„Homo novus" między młotem reklamy a kowadłem krytyki. Przypadek „Alberta, wójta krakowskiego"

The article presents the analysis of the press reception of the drama Albert, wójt Krakowski by Stanisław Gabriel Kozłowski as well as the methods of creating Kozłowski’s image as the winner of the drama contest in memory of Wojciech Bogusławski in Warsaw. The dynamics of changes of the overall view on the drama, from almost instant acceptance to equally-fast dismissal of it by the literary critics may be perceived as a tool for diagnosing the literary hierarchy and the relationship between authors of award-winning texts, the reviewers and the juries. This analysis might also help to present the influence that the knowledge about the success of a text in a contest has on its critical perception.The article presents the analysis of the press reception of the drama Albert, wójt Krakowski by Stanisław Gabriel Kozłowski as well as the methods of creating Kozłowski’s image as the winner of the drama contest in memory of Wojciech Bogusławski in Warsaw. The dynamics of changes of the overall view on the drama, from almost instant acceptance to equally-fast dismissal of it by the literary critics may be perceived as a tool for diagnosing the literary hierarchy and the relationship between authors of award-winning texts, the reviewers and the juries. This analysis might also help to present the influence that the knowledge about the success of a text in a contest has on its critical perception

Dlaczego Krasiński nazwał księdza Jełowickiego „karłem”?

In this article, the author attempts to discover the reasons why in 1848, at the peak of the Springtime of the Peoples, the romantic writer Zygmunt Krasiński repeatedly called a Polish friar Aleksander Jełowicki a “squirt” in the moral, political and every other sense. Krasiński did so in his letters to Delfina Potocka, his lover and Jełowicki’s good acquaintance. Prior to becoming a Resurrectionist in the 1840s, Jełowicki participated in the November Uprising and was a prominent figure of the Great Emigration in Paris, especially as an opinion publicist and publisher (also of Krasiński’s works). In order to answer the question asked in the title, the author traced the earlier history of the relationship between the poet and the friar, created Jełowicki’s psychological, spiritual and intellectual portrait, and devoted significant attention to his moral teachings (on marital issues, among other things) expressed from the position of a dogmatic Catholic priest. As a result, the author proposed a hypothesis, although one lacking definitive proof, that apart from the significant political, dogmatic and religious differences between the two men, Krasiński’s violent reaction could have been caused by the passionate Resurrectionist’s attempts at interfering in his private life. That is because Krasiński had been living in a love triangle for years, sharing his life with Delfina Potocka and his wife Eliza, with no intention of changing this state of affairs, and Jełowicki had a reputation for giving unsolicited advice on people’s private lives. The final part of this sketch describes the later stages of the relationship, which changed after Zygmunt’s relationship with Delfina lost its erotic character – Jełowicki accompanied Krasiński at his deathbed and left a credible account of his passing.In this article, the author attempts to discover the reasons why in 1848, at the peak of the Springtime of the Peoples, the romantic writer Zygmunt Krasiński repeatedly called a Polish friar Aleksander Jełowicki a “squirt” in the moral, political and every other sense. Krasiński did so in his letters to Delfina Potocka, his lover and Jełowicki’s good acquaintance. Prior to becoming a Resurrectionist in the 1840s, Jełowicki participated in the November Uprising and was a prominent figure of the Great Emigration in Paris, especially as an opinion publicist and publisher (also of Krasiński’s works). In order to answer the question asked in the title, the author traced the earlier history of the relationship between the poet and the friar, created Jełowicki’s psychological, spiritual and intellectual portrait, and devoted significant attention to his moral teachings (on marital issues, among other things) expressed from the position of a dogmatic Catholic priest. As a result, the author proposed a hypothesis, although one lacking definitive proof, that apart from the significant political, dogmatic and religious differences between the two men, Krasiński’s violent reaction could have been caused by the passionate Resurrectionist’s attempts at interfering in his private life. That is because Krasiński had been living in a love triangle for years, sharing his life with Delfina Potocka and his wife Eliza, with no intention of changing this state of affairs, and Jełowicki had a reputation for giving unsolicited advice on people’s private lives. The final part of this sketch describes the later stages of the relationship, which changed after Zygmunt’s relationship with Delfina lost its erotic character – Jełowicki accompanied Krasiński at his deathbed and left a credible account of his passing

Pisma Józefa Goldszmita w kontekście wyborów życiowych Janusza Korczaka

The article is an attempt to answer the question of what influence attorney Józef Goldszmit (1844–1896) had on the life path chosen by his son Henryk Goldszmit, known as Janusz Korczak. Through an analysis of selected articles and pamphlets by Józef Goldszmit, published mainly in the post-Haskalah press, the author attempts to reconstruct Korczak’s father’s views on the role of the Jewish intelligentsia in the life of the Israeli nation, and the model of the personal pattern of a Jewish citizen inherent in his works.The article is an attempt to answer the question of what influence attorney Józef Goldszmit (1844–1896) had on the life path chosen by his son Henryk Goldszmit, known as Janusz Korczak. Through an analysis of selected articles and pamphlets by Józef Goldszmit, published mainly in the post-Haskalah press, the author attempts to reconstruct Korczak’s father’s views on the role of the Jewish intelligentsia in the life of the Israeli nation, and the model of the personal pattern of a Jewish citizen inherent in his works

„Tak, nie zna mnie nikt!”. Dziennik intymny Marceliny Kulikowskiej

The article attempts to return Marcelina Kulikowska to the historical and literary discourse and reconstruct her biography and worldview on the basis of diaries that she wrote from 1894 until her suicide in 1910. In the analysis, the author provides information from the original entries in the diary. She also reveals in a critical way the current interpretation of the diary, proposing another view instead that changes the superficial opinion that has grown around the poet’s work.The article attempts to return Marcelina Kulikowska to the historical and literary discourse and reconstruct her biography and worldview on the basis of diaries that she wrote from 1894 until her suicide in 1910. In the analysis, the author provides information from the original entries in the diary. She also reveals in a critical way the current interpretation of the diary, proposing another view instead that changes the superficial opinion that has grown around the poet’s work

„Requiem", czyli testament Stanisława Wyspiańskiego

This paper is devoted to Requiem, a Stanisław Wyspiański’s work from 1901 (published by Dariusz Kosiński in 2010) which, treated marginally until now – as a footnote to the work of the Young Poland artist, is recognized as a full-fledged and relevant work that, in a sense, is central to Wyspiański’s artistic activity and at the same time crowns it. The author places the work between the staging of Dziady according to Wyspiański and his Wyzwolenie, pointing out the key character of the discussed work in the context of considerations referring to the artist’s entire oeuvre. Requiem, read as a dramatic text, also turns out to be an attempt at a total work of art and a realization of the formula of “immense theatre” understood as a combination of greatness and intimacy. Moreover, the manuscript, published posthumously, is a specific artistic testament of Wyspiański.This paper is devoted to Requiem, a Stanisław Wyspiański’s work from 1901 (published by Dariusz Kosiński in 2010) which, treated marginally until now – as a footnote to the work of the Young Poland artist, is recognized as a full-fledged and relevant work that, in a sense, is central to Wyspiański’s artistic activity and at the same time crowns it. The author places the work between the staging of Dziady according to Wyspiański and his Wyzwolenie, pointing out the key character of the discussed work in the context of considerations referring to the artist’s entire oeuvre. Requiem, read as a dramatic text, also turns out to be an attempt at a total work of art and a realization of the formula of “immense theatre” understood as a combination of greatness and intimacy. Moreover, the manuscript, published posthumously, is a specific artistic testament of Wyspiański

O języku dekadentów. Wokół wypowiedzi Józefa Weyssenhoffa z 1891 roku

The aim of this article is to present the decadent style, a phenomenon overlooked by contemporary research on early modernism, based on the statements of Józef Weyssenhoff (“New literary phenomenon. Maurycy Maeterlinck and symbolic decadentism”, Biblioteka Warszawska 1891, vol. 2). The discussion of Weyssenhoff's text leads to the conclusion that the authors of discussions, reviews and summaries of French literature from the turn of the 1890s saw its uniqueness primarily in the linguistic layer, treating the worldview aspect as definitely secondary.The aim of this article is to present the decadent style, a phenomenon overlooked by contemporary research on early modernism, based on the statements of Józef Weyssenhoff (“New literary phenomenon. Maurycy Maeterlinck and symbolic decadentism”, Biblioteka Warszawska 1891, vol. 2). The discussion of Weyssenhoff's text leads to the conclusion that the authors of discussions, reviews and summaries of French literature from the turn of the 1890s saw its uniqueness primarily in the linguistic layer, treating the worldview aspect as definitely secondary

Sport i wyścigi konne w mniej znanych i zapomnianych tekstach z 2. połowy XIX i początków XX wieku. Wstępne rozpoznania

The article presents various approaches to the subject of sport in forgotten literary works from the second half of the 19th century and early 20th century by Konstanty Gaszyński, Klemens Junosza, Kazimierz Laskowski and Lucjan Rydel. The first two pieces show horse racing as a threat to the tradition of the landed gentry caused by gambling, fashions and foreign influences. Rydel’s contrasting text avoids an ironic tone, the poet describes the Olympic Games as a culture-creating event, as the founding myth of the Mediterranean civilization. The forgotten texts show sport in the literature of the turn of the 20th century and indicate that it played an important role in the discussion on the mechanisms of tradition and cultural heritage.The article presents various approaches to the subject of sport in forgotten literary works from the second half of the 19th century and early 20th century by Konstanty Gaszyński, Klemens Junosza, Kazimierz Laskowski and Lucjan Rydel. The first two pieces show horse racing as a threat to the tradition of the landed gentry caused by gambling, fashions and foreign influences. Rydel’s contrasting text avoids an ironic tone, the poet describes the Olympic Games as a culture-creating event, as the founding myth of the Mediterranean civilization. The forgotten texts show sport in the literature of the turn of the 20th century and indicate that it played an important role in the discussion on the mechanisms of tradition and cultural heritage

Przekład kanoniczny i przekład zapomniany – o dwóch młodopolskich tłumaczeniach „Wędrówek Childe Harolda" George’a Gordona Byrona

This article aims to compare two translations of George Gordon Byron’s poem Childe Harold’s Pilgrimage, which were published only a year apart during the Young Poland period: Jan Kasprowicz’s Wędrówki Rycerza Harolda (1895) and Aleksander Krajewski’s Wędrówki Childe Harolda (1896). A comparative analysis using the methodological background of translation studies shows the equal value of the two translations, one of which is still the basic version of Byron’s work in Polish while the other has been almost entirely forgotten.This article aims to compare two translations of George Gordon Byron’s poem Childe Harold’s Pilgrimage, which were published only a year apart during the Young Poland period: Jan Kasprowicz’s Wędrówki Rycerza Harolda (1895) and Aleksander Krajewski’s Wędrówki Childe Harolda (1896). A comparative analysis using the methodological background of translation studies shows the equal value of the two translations, one of which is still the basic version of Byron’s work in Polish while the other has been almost entirely forgotten