Odejście „człowieka ferdydurkicznego”

Gombrowicz’s life can be divided into two parts. During the first period of his life, Gombrowicz is preoccupied with the “Ferdydurke Man”, i.e. a funny character who is tortured by Form, which he tries to overcome but which he finally succumbs to by falling into inauthenticity. This man, though incoherent, is understandable both for the author and the reader because he comes from the world they both live in and epitomizes their own problems, which makes readers laugh. The second period of Gombrowicz’s life begins with a scene in Venice in 1938. He meets young Italian pilots who are ready to destroy the city if Mussolini gives such an order. This is when new and “savage” young people take the place of the “Ferdydurke Man”. They are a product of their time – they do not think independently and they constitute a breeding ground for totalitarian ideologies. Gombrowicz tries to understand this generation and presents a picture of the world these young people are building for themselves in consecutive dark literary works.Gombrowicz’s life can be divided into two parts. During the first period of his life, Gombrowicz is preoccupied with the “Ferdydurke Man”, i.e. a funny character who is tortured by Form, which he tries to overcome but which he finally succumbs to by falling into inauthenticity. This man, though incoherent, is understandable both for the author and the reader because he comes from the world they both live in and epitomizes their own problems, which makes readers laugh. The second period of Gombrowicz’s life begins with a scene in Venice in 1938. He meets young Italian pilots who are ready to destroy the city if Mussolini gives such an order. This is when new and “savage” young people take the place of the “Ferdydurke Man”. They are a product of their time – they do not think independently and they constitute a breeding ground for totalitarian ideologies. Gombrowicz tries to understand this generation and presents a picture of the world these young people are building for themselves in consecutive dark literary works

Le voyage italien dans la littérature polonaise après octobre 1956 : Zbigniew Herbert, Stanisław Dygat, Sławomir Mrożek, Tadeusz Różewicz

Les Polonais, un « peuple de voyageurs », dispersé pendant la guerre à travers tous les pays et tous les continents, ont été privés, par les autorités communistes, de la possibilité de se rendre à l’étranger. C’est seulement après octobre 1956 que les voyages redeviennent possibles pour les particuliers. Mais l’attitude des voyageurs polonais vis-à-vis de l’Italie change. Le voyage aux sources de la culture est désormais l’occasion d’une réflexion pleine d’ironie sur les complexes des Polonais (Sławomir Mrożek), et de l’expression du ressentiment provoqué par la beauté et la richesse de ce pays (Stanisław Dygat). Zbigniew Herbert explore les régions méditerranéennes en tâchant, au contraire, de voir la culture européenne méridionale comme une totalité à laquelle participent les habitants des pays septentrionaux. Tadeusz Różewicz cherche à répondre à la question de la participation des Polonais à la culture européenne.The Poles, a “nation of travellers” spread throughout all countries and continents during the war, were deprived of the capacity to travel abroad by the communist authorities. Only after October 1956 did this kind of travel become possible for private citizens. But the attitude of Polish travellers towards Italy has changed. Travelling to the sources of culture has become the opportunity to ponder ironically on Polish people’s complexes (Sławomir Mrożek) and to express bitterness inspired by the beauty and wealth of the country (Stanisław Dygat). Zbigniew Herbert explores mediterranean regions in an effort to perceive South European culture as a totality of which Nothern European countries are part. Tadeusz Różewicz tries to answer the question of Polish participation in European culture