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Bruno i Caravaggio. Filozof heretyk i malarz heretyk w twórczości Gustawa Herlinga-Grudzińskiego

100%

Grigorova M. , Nowosad A.

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tom 16

61-78

PL

Bruno and Caravaggio – the heretic philosopher and the heretic artist in the works of Gustaw Herling-Grudziński The present text follows the extraordinary “double portrait” of Bruno and Caravaggio – rebels in science and art, who are being „painted” by the Polish emmigrant writer in his works. They live together in his thoughts for many years. Herling writes series of texts about them, in which the position of the main character changes, but the remaining one is always inseparably present. The texts analyzed are his essay “Caravaggio” (1990) and the story about Giordano Bruno – “Deep shadow” (1994). There are fragments of them which are shown in “Journal Written at Night” (1985, 1996), and in “Talks in Dragonea” (1997) – between Herling and Bolecki. Key words: Giordano Bruno; Caravaggio; Gustaw Herling-Grudziński;

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Maran na moście. Sekretne konwersje Gustawa Herlinga-Grudzińskiego

89%

Kołodziej D.

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nr 38

141-162

EN

This article attempts to discuss conversion in Gustaw Herling-Grudziński’s stories. Characters in Grudziński’s pieces are neither Jews nor Catholics, they are – as Yirmiyahu Yovel writes in his book The other within – “hybrids, a composite entity in the middle”. The paper applies the figure of marranos from Yovel’s research to reinterpret conversion in Grudziński’s stories and biography and point out how this secret shapes inner conflict in his works.

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Z historii polskich przekładów powieści Doktor Żywago Borysa Pasternaka (na podstawie korespondencji Jerzego Giedroycia i Gustawa Herlinga-Grudzińskiego oraz Jerzego Stempowskiego i Marii Dąbrowskiej)

75%

NDiaye I. A.

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tom Tom 2 Nr XXIII

85-96

EN

This article recalls the circumstances of the first edition of the novel by Boris Pasternak, Doctor Zhivago, in Polish translation, which appeared in 1959 in volume XLIV of the Biblioteka ‟Kultury” series, published by the Paris Literary Institute. Reconstruction of the history of this publishing initiative in the context of the political situation is possible thanks to historical sources preserved in the Paris and Warsaw archives, publications in periodicals, memoirs and epistolary culture. The circumstances in which the typescript was imported to Poland and in which the Literary Institute obtained a license for a Polish translation, the choice of translator, and Jerzy Giedroyc and Gustaw Herling-Grudziński’s correspondence are discussed. An important source of information is the lively correspondence between Maria Dąbrowska and Jerzy Stempowski, the son of a publicist and social activist, and Mason Stanisław Stempowski, a longtime life partner of the writer. The fragments of epistolary culture discussed here allow a better understanding of these outstanding individuals of the twentieth century. The content of the correspondence analyzed also allows us to reconstruct many interesting facts from the field of translating Russian literature into Polish, as well as the complex situation of Polish-Russian relations in the post-war period.

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Alegoria w „skrzydłach ołtarza”: Herling-Grudziński, Benjamin, de Man

71%

Potkański J.

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nr 7(10)

335-344

EN

The article juxtaposes the diptych of short stories by Gustaw Herling-Grudziński, The Tower and Pieta dell’Isola, with the theories of allegory developed by Paul de Man in The Rhetoric of Temporality as well as by Walter Benjamin in The Origin of German Tragic Drama. The analyses reveal several points of convergence in the structure and motives present in the works by Grudziński and in the texts by these critics. In the case of Benjamin, this would suggest his influence on Herling, whereas in the case of de Man, it reveals a parallelism of thoughts of the two contemporaries working with different genres and different interpretative communities, yet developing very similar conceptions of the text as well as of the man.

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Ucieczka z Jasnej Polany w literaturze polskiej

51%

Jaworski M.

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nr 1

25-44

PL

Artykuł stanowi interpretację serii napisanych przez polskich autorów tekstów, inspirowanych ostatnim, równie słynnym co zagadkowym, epizodem życia Lwa Tołstoja. Są wśród nich, powstałe na przestrzeni stulecia, utwory (wiersze, opowiadania, eseje, powieści, dziennikowe zapiski): Bolesława Leśmiana, Jarosława Iwaszkiewicza, Adolfa Rudnickiego, Leopolda Staffa, Mieczysława Jastruna, Władysława Terleckiego, Zbigniewa Herberta, Gustawa Herlinga-Grudzińskiego, Tadeusza Różewicza. Autor artykułu przedstawia światopoglądowe, historyczno-polityczne, a także osobiste uwarunkowania odczytań ucieczki oraz postaci rosyjskiego pisarza przez polskich twórców – odczytań zaskakująco różnorodnych, często z sobą sprzecznych, niekiedy wchodzących w wyraźne relacje dialogowe. Do najciekawszych utworów należą z pewnością nie znany szerzej szkic Leśmiana oraz grupa tekstów Iwaszkiewicza – pisarza czyniącego z tego tematu (jak widać w świetle niedawno wydanych „Dzienników”) prywatny mit.

XX

The article offers an interpretation of a series of texts composed by Polish writers inspired by as famous as mysterious episode from Leo Tolstoy’s life. Produced over a span of a century, they comprise the pieces (poems, short stories, essays, novels, diarist notes) by Bolesław Leśmian, Jarosław Iwaszkiewicz, Adolf Rudnicki, Leopold Staff, Mieczysław Jastrun, Władysław Terlecki, Zbigniew Herbert, Gustaw Herling-Grudziński, Tadeusz Różewicz. The author presents the worldview, historical-political as well as personal circumstances of the escape’s and the figure of Tolstoy’s interpretations by Polish writers, the interpretations being amazingly differentiated, often contradictory, oftentimes entering into dialogical relationships. Probably the most interesting of the pieces in question are unknown to a wider public Bolesław Leśmian’s sketch and a set of Jarosław Iwaszkiewicz’s texts, in which Iwaszkiewicz (as can be seen in the light of his recently published “Diaries”) makes Tolstoy’s escape his private myth.