Pałuby in Bruno Schulz’s Workshop

… of the Second International Perspectives on …, 2009

Tekstualia

Literary characters in the works of Stanisław Ignacy Witkiewicz, Bruno Schulz, and Witold Gombrowicz lets us discern several typical features of their writing. Most importantly, we may observe a pioneering approach to character. It differs from the reading habits of the inter-war period. This is confirmed by the reviewers who invariably criticized the constructions of characters and interpreted them as a sign of writer’s block or the writers’ inclination towards sickness and weirdness. The fi rst readers of these texts rarely considered such construction of characters to be a deliberate choice. The innovation of these three Polish authors in terms of character creation was only discovered and appreciated by scholars after World War II. In the light of texts belonging to various theoretical movements such as psychology and psychoanalysis, gender studies, theory of the grotesque, and contemporary anthropology, and considering the signifi cance of corporeality in the works of these three...

Unmasking Bruno Schulz, 2009

In this article, Karol Irzykowski's canonical autothematic novel Pałuba (1903) is confronted with Bruno Schulz's multifaceted fiction. Whereas Pałuba, with its dominant discursive layer, has been systematically received as an autothematic novel, Schulz's stories, with their manifold form, keep resisting any similar interpretative model. However, free of the yoke of their seemingly univocal self-informing tendency (Irzykowski) or of their supposed ultimate inexhaustibility (Schulz), these texts emerge as representations of a similar literary critical discourse. On this metafictional level, they incessantly display a significant interaction between the conventional illusion of a third dimension (depth, signifié) and the reflexive consciousness of the inevitable two-dimensionality of the text (surface, signifiant).

Russian Literature, 2007

2014 edition of the journal Contents Studia Literaturoznawcze / Literary Studies Problemy re󿬂eksji nad spektaklem w klasycystycznej teorii teatru we Francji - Michał Bajer John Dryden’s Conversion and Its Political Basis in The Hind and the Panther - Paweł Kaptur Źródła romantycznej fascynacji Ukrainą i zagadnienie szkoły ukraińskiej w romantyzmie polskim (debata o „szkołach poetyckich”) - Iwona Boruszkowska Among Devils, Buddhas, and Suburbia: Rushdie’s The Satanic Verses and Kureishi’s The Buddha of Suburbia as Exercises in Identity Formation - Wit Pietrzak Dracula Domesticated: Transformation of the Literary Vampire - Agnieszka Pyziak Sarkastyczny stoik Eeyore a arogancki melancholik Kłapouchy – porównanie postaci osła w Winnie-the-Pooh A.A. Milne’a i w polskim przekładzie Ireny Tuwim - Patrycja Obara Język ohydy. O polskim przekładzie Filth Irvine’a Welsha - Weronika Szemińska Problemy prozodyjnej segmentacji tekstu (II): co kategoryzacja naturalna i semantyka kognitywna mówią o minimum wierszowej organizacji? - Arkadiusz Sylwester Mastalski Studia Kulturoznawcze / Cultural Studies The Secrets of a Sixteenth-Century Psalter: In Praise of Circumstances - Magdalena Charzyńska-Wójcik Irish Secret Societies, The Times and the Biased Coverage of the Agrarian Violence in Ireland in the 1830s - Paweł Hamera Car Pleasures Revisited: Remarks on the Discourse of Automotive Multimodal Aesthetics - Maciej Adamski Metodyka Nauczania / Foreign Language Teaching Optimizing English Teaching/Learning Techniques for Primary School Dyslexic Students - Iwona Skiba The Washback of Lower Secondary School Examinations in English - Dawid Migacz Cognitive Proactivity of Translators-to-be - Katarzyna Klimkowska Geneza i rola efektów kształcenia w szkolnictwie wyższym (na przykładzie Lingwistycznej Szkoły Wyższej) - Elżbieta Zawadowska-Kittel Studia Językoznawcze / Linguistic Studies Remarks on the Origin of Gerundivum and Gerundium in Latin and Umbrian - Maciej Grelka Wybrane elementy opisu języka specjalistycznego (na przykładzie języka retoryki) - Łukasz Karpiński Recenzje / Reviews Paweł Wojtas. 2014. Translating Gombrowicz’s Liminal Aesthetics. Peter Lang: Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien. 208 ss. - Piotr Wilczek Aleksandra Budrewicz-Beratan, 2009. Stanisław Egbert Koźmian tłumacz Szekspira. Kraków: Dom Wydawnictw Naukowych, str. 276. - Krzysztof Fordoński Billy Kay. 2012. The Scottish World: A Journey into the Scottish Diaspora. Edinburgh and London: Mainstream Publishing. 319 ss. - Krzysztof Fordoński

PERIODYK MŁODYCH RELIGIOZNAWCÓW „EX NIHILO” - 2016 L'articolo affronta la funzionalità del mito nella letteratura. Per comparazione sono state prese le opere di Valerij Brjusov e Bruno Schulz. Sia il simbolista Brjusov, sia il modernista Schulz, non solo affrontano il mito ad un livello di personaggi o di intreccio, non solo attivizzano modelli mitologici, entrambi gli scrittori sulla base di mitologie arcaiche formulano i propri sistemi mitologici e i loro sguardi sulla letteratura. Per entrambi la poesia è rigenerazione dei miti primordiali. E la cosa più importante è che alla base di questi sistemi sta il concetto molto particolare della Parola.

This book examines the writing of the Polish modernist author Witold Gombrowicz, in the contexts of the aesthetic practices that took place in “Independent Poland” (1919-39) and his later experience of post-war exile in Argentina and Western Europe. While the primary focus of the book is on Gombrowicz, it will relate his work to his Polish modernist contemporaries Bruno Schulz and Stanisław Witkiewicz (Witkacy), all of whom shared an interrogation of the concept of form with practices of artistic invention across multiple genres and media. It will demonstrate that the work of Gombrowicz and his contemporaries is characterised by a singular and profound engagement with the concept of form, which in the case of Gombrowicz is radically subverted. It will show how, by shifting the domain of form from aesthetics and literature to everyday life, Gombrowicz uses it as a method for the composition of works of art that act as singular critical symptomatologies of modernity. This will entail an account of the unique socio-historical situation of Independent Poland, as well as the detailed examination of Gombrowicz’s major literary and theatrical work, showing how his conception of form evolved, particularly in the post WWII period, into a theatrical and performative one, highly resonant with contemporary postmodern theories of identity. Furthermore, it will demonstrate the links between Gombrowicz’s later work and post-structuralist thought, particularly that of Gilles Deleuze. It will also show that Gombrowicz’s subversion of form points to new ways of understanding the relations between aesthetic practices and contemporary cultural theories and practices and so engaging with his work will make a significant contribution to the emergent field of comparative cultural studies.

Poznańskie Studia Slawistyczne, 2023

Performance – Cinema – Sound. Perspectives and Retrospectives in Central and Eastern Europe, 2020

In this essay I would like to consider the tension between communication and perception in Polish poetry after 1989. The poets I will discuss avail themselves of the expressive means of the visual and performing arts as well as music to convey their negotiations of communication and perception. But it is a special avatar of the poet that stages the drama in which perception and communication clash – the derelict. The poet-derelict occupies the space between the arts. I propose that the transformation of this derelict figure from Świetliki to Penerstwo to Rozdzielczość Chleba’s “cyber-drunks” (cyberżulerstwo) illustrates the history of Polish poetry and Polish art after 1989, which is at the same time a story of the dissolution of the tension between perception and communication.

Third Text , 2001

The 1960s were a period defined by enormous changes throughout the visual arts in Poland. Early in the decade a neo-Constructivist identity began to dominate the area of avant-garde painting, largely displacing late 1950s informel, in part to repudiate the period of Socialist Realism (1948-55), and reaffirm a continuity with the 'authentic' example of the interwar Avant-garde. In this article I would like to focus more closely on the new proliferation of unusual concrete poetry, textual projects, and intermedial works, which then proceeded to develop from the midst of a context which until that point had been defined more by abstract painting than anything else