Polish Romanticism Research Articles

ІСТОРИЧНА ПРОЗА МІХАЛА ЧАЙКОВСЬКОГО У КОНТЕКСТІ ЕСТЕТИЧНИХ ШУКАНЬ «УКРАЇНСЬКОЇ ШКОЛИ»

The article analyses the visions of Polish literary critics, attesting to a certain reception of the life path as well as the comprehension of Michal Tchaikovsky’s works in the context of the Polish Romanticism “Ukrainian school”. The genre-thematic and compositional features of the prose are also outlined, the author’s narrative strategy is analysed, and both ideological and aesthetic writer views and his literary contacts are shown. The significance of his creativity and activity through the implementation of the romantic idea is clarified. Tchaikovsky’s creation of a prose formula for Romantic Ukrainianism, the search for new forms of transferring Ukrainian stereotypes to Polish soil is still poorly understood. Various manifestations of reception and prose typology, M. Tchaikovsky’s artistic skill in the context of the “Ukrainian school” became the subject of the research. The author’s world-views were taken into account while studying Tchaikovsky’s prose which made it possible to systematically outline the problems, poetic and genre features of the works. The embodiment of the romantic ethnic hero features, a look on the Cossacks are expressed both in the works themselves and in the author’s prefaces, comments, notes making up an integral part of the writer’s creative achievements. M. Tchaikovsky is considered the father of a Polish historical novel. Mythologized vision of history and modern Polish-Ukrainian relations are reflected in various prose forms – diary, gavendas (“Gavendas”, “Legends”, “The Poles and Poles Strange Life”), adventure stories (“Wernygora”, “Kirdzhali”, “Stefan Charnetsky”, “Koshovata”, “Ovruchanyn”, “Hetman of Ukraine”), modern stories (“The Gilovs”, “Anna”), pamphlets (“Bulgaria”, “Nemolyaka”, “Bosnia”, “From Hetman Lach Times”). Slavic-Turkish tales of the Danube Cossacks whose manuscripts were burned in Istanbul remain still unknown. The movement of life was the M. Tchaikovsky environment namely a direct action in which one sees scope, confidence, and desire to bring to life all that he dreamed of. The author of “Wernygora” realised his longing for ancient life through literary activity, he dreamed of Ukraine, and created a world he wanted to see around him. The Cossacks, Slavophilism and colourful personalities have become he sources of M. Tchaikovsky’s works. The moment of literary creativity comes in the periods when the social roles of the politician and the soldier have been lost. The paper is another step towards understanding the place and role of M. Tchaikovsky’s works in Polish romanticism through the prism of historical prose. It is an attempt to read the works scientifically in the context of historical, social and cultural factors at the theoretical level. Research is a contribution to the set of theoretical knowledge of hermeneutics, theory of literature, social anthropology.

ВІТЧИЗНЯНІ СТУДІЇ УКРАЇНСЬКО-ПОЛЬСЬКИХ ЛІТЕРАТУРНИХ ЗВ’ЯЗКІВ І ТИПОЛОГІЇ (2000–2019)

The article considers monographs, dissertations and collections on various topics related to Ukrainian-Polish literary comparative studies that appeared in independent Ukraine 2000–2019. The author considers Ukrainian-Polish literary relations and typological aspects of the 19th – the beginning of the 21st centuries: from the era of pre-romanticism and romanticism, then to positivism and hence to modernism and postmodernism. These are primarily works focused on the «Ukrainian school» in Polish Romanticism (R. Radyshevskyi, Ye. Nakhlik, M. Bratska, I. Rudenko), dedicated to Juliusz Słowacki’s creative connections with Ukraine, and P. Kulish’s dialogue with Poland (Ye. Nakhlik), Józef Ignacy Kraszewski’s dialogue with Ukraine (R. Radyshevskyi). The 2000s in Ukrainian-Polish comparative literary criticism were marked by a revival of attention to various aspects in the field of Taras Shevchenko study. Worth mentioning a fundamental edition in three books «Reception of Taras Shevchenko’s Creativity in Poland» (2015) by R. Radyszewskyi, a selection of «Shevchenkiana by Teoktyst Pachovskyi» with R. Radyshevskyi’s introduction «Polish reception of Taras Shevchenko creative heritage in the works by Teoktyst Pachovskyi», published in the book «Kyiv Polonistic Studies» (2014. Vol. XXIV); moreover articles by O. Astafiev, Ye. Nakhlik, R. Kharchuk in periodicals, scientific collections and six-volume «Taras Shevchenko’s Encyclopedia» (2012, 2013, 2015). The author of the paper offers his own experience of typological and contactgenetic analysis of Taras Shevchenko’s works (the monograph «Fate – Los – Destiny: Taras Shevchenko and Polish and Russian Romantics», 2003). Some aspects of Ivan Franko’s studies in Ukrainian-Polish comparative literature are covered in a separate volume of «Kyiv Polonistic Studies» – «Ivan Franko and Polish Culture» (2017. Vol. XXIX), in V. Durkalevych’s monograph «In Searching for Narrative Identity: The Individual Myth in the Works of Ivan Franko, Andrzej Chciuk and Bruno Schulz» (2015), partly in the books of V. Korniichuk «“Like the Organs in the Grand Temple ...”. Contexts and Intertexts of Ivan Franko» (Comparative Studies)» (2007) and Ye. Nakhlik «Bends of Ivan Franko’s Spirit. Worldview. Ideology. Literature» (2019). In the 2010s, the investigation of Ukrainian-Polish literary bilingualism of the 19th century was revived thanks to the book by Ye. Nakhlik «Creativity of Juliusz Słowacki and Ukraine. Problems of Ukrainian-Polish Literary Comparative Studies» (2010), articles-personalities by Yevhen and Oksana Nakhlik in the first volume of «Ivan Franko Encyclopedia» (2016), due to separate editions of works by Leo Węgliński (2011) and Tymko Padurra (2012) compiled with the accompanying articles by R. Radyshevskyi and his colleagues. Models of Polish positivism in nineteenth century Ukrainian literature were also studied (B. Honcharenko). Typological parallels between the «Bohdan Khmelnytskyi» trilogy by M. Starytskyi and the novel «With Fire and Sword» by Henryk Sienkiewicz were traced (V. Martsenishko). Attention was paid on the Ukrainian reception and typology of small prose by Eliza Orzeszkowa (I. Spatar), the literary works of S. Wyspiański (M. Medytska), S. Przybyszewski (T. Tkachuk). The objects of the studies were also V. Stefanyk’s connections with Polish modernism (S. Yamborko), Ukrainian-Polish aspects of the «Lviv» and «Kharkiv» texts by L. Staff (E. Tsykhovska), models of catastrophism in Ukrainian and Polish prose of the interwar twentieth century (O. Harlan), vision of Ukraine in works by Jerzy Stempowski and Józef Łobodowski (O. Vozniuk). On the examples of J. Iwaszkiewicz, L. Buczkowski, R. Wernik, V. Odojewski, A. Chciuk, M. Szofer the biographical preconditions and evolution of the image of the borderland in the prose of J. Iwaszkiewicz of the interwar period and artistic ethnocultural models of literature of the Polish Ukrainian borderlands of the twentieth century are investigated (author of both researches O. Sukhomlynov). Olesia Nakhlik found out the perception and adaptation in Ukraine of artistic and essay prose of Polish writers A. Bobkowski, T. Borowski, G. Herling-Grudziński, W. Gombrowicz, T. Konwicki, Cz. Miłosz, A. Stasiuk. And I. Kropyvko comprehended Ukrainian and Polish postmodern prose of the late twentieth – beginning of the XXIst centuries in aspects of carnival, fragmentation and frontier (as manifestations of transgression) and using the comparative-typological method. Due to these studies, Ukrainian-Polish comparative literary criticism took a prominent place among national comparative studies.

Karol Wojtyła / Jan Paweł II i myśl religijna Zygmunta Krasińskiego we wczesnej epistolografii

In this work ‘Karol Wojtyła / Jan Paweł II and religious thoughts of Zygmunt Krasiński in his early epistolography’, the Authoress concentrates her research on the figure of young Karol Wojtyla and on his originated in Wadowice period of his life fascination with Polish romantic literature. Young Karol is not only an actor, but a co-director and co-creator of spectacles presented to the public. Wojtyla’s experiences gained in the Rhapsodic Theater and during his studies of Polish literature at the University convince him that the spoken word has a prophetic, missionary character, leading to a transformation both in spiritual and intellectual spheres. Zygmunt Krasiński in his early epistolography addresses essential aesthetic-religious problems which in future become the idea of national messianism. Jan Paweł II in his papal teaching forcefully explores the ideas of Polish romanticism adding the theological thought to the aesthetic content.

ЖАНРОВІ АСПЕКТИ ШЛЯХЕТСЬКОЇ ҐАВЕНДИ ЮЗЕФА-АНТОНІЯ РОЛЛЄ

The article deals with aspects of the literary genre “gavenda” and its varieties: “noble, historical, romantic, commoner, beggar, soldier gavenda.” Its uniqueness, diversity, artistic value and relevance are revealed. The research studied the literary aspects of the genre in short stories written by Joseph-Anthony-Apolinariy Rolle, who is also known under the pseudonym Dr. J. Rolle. His figure stands out among the outstanding “govendar writers” of the XIX century, who described the events of the region. He was a Doctor, historian, publicist and an interpreter of events in Volyn, Kyiv region, and Podilia. He lived most of his life in Kamianets-Podilsky, where he wrote “Zameczki Podolskie na kresach”, “multańskich”, “Opowiadania historyczne”, “Gawędy z przeszłości”, “Opowiadania”, “Szkice i opowiadki”, “History etc. The article highlights the problems of historical prose development on the Ukrainian-Polish background of the XIX century, the research reveals social and political conditions that influenced the formation of literature. In this article, we explored the trends observed within one genre, as well as the diversity of its forms and features. A. Rolle interpreted historical events in his pages, he also depicted images of his characters that are complemented by social and artistic generalisations. Many of the characters are extraordinary women of the 18-19th cen., their destiny and life’s events, which are a reflection of the historical epoch, traditions and mentality. Dr. A. Rolle reproduces both the external aspects of realities and the preconditions of one’s own position and motivation of actions. The narrator’s subjective point of view, the free form of the story-telling, which usually takes place in a friendly circle of listeners, are the main features of the genre. The peculiarity of gavenda is also that the person who retells was a participant or witness of events. The variety of images depicted by A. Rolle testifies to the breadth of his worldview, interest in the history of the region, his concern about social and political processes, folklore and literature. His consciously chosen active civic position prompted him to do some research. He has made a significant contribution into historiography, literature and other spheres of social activity. A. Rolle was the first to portray such figures of the Ukrainian liberation movement as Ivan Pidkova, Semen Nalyvaiko, etc. His great merit was that he had interpreted U. Karmeliuk in «Opryszek» and inspired M. Smotrytsky to write a novel «Karmaliuk robber». In his works he skilfully combines historical facts and folklore elements, which were appreciated by his contemporaries, including I. Franko and V. Antonovych. The interest in the past of the state was not accidental, because this is the period (XIX century) of the emergence of a new political and cultural thinking in Europe, which was formed in Podilia due to A. Rolle’s work. The research studied the author’s style in writing gavendas, his genre features in his works as a representative of the “Ukrainian school” of the Polish romanticism.

„Tatarski czyn” Norwida między hierarchią a erupcją (semantyka, konteksty, konsekwencje)

Drawing on a scholarly polemic of the 1930s, this paper differentiates between two ways of understanding and translating Cyprian Norwid’s formula “tatarski czyn,” as ‘Tatar deed’ (from the Polish czyn) or as ‘Tatar rank’ (from the Russian chin according to the Tsarist Table of Ranks). The aim is to show how the eruptive versus the hierarchical readings of “tatarski czyn” have influenced the opinions on Norwid’s dialogic treatise Promethidion (1851) and, more generally, on his criticism of the utopian thought of Polish Romanticism and of Russian po-litics. It was Adam Mickiewicz who in the 1820s and 1830s pointed to the homonymy between czyn and chin and its potential in enacting ambivalences between the seemingly incommensurable imaginaries of eruption and hierarchy. Moreover, Mickiewicz already linked both understandings of czyn with a stereotypical Tatar, or Mongolian, “Asianness.” In this respect, Norwid’s formula is fairly conventional. What is genuinely original, however, is how Norwid turns Mickiewicz’s earlier ideas against those of the later Mickiewicz who, in his Paris Lectures on the Slavs (1840–1844), seems to glorify the “Tatar deed.” In contrast to the “bloody ladder” of Russian bureaucracy and the irrational tendency in Mickiewicz’s activism, Norwid suggests a “gradual labor” culminating in, not erupting with, the deed (Promethidion). This aspect of Norwid’s metaphorical thought is shown in a parallel reading with the philosopher August Cieszkowski who, in his Prolegomena to Historiosophy (1838), conceptualized history as a “texture of deeds” leading to institutions. Similarly, Norwid’s positive notion of the deed, i.e. his revision of Romantic activism, should be situated beyond the alternatives of eruption and hierarchy.

Ślady twórczości Juliusza Słowackiego we wczesnych dramatach Karola Wojtyły (Hiob, Jeremiasz)

The article concerns two juvenilia plays by Karol Wojtyła, Job and Jeremiah, that were written in 1940. Those works were influenced by the difficult reality of war. The first and primary inspiration for those two dramas was the Bible, as the titles themselves indicate. However, the model of Polish Romanticism also heavily influenced the shape of the poetic world of those works. This article attempts to indicate in Job, as well as in Jeremiah, those thoughts that are close to the Romantic and Messianic historiosophies. It describes, in a synthetic manner, the main noticeable points from Wojtyła’s works that coincide with the motives present in Juliusz Słowacki’s work, especially in the play Father Marek, which started the mystical and genesian period of the Romantic’s literary work. Attention is paid to, e.g. the genre characteristics of the mystery (which is close to the genre form of the late Baroque mystery, as represented by the works of Calderon). Among those features the following items are mentioned: the composition of the works, the structure of time and space, the creation of images, the rule of the “theatre in the theatre,” and visionariness. In addition, a presentation of the main ideas and creation of the title characters (Job, Jeremiah and Father Marek) is also given in outline.

Temat słowiański w twórczości literackiej i przesłaniu pastoralnym Karola Wojtyły – Jana Pawła II

The starting point of this article is the question of whether there is a connection between the Slavic theme in the early poetry of Karol Wojtyła and the papal teaching of John Paul II addressed to the Slavic nations. The main inspirations and ideas present in Wojtyla’s juvenilia are identified through the analysis of three aspects of his poetry: the creation of the subject, the literary kinship by choice and the historiosophical ideas evoked. The results of this comparative research indicates that the author’s poetic imagination is rooted primarily in the Bible and in the works of the Polish Romantic poets. A particularly privileged place here is occupied by Cyprian Norwid, the author of the poems Promethidion and Chopin’s Piano. The concept of nations and their historical mission in the papal teaching has numerous points in common with the Slavic thoughts of Adam Mickiewicz (in his Paris lectures) and Norwid in his poetry. The threads of selected homilies and the encyclical Slavorum Apostoli testify to this.

„Za nim rosnące pójdą plemiona / W światło – gdzie Bóg”. „Słowiański” pontyfikat św. Jana Pawła II

This article deals with the presence of issues of Slavdom in the thoughts and works of John Paul II as an expression of their roots in Polish Romantic literature. Its centre is the cult of St. Cyril and St. Methodius, who, in the Pope’s view, became an expression of the universalism, Greek heritage and Christianity of the Slavic peoples. A reminder of the importance of the Solon brothers had already been mentioned in the Paris lectures of Adam Mickiewicz and in a forgotten poem by Teofil Lenartowicz. This was associated with the need for Slavs to gain self-knowledge, as demanded by Norwid, Słowacki, Mickiewicz and others. The mission of the Slavic Pope fulfils the above postulates of the Romantic poets. John Paul II recalls the identity of the Slavs and their role in the papacy and a united Europe. It restores their dignity and is an indication of their future.

Constellations of Stains: The Matter of Experiencing and the Measure of Writing in the Essays by Józef Czapski and Marta Piwińska

This text is an attempt at repaying the author’s debt (both as an academic intellectual and as a regular reader) towards two inspiring essayists: Marta Piwińska and Józef Czapski. From the latter, the author of the article gained a lesson in establishing an intimate relationship with a work of literature he reads or a painting he views. From Piwińska he learnt the poetics of a mentally disciplined essay and gained the ability to associate the readings of the literature of the Polish Romanticism with contemporary sensitivity and the grand works of high modernism of the 20th century. In this article, the author analysed the records of fragments of the life and artistic struggles included in eight essays by Czapski (from the Patrząc and Czytając collections) as well as extensive essays with a literary studies’ focus by Piwińska (from books: Złe wychowanie and Juliusz Słowacki od duchów). The author focussed on the essayistic studies of the experiences of lostness and tiredness, the work of the mind, eyes and other senses, of spiritual and intellectual surprises, and even of moments of clairvoyance. He esteems the discussed essays particularly highly due to their exploratory value, which often takes the form of micro-stories, and elliptical and condensed biographical outlines. In these, readers are offered specific figures of artists and people engaged in everyday hustle and bustle. Both these groups encounter experiences which could be referred to as cornerstone lessons in existence.

Dead Serious? On the Presence (and the Absence) of Comic Elements in Cyprian Norwid’s Works

Critical studies of Cyprian Norwid’s writing, just like the scholarship on the literature of Polish Romanticism, focus mostly on the religious, philosophical, ironic and aesthetic aspects of his works. The question of humour in Norwid’s literary output still has not been extensively examined. The paper analyzes Norwid’s comical works. In his early masterpieces, published between 1842 and 1852, comic elements were almost absent, but after his trip to the United States an important change can be noticed in his way of writing, and humour becomes a key elelement of his literary writing and visual art. It can be argued that his diffi cult American experiences (alienation, struggle with the new language, desperate attempts to fi nd work) changed Norwid’s perception of himself as an artist and taught him to look at his art from a distance.

Polskie, czyli jakie? Kino polskie w oczach odbiorcy brytyjskiego (na wybranych przykładach z lat 2008-2018)

The article aims to show how contemporary Polish cinema has been received in “Sight&Sound” magazine post 2004, after Poland joined the EU. The author attempts to answer the following questions: has the British audience changed their perception of Polish cinema? Have the traits associated with the Polish Film School – the horrible experience of war, love of freedom, Polish romanticism focused on the individual, the truth (of the social kind, and free from constraining patterns), distinctive form, allusiveness and attachment to national symbols – been transformed in any way, and whether this has been reflected in articles published in “Sight&Sound”.
 The conclusion seems clear: there is little difference in how British audiences perceive contemporary Polish cinema, as they still heavily associate it with the subject matter and the directors of the Polish Film School (Wajda, Kawalerowicz).

Volodyslav Fedorovych and Artur Grottger. Forgotten Pages of One Friendship

The article explores the history of the relationship of Volodyslav Fedorovych and Artur Grottger, an almost forgotten page of Ukrainian-Polish intercultural dialogue of the last quarter of the nineteen century. Their friendship undoubtedly had an influence on both of their lives, and it remains an important demonstration of Ukrainian-Polish intercultural and interpersonal dialogue on the border of the two cultures of the two nations. The first of the two aforementioned men was a famous Ukrainian philanthropist, the third head of Prosvita society, a member of the Polish circle in the lower house of the Viennese Parliament. Artur Grottger died at the age of thirty; however, he became a symbol of Polish Romanticism and a champion of the Polish rebellion in January 1863. Volodyslav Fedorovych spent two years in the capital of the Habsburg Monarchy, studying in a privileged educational institution for children of noble families – Collegium Theresianum. At the same time, Volodyslav attended lectures at the University of Vienna. Vienna, one of the cultural capitals of Europe, awakened his interest in paintings and art in general. In Vienna, he met the famous Polish painter Artur Grottger, who was to introduce him later to the Ukrainian painter Kornylo Ustyanovych. Later on, Ustyanovych will become a cult figure in Galicia. The article recounts a story of his cousin Alexandra. Volodyslav was in love with her. She died very young, but Grottger managed to draw a portrait of her.

Jane Austen (dla) Josepha Conrada

The understanding of Jane Austen was for Joseph Conrad (probably) the condition of the understanding of the English soul as such. And, even if we roam around fascinating hypotheses, it is worth formulating them – mainly because they are a new key to the reading of the works of the author of Lord Jim. His problems with the literary heritage of Austen could be affected by different, numerous factors: 1) the growing popularity of Janeites; 2) the authority of, appreciating the author of Mansfield Park, Henry James; 3) the feeling of being lost of the Polish writer in the situation of the late novelist debut; 4) the literary tradition of the Ukrainian School in the Polish Romanticism, in which he was raised and he formed his personality. Conrad could make an attempt of dealing with, incomprehensible for himself, Austen in the 1910s, in the period of jubilees of the editions of her novels. In this spirit, it is worthy to read again such prose texts of Conrad, as: Zwycięstwo (1915) and Ocalenie (1920), but above all – the earliest from this group – Gra losu (1913).

Striking the Chords of Spirit and Flesh in Polish Poetry: A Serendipity by Ward Jean (review)

Slavonic and East European Review, 97, 4, 2019 Reviews Ward,Jean;Fengler,MariaandGrzegorzewska,Maria(eds).StrikingtheChords of Spirit and Flesh in Polish Poetry: A Serendipity. between.pomiędzy, 9. Wydawnictwo Uniwersytetu Gdańskiego, Gdańsk, 2016. 421 pp. Notes. Index. Zł33.60 (paperback). This is an interesting if, as the title implies, somewhat eccentric collection of essays and poems linked — in some cases explicitly, in others rather tenuously — to the central theme of the co-existence, across the history of Polish poetry from the seventeenth to the twenty-first century, of ‘the interwoven themes of flesh, word and spirit’ (p. 12). Inspired by the ‘Poetry: Word Made Flesh: Flesh Made Word’ conference held in 2013 in Gdańsk, the book reads very much like a conference proceedings, despite the fact that most of the essays included in the volume — for they are clearly self-standing essays rather than chapters — were actually commissioned specifically for this collection. While the resulting impression of managed randomness that the book creates may not in itself be a bad thing, a reader trying to look for common threads linking the individual essays together will only ever be able to make an occasional, though indeed serendipitous, connection here and there. The sense of structural looseness that characterizes the volume is reinforced by the tentativeness of the identification of its target audience, and of the handling of the resulting issues of contextualization, translation, annotation, etc. Some of the essays — for example, Mirosława Hanusiewicz-Lavallee’s excellent comparative study of the literature of Polish Baroque and the tradition of English metaphysical poetry, or Dariusz Konrad Sikorski’s immensely informative piece on the poetry of Polish Jews, with a particular focus on the interwar period — are clearly addressed to Anglophone audiences, and make appropriate, well-judged concessions to readers unfamiliar with the Polish language and the historical, social and literary context of the texts under discussion. The situation is more complicated, perhaps inevitably given the historical significance and the philosophical complexity of the heritage of Polish Romanticism, with contributions focusing on the literature of the nineteenth century: both Szymon Hiżycki in his reading of Mickiewicz’s ‘Widzenie’, and Rolf Fieguth in his essay on Słowacki’s and Norwid’s political and historiosophical visions perceived in the context of other writings of the period, particularly Krasiński’s Irydion, make valiant attempts to contextualize their central arguments by providing extensive background commentary on Polish Romanticism, but their essays become, as a result, somewhat diffuse in terms of their focus and clarity of argument. There are no such difficulties when it comes to single-author studies focusing on a particular aspect of their work: thus, for example, the theme of the physical and spiritual dimensions of SEER, 97, 4, OCTOBER 2019 774 death is subtly explored by Klaudia Łączyńska in her essay on Leśmian, and by Joanna Skolik in her study of Ewa Lipska. The critical section of the book ends with an interesting and thoroughly enjoyable contribution by Bill Johnston on translating the poems of Eugeniusz Tkaczyszyn-Dycki — it may not fit in with the rest of the volume thematically, but as the editors explain in their introduction, its purpose is to provide a bridge to the final part of the book, a mini-anthology of English translations of some of the key poems discussed in the preceding sections. It is precisely this mini-anthology that helps the reader realize what constitutes the main achievement of the book: it broadens the perspective from which Anglophone readers perceive Polish literature by bringing to their attention a range of new and unexpected dimensions of Polish poetry, some of which are unfamiliar even to well-educated but non-specialist Polish readers: how many people have actually ever heard about, let alone read, Maurycy Szymel or Maurycy Schlanger? The credit for this is due, in large measure, to the sterling work done by the translators, not just of the poems included in the mini-anthology, but also of the numerous quotations across the volume: led and supported by the volume’s main editor, Jean Ward, they have done a spectacular job in translating some of the most lexically...

German philosophy in Vilnius in the years 1803\u20131832 and the origins of Polish Romanticism

This paper focuses on the origins of Polish Romanticism as born partially out of German idealist philosophy. I examine the influence exerted by the ideas of the most significant thinkers, such as Kant, Fichte and Schelling on both professors and students living in Vilnius at the beginning of the nineteenth century (particularly Jan Śniadecki, Józef Gołuchowski and Adam Mickiewicz). As an adherent of Enlightenment and empirical epistemology Śniadecki was critical towards Kant as well as Romantic poetics. On the contrary, in the works of young Gołuchowski, who was well acquainted with German ideas, there are frequent references to Kant, Fichte, and Schelling’s philosophy of life. The same ideas—such as vital nature, feeling, and faith as opposed to “dead” knowledge based on “pure terms”—can be found in Mickiewicz’s early works. This convergence of motifs is due to the fact that they both have the same source of inspiration: German idealism.

Romantyczne wędrówki Polaków po Szwajcarii Saskiej

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

Z dziejów tematyki górskiej w literaturze czeskiej. František Palacký i Milota Zdirad Polák

On the history of mountain-related topics in Czech literature: František Palacký and Milota Zdirad PolákThe literature of the Czech national revival produced a unique type of cestopis travel account, which, from a Polish point of view, could be regarded as an equivalent of accounts of Polish Romantic travels of fellow countrymen across their country. In the Czech literature we can distinguish a clear thematic group associated with the Karkonosze mountains. It includes M.S. Patrčky’s O Krkonošských horách 1823, Josef Myslimír Ludvík’s Myslimír, po horách krkonošských putující 1824, Karel Slavoj Amerling’s Cesta na Sněžku 1832, Karel Hynek Mácha’s Pouť Krkonošská 1833–34, František Tomsa Přátelské dopisy z cesty na Sněžku 1845, Josef Frič’s Cesta přes Friedland na Krkonoše 1846, and Karel Hanuš’s Cesta na Sněžku 1847. These works testify to an expansion of themes tackled by literature during the so-called national revival. Characteristic forms of the period conformed to the Classical, pre-Romantic and Romantic conventions. One of the most interesting themes tackled by literature in those days were the mountains. In line with the spirit of national revival, the Czech cult of the domestic was expressed in the linking of the homeland and its landscape with important aspects of Czech national identity. This convention of referring, as means of self-identification, to spatial symbolism and its vocabulary was visible in the Czech and Slovak culture in several aspects. The vocabulary of Czech national symbols now included the Karkonosze mountains, Šumava or the Bohemian Forest, the Tatras and the Blanik hill. František Palacký referred to landscape-linked symbolism in his ode Na horu Radhošť, added to his youthful work, written together with Pavel Josef Šafařík, Počátkové českého básnictví obzvláště prosodie 1818. The poem formally served as an example illustrating theoretical analyses of poetry included in the study in question. Using the fact that Radhošť was a mountain in Moravia, Palacký included the mountain as a motif in a rather unique founding myth associated with the local Moravian patriotism. Thus mountains became a representative motif of the literature of the Czech national revival. When it comes to Czech poetry, mountain motifs were introduced into it on a broader scale for the first time by Milota Zdirad Polák Matěj Polák, 1788–1856 in his descriptive poem Vznešenost přírody 1819. Polák’s novelty lay in his introduction into Czech literature of a new genre, descriptive poem, as well as linguistic experiments neologisms thanks to which he developed his own poetic language. Using the category of the sublime as a tool to interpret the natural phenomena he described, Polák sought to demonstrate the richness of the forms of the world, their complexity and diversity. That is why the catalogue of motifs he used is vast. It accorded an appropriate place to the mountains with a brave attempt to concretise their motif: fragments of the poem deal with the Alps, a description of the Karkonosze mountains is highlighted and there is also a motif of volcanic eruption. Undoubtedly the most interesting and artistically the most valuable is an extensive fragment of the poem devoted to the Karkonosze mountains. The fear of the horror of high mountains, the Alps, described in the poem, found its equivalent in the writings of Jan Kollár 1793–1852, who presented his emotions associated with his stay in the Alps in an account of an 1841 journey to Italy Cestopis obsahující cestu do Horní Italie a odtud přes Tyrolsko a Bavorsko, se zvláštním ohledem na slavjanské živly roku 1841 konanou, Budin 1843. Both writers, Polák and Kollár, were hugely impressed by the mountains, but this did not lead to any Romantic reflection on their part.

Mit czy mity Sybiru w wyobraźni i pamięci zbiorowej ?

<p>Celem badań podjętych w artykule jest próba charakterystyki mitu Sybiru obecnego w wyobrażeniach zbiorowych Polaków na przestrzeni XIX–XX w. oraz wytypowania jego zasadniczych komponentów. W takim ujęciu problematyka niniejszego tekstu wpisuje się w szersze studia dotyczące zagadnienia mitologizacji przeszłości i jej funkcjonowania w różnych kontekstach historycznych oraz we współczesności. Na tych aspektach, jak również na koncepcji kultury pamięci Krzysztofa Pomiana, oparte zostały założenia metodologiczne niniejszych badań. Podstawę dla tych rozważań stanowi mit Sybiru, dla którego punktem odniesienia są doświadczenia Polaków na zesłaniu na Syberii w XIX w. oraz losy represjonowanych w latach czterdziestych XX w. W artykule zwrócono więc uwagę na to, że mit Sybiru, rozumiany jako swoiste „miejsce pamięci” Polaków w XIX i XX w., konstruowany był przez wiele czynników. Obok twórczości literackiej polskich romantyków oraz dzieł artystów malarzy (np. A. Sochaczewskiego) zasadniczą rolę odegrała XIX-wieczna literatura pamiętnikarska (np. J. Glaubicz Sabińskiego, E. Felińskiej, A. Januszkiewicza, G. Zielińskiego, A. Gillera i wielu innych) oraz historiografia z dziełami takich historyków, jak Z. Librowicz i M. Janik. To w ich twórczości historycznej i wspomnieniowej utrwalił się przekaz wyobrażeniowy Syberii, m.in. jako „ziemi przeklętej”, „ziemi milczenia i zgrozy” oraz „lodowego piekła”, które w konsekwencji konstruowały wyobrażeniowy przekaz Sybiru. Istotną rolę w tworzeniu mitu Sybiru odegrali także polscy XIX-wieczni badacze Syberii, m.in.: B. Dybowski, J. Czerski i A. Czekanowski, którym poświęcono odrębne miejsce. W artykule uwagę skoncentrowano więc przede wszystkim na charakterystyce XIX-wiecznego mitu Sybiru, przy szerszym odwołaniu się do przykładów doświadczeń Polaków z okresu rosyjskich represji z lat II wojny światowej oraz współczesnych wyobrażeń na temat losów Polaków na Syberii, czego uosobieniem jest dzisiaj idea Muzeum Pamięci Sybiru w Białymstoku.</p>

УКРАЇНСЬКІ ПЕРЕКЛАДИ «НА ВИСОКІЙ ПОЛОНИНІ» СТАНІСЛАВА ВІНЦЕНЗА

Creativity of the prose writer and essayist Stanislav Vincenza ranks one of the first places in the Ukrainian-Polish literature. The author started the work on the epopee in 1930. In 1936 the first chapter was published in Warsaw. The next part of the work was completed and published at the end of the 70s and at the beginning of the 80s in XX century. The work originally designed and deep-felt in Hutsul ideas was written in Polish. The language and the theme of the epopee continue the best traditions of the so-called “Ukrainian School” in Polish romanticism. A reader mistakes the meaning of some lexemes such as homonyms, toponyms, dialecticisms and they should be interpreted. That’s why the author explains the Hutsul words at the end of the book. The vocabulary lists above two hundred language units. Besides the main narrator the characters who are often the real historical people tell the story. The use of the following elements creates the entire idealized model of the region as well as its citizens. The topic of the article is to analyze the Ukrainian translation of Stanislav Vincenz “Na Vysokii Polonyni”(On High Polonine) as a collection of multicultural and many-sided variety of folk characters. In 1997 the Lviv publishing house “Chervona Calyna” published the Ukrainian translation of “Na Vysokii Polonyni”(On High Polonine) printed by Warsaw publishing house in 1936 (by the translators Bogdan Senezhak and Roman Gnativ). In 2011 the “Lileya-NV” publishing house printed the book “Na Vysokii Polonyni”(On High Polonine) the translation from Polish by Taras Prokhaska with the participation of the Republic of Poland Embassy and the Polish Institute in Kiev. The separate volumes deal with the stories, songs, beliefs, both original and legendary characters, parables and Hutsul region ethnological sketches. A book series has become a literature sample relating to definite region but also it encompasses the universal values common to humankind as well as to history, present and past, nature and culture. The author is looking for values undisturbed by civilization in the shepherds’ ordinary life. The book has become of interest to the Ukrainian reader so in 2018 the publishing house “Lileia-NW” reprinted the book “Na Vysokii Polonyni”(On High Polonine) the translation from Polish by Taras Prokhaska. The graphic design of the book is changed but all texts are unchanged. The translator’s comment relating to the date of the “Na Vysokii Polonyni”(On High Polonine) first edition in 1938 remains unclear. Ukrainian translations of the epopee give the Ukrainian reader the opportunity to know reality through the prism of Stanislav Vincenz.

ПРОБЛЕМАТИКА ПОЛЬСЬКОГО РОМАНТИЗМУ В РЕЦЕПЦІЇ ЛІТЕРАТУРНОГО КРИТИКА МІХАЛА ГРАБОВСЬКОГО (на матеріалі листування)

Problems of polish romanticism in the perception of literary critic Mihal Grabovskyj (according to the materials of correspondence). This article is devoted to integrated research into correspondence of polish literary man M. Grabovskyj, analyzed literary and philosophic views of master in a diachronic aspect, his aesthetic priorities, described the evolution of general vital references of theoretician, and outlined the division into periods of creation and philosophic views of figure. A lot of attention is given to elucidation letters’ genres of M. Grabovskyj and its style. For the first time it is the attempt of new valuation of his achievements and intentions, consideration and description epistolary heritage of M. Grabovskyj, which include theoretical-literary dialogues with the famous polish artists of XIX c. In his enormous array there are the conceptual reasoning andestimations of both work of separate writers and of that timeliterary process. The looks of writer were constantly evolved, that does any division into periods of correspondence conditional enough. However there sre distinguished two periods: European-”loyal” (1823 -1843) and later “tendentious” clerical-panslavics’ (1843 – 1863). The range of letters’ problems of of the first period marks adaptation of ideas of European (German) romanticism to national traditions, grouping and consolidation by the leaders of Polish romantic literature. These ideas contain optimistic character and sent to deepening the national perception of the world. The second period is characterized by correlations of the own theory of romanticism, ambiguousness of communicative structure. Grabovskyj comprehended the nomenclature of texts of romantic canon. The letters of М. Grabovskyj, that became the article of independent analysis first, substantially specify presentation in the relation to his literary- aesthetic program realized in the articles. In that correspondences, especially in those that are addressed to the closest friends he was frank and formulated the positions laconically and clearly. In the letters of artist it is legitimate to see continuation of critical articles.