Censorship Towards Czesław Miłosz in Poland in the Fifties after Having Chosen the Emigration

This article shows the outline of problems connected with censoring Czesław Miłosz’s literary output in Poland in the 1950s, when the poet breaks off with the national government and chooses political asylum in France, becoming an émigré. The article looks into (in the space of decade) the periods of particularly tightened control towards Miłosz, shows how the censorship was tightening and relaxing when it came to his name. In the Polish October several poems and an excerpt from the novel The Seizure of Power was published, though – despite publishing advertisements – none of the poet’s books came out

Censorship Towards the Subject of the Warsaw Uprising in Belles-Lettres in 1956–1958

Right from the beginning, the subject of the Warsaw Uprising was often manipulated or even entirely erased from public discourse under the Stalinist regime. It was only after the liberalization of culture and the easing of censorship-related repressions that the said topic returned in literature. The paper focuses on the censorship bureau’s approach to the image of the Uprising presented by writers. Moreover, it attempts to specify – on the basis of specific examples – the kind of content that was accepted, rejected or amended. The juxtaposition of censors’ documents and the content of the published works allows for the examination of the depth of censors’ interventions and their methods of manipulating historical facts. Those areas of special interest include: presentation of the division among the insurgents who were supposed to belong either to the brave ordinary soldiers or the passive leadership, as well as the attitude towards the People’s Army, the First Polish Army, the Home Army or the Red Army, with special regard for its passiveness during the Uprising

The PUWP's preferences in the contemporary Polish novel, 1959-1985

The thesis seeks to account for the development of the Party's views of the contemporary novel and its expectations of the form after Socialist Realism (1949-1955). The course of development of Party requirements of the form is traced from 1959, when the Party announced its new operative ideology at the Third Congress, to its last major statement of demands at the Party Writers' Conference of February 1985. One of the salient features of the thesis is the attempt to reconstruct Party thinking on the novel through access to hitherto unknown materials for the period from the Party and Censorship Office archives. This enables the lack of specificity inherent in the Party's formulations after the demise of Socialist Realism to be countered, and a more definite account of the progression of Party thinking to be delineated. Chapter 1 defines, firstly, the administrative structures within which writers were required to operate - the Writers' Union, Ministry of Culture, the Central Committee's Cultural Department and, finally, the Censorship Office. Secondly, it considers the positive mechanisms devised by the state to encourage novel-writing on favoured topics, and thirdly, the aims of the Party's cultural programme. Chapter 2 provides a general cultural background of the period, describing the development of the term 'committed literature', which was most frequently used by writers and politicians in their deliberations on the nature and direction literature was to take. This development was influenced by the increasing restrictions which the authorities placed upon writers' freedom of interpretation. These concerned, above all, the problem of alienation in socialist society. Chapter 3-5 discuss six works in relation to the administrative structures and the major political issues of the period. In Chapter 3, the question of the Party's initial definition of the extent of freedoms is considered in relation to Roman Bratny's Szczes lwi, torturowani (1959) and Jerzy Putrament's Pasierbowie (1963)

Socialist film co-productions. The case of the Polish-Czechoslovak film co-production What Will My Wife Say to This? (1958) by Jaroslav Mach

This article offers an analysis of the Polish-Czechoslovak co-production What Will My Wife Say to This? (Co řekne žena, 1958, directed by Jaroslav Mach) as seen from the perspective of production-related and cultural factors. It provides a methodological background useful for the study of co-productions made in communist countries and presents the general circumstances of Polish-Czechoslovak co-operation in 1948–1958. The analysis of the film – the first Polish-Czechoslovak post-war co-production – shows the process of production as a field of conflicting goals and interests.This book was financially supported by the National Programme for the Development of Humanities: project “Cinema: Intercultural Perspective. Western-European Cinema in Poland, Polish Cinema in Western Europe. Mutual Perception of Film Cultures (1918–1939)”

Was in Ost und West anders übersetzt wurde: Zur politisch-kulturellen Ideologisierung polnischer Literatur in Deutschland

The present paper deals with the phenomenon of politically and culturally motivated ideologization that occurred in east and west German translations of Polish literature during the post-war period until 1990. It could be proven on various examples the enormous influence exerted by the political and ideological environment on both translators and the process of translation. Taking into account external intertextual relationships the author shows the way politically and ideologically marked German translations differing from Polish originals are reflected in the internal structure of the target language texts and affect their social functionality

Myśl polityczna Ruchu Miecza i Pługa a ideologia zadrużna

The purpose of this article is to analyze the political thought of the Movement Sword and Plough, and fi nding sources in the concepts Zadruga – pre-war neo-pagan groups. The Sword and the Plow was not the only Polish nationalist underground organization, however, was one of the few that nationalism separated from Catholicism

Political thought of the Sword and Plough and Zadruga’s ideology

Zjednoczone Organizacje Ruchu Miecza i Pługa są ugrupowaniem stosunkowo słabo znanym, wartym jednak uwagi nie tylko z powodu kontrowersyjnej roli, jaką odgrywały w podziemiu, ale również ze względu na swą oryginalną ideologię „nacjonalizmu dynamicznego”. Miecz i Pług nie był jedyną organizacją nacjonalistyczną Polski podziemnej, należał jednak do nielicznych, które nacjonalizm oddzielały od katolicyzmu. Celem niniejszego artykułu jest analiza myśli politycznej Ruchu Miecza i Pługa oraz próba odnalezienia ich źródeł w koncepcjach Zadrugi – przedwojennej grupy neopogańskiej skupionej wokół Jana Stachniuka1

L’infinitif indépendant dans les actes directifs en face-à-face en polonais et ses équivalents fonctionnels français

This article discusses the Polish independent infinitive, which constitutes a predicate in imperative utterances, and its French functional equivalents. The analysis was conducted at two levels. In the first part, the author describes the independent infinitive in the Polish language referring to the Polish formal structural syntax (Saloni, Świdziński 2012). This is to determine which place is occupied by this unit in a sentence, both in relation to other uses of the infinitive and in comparison to other units with the function of a predicate in statements of the same modality. The French structural equivalent has been determined on the basis of the same criterion of syntax dependency. However, even though both languages have corresponding structures, they do not use them in the same way. Only in Polish it is possible to form sentences with infinitive predicates in the spoken language, in face-to-face conversation. What are the factors that favour choosing this form? The author answers this question in her semantic and pragmatic analysis, conducted in the methodological framework of speech act theory (Searle 1979, Vanderveken 1988). She presents imperatives as a class of speech acts, which are extensively developed and specifies those, which can be executed by means of utterances with infinitive predicates. Additionally, factors of social and psychological character have been taken into consideration, as those which favour selecting the discussed form. What structure constitutes its functional equivalent in the French language? An analysis of a body composed of examples originating primarily from dialogues in contemporary literary works and their approved translations has allowed, on the one hand, to confirm the intuitive belief that grammar forms perform this function, in face-to-face oral communication the French language has only the command mode forms (l’impératif in French). On the other hand, we can launch a discussion about possibilities to translate them into a language which does not allow for an analogous use of the available infinitive structure. Cette étude est consacrée à l’infinitif indépendant polonais, pivot des énoncés injonctifs, et à ses équivalents français. L’analyse s’effectue à deux niveaux. Dans un premier temps, l’auteure décrit la forme polonaise précitée dans le cadre méthodologique de la syntaxe formelle (Saloni et Świdziński 2012) afin de la comparer aux autres emplois de l’infinitif ainsi qu’aux autres verbes prédicats réservés à l’expression de la modalité injonctive. La forme française correspondante est dégagée par la suite selon un seul et même critère, celui de la dépendance syntaxique. Néanmoins, si les langues étudiées disposent toutes les deux d’un infinitif injonctif, elles n’en font pas le même usage. Seul le polonais y recourt à l’oral, dans des situations de face-à-face. Mais quels facteurs favorisent cet emploi ? L’auteure répond à cette question dans une analyse sémantico-pragmatique menée dans le cadre général de la théorie des actes de langage (Searle 1979, Vanderveken 1988). Elle y présente l’injonction en tant que ‘famille’ d’actes directifs et montre ceux qui peuvent être réalisés par un infinitif. Leur description prend également en compte les facteurs sociaux et psychologiques favorisant l’apparition de la forme étudiée. Quelle forme française apparaît le plus souvent dans les traductions du polonais en français ? L’analyse du corpus, constitué d’exemples tirés principalement des parties dialogales d’œuvres littéraires polonaises contemporaines et de leurs traductions françaises attestées, a permis, d’une part, de confirmer l’hypothèse que le français n’a pour équivalent fonctionnel (grammatical) que le mode impératif, et d’autre part, d’entamer une réflexion sur les possibilités de traduction dans une langue qui n’exploite pas dans les contextes analysés la structure équivalente

Romantyzm i wojna: interpretacja historii w polskiej literaturze o tematyce okupacyjnej

Klasyfikacja tematyczna: Historia Polski; Historia okresu 1789-1914; Historia literatury: XIX w.; Historia \u17cycia literackiego; Tematy. Motywy. Idee. Style i konwencje literacki

JP2 Generation Phenomenon

Generally speaking, young people in Poland do not reject religion. The vast majority of youth declare themselves to be believers. Their faith, however, is characterized by subjectivity and selectiveness. Situationism is a trait of the Polish young generation. They make their choices dependent on something… Gaining a good education, a good job and starting a family are important life goals for young people. The youth of the 21st century are called “the youth without wings”. Those young people do not have any great ideals. They are not attracted by high values of a changing the world, they do not aim at establishing a better social system. The youth of the 90’s used to set up non-governmental organizations, they took up social activity in the third sector. The young people of the 21st century comprise a generation focusing on their own future. It is not a struggling generation but rather one evading or minimizing their activity in spheres which do not bring them direct benefits. Whatever is not practical, needed for today, is discarded