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„Wzruszenie trwalsze niż ściany gmachów obróconych w gruz”. Między tradycją a nowoczesnością: Irzykowski wobec Żeromskiego

100%

Panek S.

Poznańskie Studia Polonistyczne. Seria Literacka

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2016

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nr 27

283-308

EN

This paper shall discuss Karol Irzykowski’s views on the prose work of Stefan Żeromski. The shifting nature of the former towards the latter – author of Ludzie Bezdomni [The Homeless] 1899 – shall be examined; ones that changed from criticism to approval. In this context Irzykowski’s critical concept developed in his collection of essays, Czyn i słowo [Action and the Word] 1913, shall be taken into account and it shall also be argued that Irzykowski’s polemical discourse in respect to Żeromski was an integral part of his literary manifesto.

2

“Clarity is a Fiction Made of the Fabric of Chaos”: Irzykowski Nonunderstandableness

92%

Panek S.

Zagadnienia Rodzajów Literackich

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2018

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tom 61

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nr 3(127)

71-88

EN

The paper deals with a famous critical controversy of Poland’s interbellum period, the polemic about what Karol Irzykowski called “nonunderstandableness,” stirred up by his article Niezrozumialstwo (1924). Begun on the pages of the weekly “Wiadomości Literackie”, the controversy continued in other periodicals in essays by eminent writers and critics of the time (including T. Peiper, J. Przyboś, S. I. Witkiewicz, J. Ujejski, J.N. Miller, J. Hulewicz and J. Brzękowski) until the outbreak of the World War II. Its importance in the history of the nation’s literary criticism between the wars consists not only in that it promoted the category of “nonunderstandableness”, which has since then become an essential “figure of the reading” of the literary texts of that period (W. Bolecki), but also in Irzykowski’s penetrating campaign employing this category, which diagnosed and exposed the recondite affinity of the literary aesthetic principles and strategies of Young Poland and the later avant-garde. The aim of the paper is to explain Irzykowski’s attitude within this controversy: (1) to identify the personal and abstract, explicitly and implicitly named targets of his attack; (2) to place the category of “nonunderstandableness” within the system of the writer’s opinions from the area of literary criticism; and (3) to interpret the paradoxical manner in which he conducted his critical dispute.

3

Zwierciadło

82%

Kurz I.

Kwartalnik Filmowy

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2022

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nr 119 (Nowa) teoria filmu

173-181

PL

W artykule przywołani zostali dwaj polscy teoretycy kina, Karol Irzykowski i Grzegorz Królikiewicz, oraz główne dla ich teorii pojęcia: zasada zwierciadła i molekuła. Autorka sprawdza ich działanie i reinterpretuje je w kontekście nowo wydanej książki Sebastiana Jagielskiego Przerwane emancypacje. Polityka ekscesu w kinie polskim lat 1968-1982 (2021), której autor proponuje interpretację polskiego kina od końca lat 60. do początku lat 80. dokonaną przez pryzmat pojęcia ekscesu. Jagielski definiuje je jako formalną lub wizualną nadwyżkę, która rozsadza i destabilizuje społeczną normę. Jego książka staje się także komentarzem do kultury polskiej omawianego okresu. Stawiając pytania o (nie)możliwe emancypacje, zerwane procesy modernizacyjne i niewydarzone podmioty, Jagielski pyta zarazem o relację pomiędzy kinem a życiem i sposób, w jaki te dwie rzeczywistości karmią się sobą nawzajem. (Materiał nierecenzowany).

EN

The article recalls two Polish theoreticians of cinema – Karol Irzykowski and Grzegorz Królikiewicz – and their main concepts: the mirror principle and the molecule, respectively. At the same time, it checks the functionality of these concepts and reinterprets them in the context of Sebastian Jagielski’s newly published book Przerwane emancypacje. Polityka ekscesu w kinie polskim lat 1968-1982 [Interrupted Emancipations: The Politics of Excess in Polish Cinema, 1968-1982] (2021). This work proposes an interpretation of Polish cinema from the late 1960s to the early 1980s through the notion of excess, which the author defines as a formal or visual surplus that explodes and destabilizes the social norm. In this respect, the book also becomes a commentary on Polish culture of the period in question. By asking questions about (im)possible emancipation, broken modernization processes and mismatched subjects, Jagielski also asks about the relationship between cinema and life, and the way in which these two realities feed on each other. (Non-reviewed material).

4

“Do Not Throw Down the Glove Before Me, or You Shall Be Cold”. The Aphorisms of Karol Irzykowski

82%

Panek S.

Zagadnienia Rodzajów Literackich

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2015

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tom 58/115 z. 1

57-73

EN

The article discusses Karol Irzykowski as an aphorist, focusing on the discord between the critic’s intensive practice of the aphorism and his scathing condemnation of the form of the aphorism, which in his opinion was an instance of simplified, apodictic thinking. The aim of the article is to attempt to explain what justifies the frequent use of the aphorism by a writer who did not appreciate this device; what shape Irzykowski’s aphorisms took against the background of the tradition of the genre; and, finally, what is their function in his writing and what they prove. Irzykowski’s skeptical attitude to this form of statement stems from his epistemological beliefs and provides both a basis for his modifications of the genre and the keystone of cycles of intertextually related aphorisms which the present author has identified in dispersed yet thematically connected pieces by this critic.

PL

Artykuł traktuje o Karolu Irzykowskim jako aforyście, koncentrując się na paradoksie rysującym się pomiędzy jego intensywną aforystyczną praktyką a jednoczesną zjadliwą krytyką tego gatunku - przykładu uproszczonego, apodyktycznego myślenia. Celem artykułu jest próba wyjaśnienia, co uzasadnia częste stosowanie aforyzmów przez pisarza, który nie cenił tego "pisarskiego narzędzia"; jaki kształt mają aforyzmy Irzykowskigo na tle tradycji gatunku; i wreszcie, jaką pełnią funkcję w tekstach autora. Sceptyczne podejście Irzykowskiego do tej formy literackiej wynika z jego przekonań epistemologicznych i tym samym determinuje autorską modyfikację gatunku.

5

Przyjaźń, która musiała dojrzeć- czyli słów kilka o kontaktach Karola Irzykowskiego ze Stefanem Grabińskim

81%

Ostafin O.

Rocznik Przemyski

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2013

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tom 49

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nr 2: Literatura i Język

107-122

EN

The article deals with the relationship between Karol Irzykowski and Stefan Grabiński. Its main part was based on the correspondence of the author of Pałuba (The Hag) with many influential men of letters in interwar Poland. In these letters and in his diary of 1916-1944 one can find a lot of information shedding new light on the critic’s relationship with Grabiński. They show a gradual process of forming an acquaintance that with time grew into a friendship. Grabiński’s literary work was also an artistic inspiration for Irzykowski, who, after reading The Motion Demon, wrote a short story called Astral Carriage (briefly discussed in this article). For about twenty years Irzykowski was a spiritual patron of Grabiński’s career, promoting his work, however he was by no means uncritical towards the writer (what proves it is his review of Grabiński’s novel Baphomet’s Shadow). The article also includes a brief discussion of Irzykowski’s project related to The Writers’ Chamber which Grabiński was to become a member of, and recalls the effort of Irzykowski together with J. E. Płomieński to grant the author of The Salamander The Literary Award of the City of Lvov.

6

Il futurismo polacco nella critica letteraria dell’epoca

81%

De Carlo A. F.

pl.it / rassegna italiana di argomenti polacchi

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2016

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nr 7

61-76

EN

The article analyses the critical voices raised against the young poets and artists who promoted Futurism in Poland during the first half of the Twentieth century. Futurist manifestos influenced the new Polish poetry, stimulating a lively debate among intellectuals of the calibre of Stefan Żeromski and Karol Irzykowski. In general, the coeval criticism of Polish Futurism focused on three main points: the lack of originality and servile imitation of foreign literary models; the repudiation of the past and national traditions; Futurism as an expression of ideologies such as Fascism in Italy and Bolshevism in Russia. In this article, specific attention is devoted to an analysis of the essay Snobizm i postęp (Snobbery and Progress, 1923) by Żeromski. The writer, criticising Polish imitators of Russian Futurism, affirmed that Polish literature and culture, in the context of national reconstruction after three partitions of Poland, needed to maintain its natural connection with the past and at the same time, without losing its national nature, to weave some universal suggestions into the plot of purely Polish themes. The goal of this article is to reveal that Żeromski and Irzykowski’s critical stance towards the Polish Futurists, which influenced the critics of the next generation, was dictated by a shallow analysis of Futuristic works and by their inability to understand Futuristic efforts to modernise Polish art and literature.