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1
Content available Najkrótszy przewodnik po moim ojcu. Z Martą Herling rozmawia Magdalena Śniedziewska
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Śniedziewska M.
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nr 38
269-283
EN
The interview is devoted to Gustaw Herling-Grudziński. The writer’s daughter, Marta, talks about her father, particularly focusing on the Italian contexts of his biography and writings. Also discussed is the problem of the writer’s attitude towards the Italian language and the reception of his works in Italy. Another important topic is Naples as a fascinating source of writing inspirations and, at the same time, the city where Herling-Grudziński happened to live and die.
2
Content available Admiration in Place of Imitation: Four Medallions by Gustaw Herling-Grudziński
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Śniedziewska M.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2019
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nr 8
113-129
EN
The medallions devoted to Caravaggio, Rembrandt, Vermeer, and Ribera are a major collection of texts within Gustaw Herling-Grudziński’s entire output. Through them, he proved that he was able to write a moving text about painting while avoiding both the academic tone and flaunting his knowledge, as well as the dangers of ekphrasis transforming too often into irksome detailed inventories of the elements of a painter’s presentation. The decision to refer to these texts as medallions was equally a genological concept and a clever hedge, and a starting point for a discussion on the ambiguity of the very notion of a medallion. Herling-Grudziński would not have been himself if he had abandoned autobiographical reflections. When considering artists and their works ‘from aside’, he multiplied assumptions, proposed apocryphal versions of some biographical threads, and formulated bold unverifiable hypotheses – this was because he sided with a literary story, not an academic discourse.
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„Malarz wielkiej proustowskiej melancholii” - Willem Duyster w Archiwum Zbigniewa Herberta
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Śniedziewska M.
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nr 1: Literatura Polska
93-116
EN
The article is an analysis of the typescript and manuscripts of Zbigniew Herbert’s unfinished sketch about Willem Duyster, the seventeenth century Dutch painter specializing in presenting genre scenes and guardroom scenes. First the edition of the essay prepared by Barbara Toruńczyk is commented on. Next, on the basis of a textological analysis of both the notes and all the surviving variants of the sketch, the most important motifs connected with Duyster’s biography and work that Herbert took up were reconstructed: rehabilitation of the little master, the situation of soldiers in the 17th century Netherlands, an analysis of the Amsterdam painting The Wedding Party seen before and after its restoration, the question of the “memory of the eye” that is connected with it, and the problem of the melancholy of Duyster’s paintings, in which Herbert finds Proustian features.
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Content available Utrata cienia – fragmenty „włoskiej biografii” Gustawa Herlinga-Grudzińskiego
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Śniedziewska M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2019
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nr 35
193-216
EN
In Journal Written at Night Gustaw Herling analyzes the Peter Schlemihl’s Miraculous Story by Adelbert von Chamisso. The Polish writer (as an émigré) is extremely sensitive to the fate of artists forced to live away from their birthplace and, unlike Thomas Mann, proposes an interpretation according to which the loss of a shadow means the lack of homeland. Herling understands breaking away from his homeland as a kind of physical handicap: an existence without native land. However, if the roots can be found in another soil, it is impossible to regain the shadow. Herling introduces the distinction between hard existence and indeterminacy of feelings of a man eradicated, combining the alienation experienced in Naples with an intangible, but also irreversible loss of a shadow.
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Język poetycki Marcina Świetlickiego (na przykładzie Niskich pobudek)
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Śniedziewska M.
Prace Literackie
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2010
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tom 50
115-128
EN
In the article I analyse the word play and linguistic tricks used by Marcin Świetlicki in his collection Niskie pobudki (2009). This poet has a great sensitivity to equivocal words, their similarity in sound but also the tension that results from unexpected puns. Thus, Świetlicki explores linguistic possibilities of the Polish language and this may be similar to the poetic diction of Piotr Sommer whose works Dariusz Pawelec called a “discreet type of linguism”. That is why I suggest that we compare Świetlicki’s “project” to the achievements of linguists. In this case we have to be very careful. Even if his linguistic techniques seem to be similar to those of linguistic poets, the thesis about his linguism, resulting from this comparison, may be too far-fetched, as it comes to our mind too quickly. The language is not the main protagonist of Świetlicki’s poems (despite the fact that the poet exposes language mechanisms). The protagonist is a human being, and may very often be associated with the author himself. It is in the language that he proves his existence, though the language itself is in the background. Niskie pobudki shows Świetlicki’s great linguistic skills. He consistently shows his readers that he has developed his own distinctive style and his unique poetic voice.
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Content available „Niemowa z Kampen” - Hendrick Avercamp w Archiwum Zbigniewa Herberta
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Śniedziewska M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2010
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nr 17
265-295
EN
The present article analyses the rough drafts of Zbigniew Herbert’s essay on Hendrik Avercamp - the seventeenth century Dutch landscape painter who specialized in winter landscapes and scenes with numerous tiny figures. The author attempts to reconstruct the compositional idea for the essay and establishes facts concerning the research work done by Herbert concerning the life and work of Avercamp, confronts the findings with the present state of research and considers the issue of the biographical dimension of the painter’s artistic output as one of the keys to solving the interpretative problems of his paintings and the artistic tradition that had influenced the shaping of the Avercamp idiom of paintings. Avercamp’s works are juxtaposed in the article with the landscapes painted by Pieter Bruegel the Elder to show the difference between the visions of the world represented by the two painters. Bruegel, in Herbert’s opinion, is bitter in his reflection on the subject of transiency of human existence. Avercamp, conversely, tends to have a cheerful outlook on life, the world and his compatriots. Avercamp’s paintings allow us to get to know winter customs of the Dutch, their winter outdoor games participated by all - hence a thesis posed by the poet underlying the democratic character of skating rinks. In doing so, Herbert proposes to scrutinize carefully Avercamp’s artistic output within the context of, defined after Schiller, the notion of naivety, understood as “the virtue of accepting reality with humility” adopted from the old masters.
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Content available Introduzione
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Śniedziewska M. , De Carlo A. F.
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nr 39
7-9
PL
Introduzione
8
Content available Włoskie konteksty
63%
Śniedziewska M. , De Carlo A. F.
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nr 38
7-9
PL
Wstęp. Włoskie konteksty
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