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Bolesław Prus odzwierciedlony w swoich rzeczach. Spis pamiątek po pisarzu w przekazie Oktawii Głowackiej i Feliksa Araszkiewicza

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Grabowska-Kuniczuk A.

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tom 24: Nie tylko wiersz, nie tolko roman. Literatura polska i rosyjska w kontekście gatunków literackich

296-309

RU

В 19231924 годах Октавия Гловацкая передала в библиотеки и музеи архив, материалы и предметы своего покойного мужа, известного как Болеслав Прус. То, что из этого сохранилось, может послужить ценным источником сведений о его жизни и творчестве. Среди рукописей и машинописных материалов есть не только первоначальные версии произведений или заметки писателя (в том числе, блокноты – своего рода творческая лаборатория писателя), но и записи его жены, которая приводила в порядок домашний архив Гловацких. Среди них есть также Опись памятных вещей пок. Александра Гловацкого «Болеслава Пруса», составленная Октавией (в настоящее время – в Собрании иконографии и фотографии Национального музея в Варшаве). В его состав входит, например, список «Мелочей, которые [Прус] носил с собой», несущий ценную информацию о повседневной жизни, привычках и пристрастиях писателя – в частности, его увлечении фотоаппаратом и фотографией, велосипедом или печатной машинкой. «Предметы должны рассматриваться как часть картины», в данном случае – образа жизни и творчества автора Куклы. Сравнение двух отличающихся друг от друга версий описи вещей писателя – более ранней рукописной (подготовленной Октавией Гловацкой) и позднейшей печатной (Феликса Арашкевича) дает уникальную возможность полнее и точнее увидеть реальность человека, отраженного в своих вещах.

EN

In 1923 to 1924, Oktawia Głowacka donated to libraries and museums the inheritance, as well as materials and personal items, of her late husband known as Bolesław Prus. The ones which survived can serve as a valuable source of knowledge on his life and work. Amidst the manuscripts and typescripts, there are not only the first versions of works, or the writer’s notes (among others, the notebooks documenting his particular writing process). There are also the notes of his wife, who arranged the materials from the home archive of Głowacki. "A List of Keepsakes of the Late Aleksander Głowacki ‘Bolesław Prus’ handwritten by Oktawia", also belongs to the collection (it is currently located in the Collection of Iconography and Photography at the National Museum in Warsaw). One part of the list is a register of Items [Prus] would keep on him, which contains important information about the everyday reality, habits and passions of the writer – such as his fascination with the camera and photography, the velocipede, or the typewriter. ‘Things should be looked at as elements of a picture’, and in this case, it is the picture of the life and work of the author of The Doll. Juxtaposing two differing versions of the inventory of the author’s relics – the earlier, handwritten one prepared by Oktawia Głowacka and the later, printed version by Feliks Araszkiewicz – offers a unique possibility to present a more complete and more genuine reality of a man reflected in his things.

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„Sąd oka”? O sposobach postrzegania świata w twórczości Bolesława Prusa

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Grabowska-Kuniczuk A.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2014

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nr 20

138-151

EN

The article is an attempt to analyse and interpret the visual aspect of the work of Prus, and especially the impact of the writer’s diseases (including a deepening vision defect, agoraphobia) on the ability to perceive reality and the creation of the world presented in the works (based on the novels: "The New Women", "The Doll", "Dzieci") and on the construction of Prus’s characters in order to find an answer to the question: how do they look and what do they see? The text presents a portrait of Prus short-sighted (experienced also by a hyperopia); how the writer perceives and uses the descriptions of the colours; how he creates an image of the omnipresent four eyes-protagonist in his works; and finally – how he prepares to work, gathering materials in his notebooks, which can be described as his writing workshop. There are the author’s notes on the sight, its role and place among other senses. With time other sources of the world knowledge begin to dominate over the more and more imperfect observation: his experience, acquired knowledge, and above all – feeling.

3

Wstęp

63%

Bąbel A. , Grabowska-Kuniczuk A.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2016

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tom 22: Warunkiem trwałości jest przemiana. Parafrazy, kontynuacje i aluzje literackie

3-6

4

Bolesława Prusa 'zabawa' w pisanie na maszynie – narzędzie, autor, tekst

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Grabowska-Kuniczuk A. , Parnowska M.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

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2015

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nr 21: Sztuka tracenia, sztuka rezygnacji. Samoograniczenie i autocenzura

235-249

EN

The text presents Bolesław Prus’ first exercises in writing on a typewriter, depicting an experienced writer at the very moment of substantial changes in his workshop when he shifts from a manuscript to a typescript. One of his first typescripts catalogued as "Nauka Bolesława Prusa pisania na maszynie" ["Bolesław Prus practice in typewriting"] (manuscript BPW 128 IV compared with the first edition) is a valuable testimony of writer’s thoughts on the introduction of facts (in "Kroniki" ["Chronicles"]) and the creation of texts in general (composition rules), and also serves as a record of the nineteenth century everyday life (biographical information about the writer). These exercises are also an interesting example of a meta-text in which the author recorded and commented on his numerous errors, mistakes and corrections while becoming familiar with the new tool. The article is an attempt to analyse the role of the typewriter in writer’s life in the context of the historic evolution of the typewriter itself (on the basis of memoirs from the period and other sources dealing with the history of typewriters in Poland in the 19th century and at the turn of 19th and 20th centuries). Prus’ first typescript is published separately with editorial comments.