„Kronika wypadków miłosnych” wcale się nie zestarzała

The author of this article analyzes The Chronicle of Love Affairs by Tadeusz Konwicki (1974) and shows that it can be still used at school. The main problems of this novel (youthful love, suicide, the identity of the protagonists) provide an oppor­tunity to discuss current topics. The novel allows to expand the historical and literary knowledge of infor­mation in the field of Konwicki’s creativity, romantic tradition, literature of private homelands, as well as assim­ilate theoretical concepts, such as oniric poetics and film adaptation.The author of this article analyzes The Chronicle of Love Affairs by Tadeusz Konwicki (1974) and shows that it can be still used at school. The main problems of this novel (youthful love, suicide, the identity of the protagonists) provide an oppor­tunity to discuss current topics. The novel allows to expand the historical and literary knowledge of infor­mation in the field of Konwicki’s creativity, romantic tradition, literature of private homelands, as well as assim­ilate theoretical concepts, such as oniric poetics and film adaptation

Edward Flatau (1868–1932) — world-leading pioneer of neurology and neurosurgery

Polish neurology and neurosurgery owe a very great deal to Edward Flatau. He was a pioneer of these disciplines in Poland whose influence extends worldwide, and we recently celebrated the 150th anniversary of his birth. Edward Flatau’s grandson, an outstanding physicist who has been living in San Diego in the USA for many years, has published a book ‘Edward Flatau and his comet: beginnings of Polish neurology’. Its promotion took place in the Flatau hometown of Płock in Poland. In 1894, Edward Flatau published his notable work: ‘Atlas of the human brain and the trajectory of fibres’, the result of arduous work on brain sections and images that were captured with an especially designed camera. These photographs caused a publishing sensation at the end of the 19th century. The atlas was published in German and almost immediately translated into Polish, Russian, French and English. The most distinguished work of Edward Flatau was his great 1912 study of migraine headaches entitled ‘Migraine’, which has still not become out-of-date and is regularly quoted in international literature today

Obraz i tekst. Na wysokiej górze. Commedia della lingua Krystyny Miłobędzkiej w ilustracjach Iwony Chmielewskiej

A fragment of Krystyna Miłobędzka’s theatre play for children Na wysokiej górze. Commedia della lingua (1990) was published separately (2014, 2017) as a work of both Krystyna Miłobędzka and Iwona Chmielewska, an author of picture books. Chmielewska tones down the word play in Miłobędzka’s text. Instead, she introduces images of the poet at different ages, depicted in contemplative poses, and presents the character’s epiphanic experience beyond time and space. The images and the text constitute separate, sylleptic sequences. The meditative atmosphere of Chmielewska’s illustrations adequately conveys the worldview of Miłobędzka – a “linguistic” poet, who refers to the poetry of the Far East.A fragment of Krystyna Miłobędzka’s theatre play for children Na wysokiej górze. Commedia della lingua (1990) was published separately (2014, 2017) as a work of both Krystyna Miłobędzka and Iwona Chmielewska, an author of picture books. Chmielewska tones down the word play in Miłobędzka’s text. Instead, she introduces images of the poet at different ages, depicted in contemplative poses, and presents the character’s epiphanic experience beyond time and space. The images and the text constitute separate, sylleptic sequences. The meditative atmosphere of Chmielewska’s illustrations adequately conveys the worldview of Miłobędzka – a “linguistic” poet, who refers to the poetry of the Far East

Bożena Chrząstowska and stereotypes, or: of reforming literary education, of curricula and schoolbooks

Artykuł przedstawia trudną drogę naukową Bożeny Chrząstowskiej (1929-2020) i jej bojową naturę w zwalczaniu szkolnych stereotypów. Chrząstowska walczyła o rangę dzieła literackiego i rolę literaturoznawczej interpretacji w szkole. Dzieło widziała w kontekście całego procesu dydaktycznego, którego celem jest przygotowanie ucznia do uczestnictwa w kulturze. Wymaga to według Niej reformy kształcenia literackiego (rezygnacji z historii literatury na rzecz interpretacji), zmiany koncepcji programów nauczania i nowej formuły podręczników szkolnych.The paper presents Professor Bożena Chrząstowska’s (1929-2020) hard scientific path as well as her combative nature which proved itself in her battle against school stereotypes. BożenaChrząstowska insisted that at school, the status of literary work and its interpretation based in literary theory should be enhanced. She perceived a literary work within the broader context of the whole didactic process which aims at preparing students to participate in culture. According to Bożena Chrząstowska, this needs reforming literary education (abandoning literary history in favour of interpretation), rethinking the curricula, and introducing new concepts of schoolbooks

From the picture to a maxim. On graphic art of Sławomir Mrożek

The author analyses co-existence of visual and language signs in Mrozek's drawings. Because of the kind of mutual relations, seven types of signs are distinguished. These are: 1. visual autonomous signs; 2. comic strips (stories in drawings); 3. iconic multimeaning sign; 4. iconic sign - interpreting of the language sign; 5. language sign - interpreting of iconic sign; 6. language sign reduced to the plan of expression; 7. iconic sign as a pretext to introduce language communication. The analysis shows the relational character of language signs in heterogenic communications and vast possibilities of iconic signs which, apart from conveying simple information, are capable of interpreting concepts and ridicule mechanisms of language manipulation. It also allows to speak about the evolution of Mrożek's work.The author analyses co-existence of visual and language signs in Mrozek's drawings. Because of the kind of mutual relations, seven types of signs are distinguished. These are: 1. visual autonomous signs; 2. comic strips (stories in drawings); 3. iconic multimeaning sign; 4. iconic sign - interpreting of the language sign; 5. language sign - interpreting of iconic sign; 6. language sign reduced to the plan of expression; 7. iconic sign as a pretext to introduce language communication. The analysis shows the relational character of language signs in heterogenic communications and vast possibilities of iconic signs which, apart from conveying simple information, are capable of interpreting concepts and ridicule mechanisms of language manipulation. It also allows to speak about the evolution of Mrożek's work

O Bożenie Chrząstowskiej i naszej papierowej „Polonistyce”

The paper presents Bożena Chrząstowska’s activity as the editor-inchief of “Polonistyka”, a journal of Polish studies, in 1992-2014. The point is to describe Chrząstowska’s own, unique concept of a journal dedicated to postgraduate professional educators of teachers of Polish language. “Polonistyka” was supposed to make its target readers familiar with new developments in linguistics and literary studies (this task was performed by the section entitled „Horyzonty polonistyki” [Horizons of Polish studies]). Moreover, the journal provided teachers with teaching materials useful at school (the section „Tajniki warsztatu” [The secrets of didactic methods]). The author describes Bożena Chrząstowska’s inspiring role and traces the history of the journal. Within just fifteen years, “Polonistyka” has been sold three times. In 2015, after being ignored, by the fourth owner of the journal in a row, the editorial stuff established a new online journal „Polonistyka. Innowacje” (www.pressto.amu.edu.pl) with Maria Kwiatkowska-Ratajczak as the editor-in-chief.Artykuł przedstawia działalność Bożeny Chrząstowskiej jako redaktorki „Polonistyki” w latach 1992-2014. Charakteryzuje autorski model pisma, które miało na celu kształcenie merytoryczne nauczycieli-polonistów, zapoznanie ich z nowymi trendami w literaturoznawstwie i językoznawstwie (takie zadanie pełnił dział „Horyzonty polonistyki”) oraz dostarczanie im materiału do wykorzystania w szkole („Tajniki warsztatu”). Autorka pisze o inspirującej roli Chrząstowskiej i o dziejach pisma, które w ciągu 15 lat trzy razy było sprzedawane. W 2015 r. redakcja, zignorowana przez czwartego właściciela, stworzyła w Internecie nowe pismo: „Polonistyka. Innowacje” (www.pressto.amu.edu.pl), którym kieruje Maria Kwiatkowska-Ratajczak

Ikoniczność i ucieczka od referencji (na przykładzie filmów Zbigniewa Rybczyńskiego)

The concept of reference comprises three different ways of expressing reality: simulation, representation and transformation, and it is just from this point of view that I analyse Rybczyński's films from the years 1976-1990. Rybczyński was always against registration of reality and wants to present on the screen "mental pictures", i.e. that which exists in our thoughts, fantasies and dreams. He submits reality to grotesque deformation (Święto [Holiday], 1976), destroys iconicity of the text through playful metaphor (Lokomotywa (Locomotive) based on J. Tuwim's poem, 1976), creates on the screen surreal situations (Tango, 1980) and shows transformation of people and things (The Fourth Dimension, 1998). However, "mental pictures" also contain conventional cultural symbols, which are distinctly shown in Orchestra (1990). Therefore, lifting references leads into the world of signs and signs refer to the social experience, history and European culture. Through signs we reverse to the representation of reality.The concept of reference comprises three different ways of expressing reality: simulation, representation and transformation, and it is just from this point of view that I analyse Rybczyński's films from the years 1976-1990. Rybczyński was always against registration of reality and wants to present on the screen "mental pictures", i.e. that which exists in our thoughts, fantasies and dreams. He submits reality to grotesque deformation (Święto [Holiday], 1976), destroys iconicity of the text through playful metaphor (Lokomotywa (Locomotive) based on J. Tuwim's poem, 1976), creates on the screen surreal situations (Tango, 1980) and shows transformation of people and things (The Fourth Dimension, 1998). However, "mental pictures" also contain conventional cultural symbols, which are distinctly shown in Orchestra (1990). Therefore, lifting references leads into the world of signs and signs refer to the social experience, history and European culture. Through signs we reverse to the representation of reality

Poezja młodopolska w kontekście stylów i prądów malarskich

Recenzja: Piotr Siemaszko, "Od akademizmu do ekspresjonizmu. Sugestie pikturalne w poezji polskiej końca XIX i początków XX wieku", Wydawnictwo Uniwersytetu Kazimierza Wielkiego, Bydgoszcz 200

Bruegel według Majewskiego. Literackie i malarskie problemy adaptacji

Lech Majewski’s The Mill and the Cross (2011) is a full-length feature film, a screen adaptation of Pieter Bruegel’s painting The Way of the Cross (1564). Majewski proves to be an excellent interpreter of Bruegel’s art, whom he considers a philosopher, an epic, and a poet. He relies on the research of Michael F. Gibson, and in his plotting he draws on a long-standing tradition of literary experience and digital technology (without this, it would have been impossible to faithfully reproduce the overall plan and realities of the painting). Majewski exposes the palimpsest nature of the narrative and shapes the film like a contemporary novel of space. In order to make the ideas of the screened painting comprehensible and to emphasize the fictionality of the depicted world, he introduces various versions of “literature about literature”. In the film, he perfectly integrates painterly features (word reduction, stop motion, long static camera shots) and literary features (the structure of an episodic novel of manners).Lech Majewski’s The Mill and the Cross (2011) is a full-length feature film, a screen adaptation of Pieter Bruegel’s painting The Way of the Cross (1564). Majewski proves to be an excellent interpreter of Bruegel’s art, whom he considers a philosopher, an epic, and a poet. He relies on the research of Michael F. Gibson, and in his plotting he draws on a long-standing tradition of literary experience and digital technology (without this, it would have been impossible to faithfully reproduce the overall plan and realities of the painting). Majewski exposes the palimpsest nature of the narrative and shapes the film like a contemporary novel of space. In order to make the ideas of the screened painting comprehensible and to emphasize the fictionality of the depicted world, he introduces various versions of “literature about literature”. In the film, he perfectly integrates painterly features (word reduction, stop motion, long static camera shots) and literary features (the structure of an episodic novel of manners)