’s poetry has usually been interpreted in close connection with the author’s ... more Władysław Broniewski’s poetry has usually been interpreted in close connection with the author’s experiences. His poems have often been treated as a unique lyric diary, which records or comments on historical events. The way the history is told, however, is rather peculiar. The author of Troska i pieśń (Sadness and Song) was in the habit of preparing his poems very carefully before submitting them for print. With the same care he worked on the final arrangement of all his volumes of verse. The only case where he accepted the “natural” chronological ordering was a collection of eight poems (although there should have been nine of them) included in his first war volume Bagnet na broń (Bayonet On). Still, the chronological and apparently natural arrangement turns out to be much more paradoxical than any invented one, because successive poems contradict each other to the point that their juxtaposition might appear a serious compositional error: the title poem Bagnet na broń (Bayonet On)...
Rzecz, którą mam do powiedzenia, nie ma na celu odkrycia na nowo Baczyńskiego, ale nie ma też na ... more Rzecz, którą mam do powiedzenia, nie ma na celu odkrycia na nowo Baczyńskiego, ale nie ma też na celu wyłącznie zreferowania literackiej legendy. Będzie to rzecz, która z założenia jest i ma pozostać przyczynkiem
O czym jest książka lakonicznie zatytułowana Grafomania? Każdy z zamieszczonych szkiców jest inny... more O czym jest książka lakonicznie zatytułowana Grafomania? Każdy z zamieszczonych szkiców jest inny, chociaż wszystkie wyrosły podczas długich dyskusji i wspólnych rozmyślań. Być może na początku chodziło młodym literaturoznawcom o wypracowanie wspólnego i możliwie precyzyjnego stanowiska, które okazałoby się przydatne w badaniach nad literaturą czy kulturą w ogóle? Zostało siedem szkiców poświęconych odmiennym aspektom grafomanii, różnym autorom, do tego szkiców o różnej rozpiętości i różnym temperamencie. A zatem stało się dobrze. Jeżeli grafomania ma jakąś (jakąkolwiek) historię — a wierzę, że ma — będzie to historia nieoficjalna „z poniżej”, „z marginesu”, „poza”, niespójna, różnorodna, przesadna… Może lepiej, że zamiast „zrobić” tę historię, siedmioro rozmówców i przyjaciół postanowiło ją po prostu opowiedzieć
Literature and Scandal. In the Interwar Period. The notion of scandal is indefinable. Scandal tak... more Literature and Scandal. In the Interwar Period. The notion of scandal is indefinable. Scandal takes place, or, as Polish has it, 'breaks out' when one is faced with the breakdown of the code by means of which we perceive reality. In other words, understanding scandal means perceiving the moment of clash between the well-stablished consciousness of the receiver and something that has not yet been recognized and thus poses danger for the present moment of cognition. Althoug it can occur in different spaces, scandal itself is invariable. Various adjectives that often describe it, such as political, social or literary, do not refer to the nature of scandal, but the nature of the code which becomes faulty and triggers off the defensive mechanism of our consciousness
The book consists of six independent, though tightly intertwined and composed, parts. The first p... more The book consists of six independent, though tightly intertwined and composed, parts. The first part, entitled Broniewski, almost a politician, is devoted to a specific reception of one of the most popular poets of the PRL period, consisting in, on the one hand, the attempt to “smooth” biographic details at variance with the propaganda doctrine, and, on the other hand, the attempt to justify or explain Władysław Broniewski’s political involvement and his communist sympathies. The second part A long history of one friendship is centred around friendship with Don Kichot, declared in his youthful diary and realized in life and works. It consisted in a clear literary inspiration to act and experience the world according to poetic patterns. Likewise Cervantes’ character, Broniewski joined the army and went to the war right from the library. The third part Soft revolutions of a hard revolutionist concerns above all Broniewski’s pre-war writing. Thus, a lot of attention is paid to his debu...
Pierwodruk w „Acta Universitatis Lodziensis. Folia Litteraria Polonica”, nr 4/2014, s. 145‒155.Au... more Pierwodruk w „Acta Universitatis Lodziensis. Folia Litteraria Polonica”, nr 4/2014, s. 145‒155.Autor analizuje Bambo Tuwima i próbuje wskazać pewne paradoksy interpretacyjne, które zebrały się wokół różnorakich odczytań dzieła. Szczególną uwagę skupiono na interpretacjach dotyczących kwestii rasowych. Co więcej autor omawia różnorakie współczesne konteksty funkcjonowania słynnego wiersza; są to często politycznie niepoprawne interpretacje nie mające sensu w odniesieniu do historycznego kontekstu okresu, kiedy powstał wiersz. Artykuł szczegółowo analizuje warunki powstania wiersza i okoliczności, w jakich trafił do szkolnego elementarza. Wiersz jest sposobem na pokazanie potrzeby akceptacji inności i zwalczanie kulturowych stereotypów.The author analyses Tuwim’s Bambo, the Black Boy and tries to point to a number of interpretative paradoxes that have accumulated around its multiple readings. Particular attention is paid to the racial readings of the poem. What is more, the author dis...
Acta Universitatis Lodziensis. Folia Litteraria Polonica, 2014
Bambo zrobił swoje Skoro tak, błędniem więc sobie, brutusie, Tłumaczył twój stan duszy, i dlatego... more Bambo zrobił swoje Skoro tak, błędniem więc sobie, brutusie, Tłumaczył twój stan duszy, i dlatego Pierś ta przed tobą ukrywała dotąd ważne, wielkiego znaczenia pomysły, Powiedz mi, proszę, brutusie, czy możesz ujrzeć twarz własną? bRuTuS Nie, kasjuszu: oko Nie może bowiem samo siebie widzieć, chyba w odbiciu 1 .
II; jego tekst miał formę dopisku do znacznie starszej notatki z nie opublikowanym fragmentem poe... more II; jego tekst miał formę dopisku do znacznie starszej notatki z nie opublikowanym fragmentem poematu Wisła. Tydzień później-w ciągu jednej doby-Broniewski napisał 3 ostatnie elegie: Firanka, Brzoza oraz W zachwycie i grozie. I tylko dwie pierwsze wersje Brzozy, opatrzone datą 11 II, pozwalają przypuszczać, że praca nad tym tekstem rozpoczęła się nieco wcześniej. Trzeci rękopis Brzozy, najbliższy wersji wydrukowanej, nosił datę 12 II, taką jak pozostałe wiersze 2. Najprawdopodobniej wszystkie 7 utworów trafiło do redakcji "Nowej Kultury" zaraz po tym, jak Broniewski je ukończył. Napisany 14 II wiersz Żyłem, który znalazł się potem w książce zbierającej wiersze poświęcone córce, nie pojawił się już w tym numerze tygodnika. Precyzja w ustaleniu dat nie jest istotna sama w sobie. Zestawienie kolejności powstania tekstów z porządkiem miejsc wyznaczonych im w cyklu pozwala zauważyć, że układ wierszy ogłoszonych w "Nowej Kulturze" wynikał z powziętej przez autora koncepcji. Ramę kompozycyjną Wierszy do Anki tworzą dwa najstarsze, powstałe niemal w tym samym czasie utwory: Trumna jesionowa i Obietnica. Jeżeli założymy, że ostatni wiersz był śladem faktycznego zobowiązania, jakie Broniewski podjął na początku pracy nad cyklem, możemy po-1
The correspondence between Maria Zarębińska-Broniewska and Władysław Broniewski covers the years ... more The correspondence between Maria Zarębińska-Broniewska and Władysław Broniewski covers the years 1938–1947. During that period they lived together for only a dozen months. They were separated by thewar for six years, and after the war, Maria spent the last year of her life in the Swiss clinic Hirslanden. The correspondence documenting the marriage of Maria and Władysław Broniewski (it was the second marriagefor both of them) is not complete. From the first – pre-war – period only correspondence of Maria addressed to Władysław survived. The second set of documents are letters written by both spouses immediately after the war. Unfortunately, their significant part was lost in transport or seized by censorship. The third one was created during the separation caused by Maria’s illness and hospitalization.
Artykuł opowiada losy powojennej edycji wierszy Krzysztofa Kamila Baczyńskiego zatytułowanej Śpie... more Artykuł opowiada losy powojennej edycji wierszy Krzysztofa Kamila Baczyńskiego zatytułowanej Śpiew z pożogi (1947). Książka przygotowana przez Stefanię Baczyńską i Kazimierza Wykę w swoim układzie całkowicie odbiegała od pozostawionej tuż przed wybuchem powstania autoryzowanej wersji Śpiewu z pożogi, który miał być pierwszym oficjalnym debiutem poetyckim Baczyńskiego. W artykule rozważany jest wpływ późniejszej całościowej edycji Utworów zebranych i na recepcję poezji Baczyńskiego, i na ustalenie w świadomości literackiej wizerunku poety.
The article To live to see namelessness. Broniewski chorally or for part-singing is devoted to th... more The article To live to see namelessness. Broniewski chorally or for part-singing is devoted to the project by the Gallery Raster entitled Broniewski. The event took place in Warsaw in November and December 2005. The organizers of the exhibition succeeded in persuading artists connected with independent art and stage to participate in the project. Although the project of the Gallery Raster is entitled and described using the name of only one poet, the event had a communal character. According to the author of the article To live to see namelessness…, this character is one of the main determinants of Władysław Broniewski as a person and of the phenomenon of his poetry.
Acta Universitatis Lodziensis. Folia Litteraria Polonica, 2018
Opowiadania oświęcimskie (Auschwitz stories) by Maria Zarębińska-Broniewska were first published ... more Opowiadania oświęcimskie (Auschwitz stories) by Maria Zarębińska-Broniewska were first published in a book version in 1948. All the texts included in the book, however, had been written earlier. The first ones were first released in a daily newspaper "Polska Zbrojna" ("Armed Poland") in early June 1945, just a few days after the author's return from a concentration camp. They were one of the first accounts which concerned women concentration camps. The book which was published later included nine out of eleven short stories written by Zarębińska. The manuscript of the synopsis of the book was also saved. However, a very ambitious project of creating tens of short stories was not completed due to the author's death. This article is a description of individual editions of Auschwitz stories in the years 1948, 1960 and 1971, which become better in form, but move away from the original project which was hidden in the handwritten notes.
Acta Universitatis Lodziensis. Folia Litteraria Polonica, 2016
The author analyses Tuwim’s Bambo, the Black Boy and tries to point to a number of interpretative... more The author analyses Tuwim’s Bambo, the Black Boy and tries to point to a number of interpretative paradoxes that have accumulated around its multiple readings. Particular attention is paid to the racial readings of the poem. What is more, the author discusses a variety of contemporary contexts in which the famous poem functions; these are often politically incorrect readings and interpretations which make no sense of the historical context in which the work was originally written. The article offers a detailed analysis of the origins of the poem and the circumstances in which found its way to the school primer. The poem is seen as expressing the need for accepting otherness and fighting cultural stereotypes.
The book treats about the phenomena the literary studies most often treat in a marginal way. In t... more The book treats about the phenomena the literary studies most often treat in a marginal way. In the form of six thematically connected though separate chapters, the notion of scandal, undefiniable yet popular in the culture, is primarily given attention to. The problem in question is continued to a varying degree in the two subsequent chapters. Skandal i prowokacja constitutes a story about the unpredictability of scandal and provocation outrageunfulfilled and designed by one of the Warsaw futurists. Wokół pornografii (dygresje dwie i pół) is an overview of the 20th century attempts to define this phenomenon, in fact, boiling down to outrage evoked by an erotic repertoire of the literary presentations. Sprawa Zegadłowicza is an attempt to analyse the so far most effective Polish provocation and most popular scandal, that is Zmory. At the same time, it constitutes an attempt to answer the question why the provocation Motory, repeated two years later, being an even more controversial ...
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Books by Maciej Tramer
The book consists of six independent, though tightly intertwined and composed,
parts. The first part, entitled Broniewski, almost a politician, is devoted to a
specific reception of one of the most popular poets of the PRL period, consisting
in, on the one hand, the attempt to “smooth” biographic details at variance with
the propaganda doctrine, and, on the other hand, the attempt to justify or explain
Władysław Broniewski’s political involvement and his communist sympathies.
The second part A long history of one friendship is centred around friendship
with Don Kichot, declared in his youthful diary and realized in life and works. It
consisted in a clear literary inspiration to act and experience the world according
to poetic patterns. Likewise Cervantes’ character, Broniewski joined the army and
went to the war right from the library.
The third part Soft revolutions of a hard revolutionist concerns above all
Broniewski’s pre-war writing. Thus, a lot of attention is paid to his debut book of
poems Wiatraki, clearly inspired by Don Kichot. The way the narrator of this and
subsequent poetical books (cycles) goes is not on a horse, but on foot, according
to the incedere necesse est maxim formulated and skillfully presented by Andrzej
Kotliński. Out of an autotellic “walking”, “trudging”, “marching”, “treading”, which
transforms the way to nowhere into the way to anywhere, (“the front is anywhere
in the world”), the next “non-autotellic” step leads to an equally irrational writing
of “the myth on the left hand”.
The next, fourth part, Through this bloody world…, mainly concentrates on
two war books and a constantly traveled “way to Poland”. The very way, poetically
determined by the “dead road-sign” goes directly from the world that is totally
ruined after his last pre-war book Krzyk ostateczny, (treated here as a literary
interpretation of éschatos and lógos). The wanderer’s way to Poland was indicated
by a special map because in the world in which all landmarks were “blurred”
(ruined), wandering was to take place not only in a specific direction, but follow
traces, at the address of no longer existing towns and streets.
In a sense, such an address will lead the reader in the fifth part And there is
a fog on Theatrical square. The way will not lead to the ruined towns, but to the address burdened with the legend of one of the most important places in the
history of the Polish revolution in 1905. A closed, as the composition of the whole
ballad, small space on the square from which one cannot go out, does not make
either a topographic or reading orientation easier. A “disastrous step” is made in a
place determined by the “echo from the bottom of the legend” in a night and foggy
scenery of Ballada o placu Teatralnym. That is why the attention in the fifth part
is paid to the ballad involved in questions which are not answered, but which,
when avoiding a naïve interpretation, allow for finding lost tragedy.
From the very beginning, the book is accompanied by Michel Foucault’s question
concerning the lack of possibility to capture all Broniewski’s writings: […] “but
what does this »all« mean?” This is responsible for mistrust towards too strong
attempts to blend Broniewski many a time signaled in the narration, and those
which involved in the propaganda war, postulated the exposition of the complete
image of the poet and his works, also taking into account “cracks” and “scratches”
in his biography and on his works. A confession made by Broniewski saying that
“the most beautiful poems are the unwritten ones”, covers the works of the author
of Komuna paryska with the question mark. Not each text was published, some of
them – “arranged in memory” – were not even written, and some others were not
signed or just nicknamed. The question on this “all”, was answered in the sixth,
summarizing, part Outside the drawer. However, the question on “the meaning of
»all«” was unanswered somehow on principle.
Papers by Maciej Tramer
The book consists of six independent, though tightly intertwined and composed,
parts. The first part, entitled Broniewski, almost a politician, is devoted to a
specific reception of one of the most popular poets of the PRL period, consisting
in, on the one hand, the attempt to “smooth” biographic details at variance with
the propaganda doctrine, and, on the other hand, the attempt to justify or explain
Władysław Broniewski’s political involvement and his communist sympathies.
The second part A long history of one friendship is centred around friendship
with Don Kichot, declared in his youthful diary and realized in life and works. It
consisted in a clear literary inspiration to act and experience the world according
to poetic patterns. Likewise Cervantes’ character, Broniewski joined the army and
went to the war right from the library.
The third part Soft revolutions of a hard revolutionist concerns above all
Broniewski’s pre-war writing. Thus, a lot of attention is paid to his debut book of
poems Wiatraki, clearly inspired by Don Kichot. The way the narrator of this and
subsequent poetical books (cycles) goes is not on a horse, but on foot, according
to the incedere necesse est maxim formulated and skillfully presented by Andrzej
Kotliński. Out of an autotellic “walking”, “trudging”, “marching”, “treading”, which
transforms the way to nowhere into the way to anywhere, (“the front is anywhere
in the world”), the next “non-autotellic” step leads to an equally irrational writing
of “the myth on the left hand”.
The next, fourth part, Through this bloody world…, mainly concentrates on
two war books and a constantly traveled “way to Poland”. The very way, poetically
determined by the “dead road-sign” goes directly from the world that is totally
ruined after his last pre-war book Krzyk ostateczny, (treated here as a literary
interpretation of éschatos and lógos). The wanderer’s way to Poland was indicated
by a special map because in the world in which all landmarks were “blurred”
(ruined), wandering was to take place not only in a specific direction, but follow
traces, at the address of no longer existing towns and streets.
In a sense, such an address will lead the reader in the fifth part And there is
a fog on Theatrical square. The way will not lead to the ruined towns, but to the address burdened with the legend of one of the most important places in the
history of the Polish revolution in 1905. A closed, as the composition of the whole
ballad, small space on the square from which one cannot go out, does not make
either a topographic or reading orientation easier. A “disastrous step” is made in a
place determined by the “echo from the bottom of the legend” in a night and foggy
scenery of Ballada o placu Teatralnym. That is why the attention in the fifth part
is paid to the ballad involved in questions which are not answered, but which,
when avoiding a naïve interpretation, allow for finding lost tragedy.
From the very beginning, the book is accompanied by Michel Foucault’s question
concerning the lack of possibility to capture all Broniewski’s writings: […] “but
what does this »all« mean?” This is responsible for mistrust towards too strong
attempts to blend Broniewski many a time signaled in the narration, and those
which involved in the propaganda war, postulated the exposition of the complete
image of the poet and his works, also taking into account “cracks” and “scratches”
in his biography and on his works. A confession made by Broniewski saying that
“the most beautiful poems are the unwritten ones”, covers the works of the author
of Komuna paryska with the question mark. Not each text was published, some of
them – “arranged in memory” – were not even written, and some others were not
signed or just nicknamed. The question on this “all”, was answered in the sixth,
summarizing, part Outside the drawer. However, the question on “the meaning of
»all«” was unanswered somehow on principle.