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LEKARZ I PISARZ TADEUSZ BOY-ŻELEŃSKI W OKUPOWANYM PRZEZ SOWIETÓW LWOWIE (1939–1941)

100%

Supady J.

nr 2(51)

77-87

In 1939, many Polish well-known writers were in Lvov. After the Soviet invasion on the Eastern territories of the 2nd Polish Republic, part of them, mainly those holding communist views, started to collaborate with the invader and its occupying forces. In that group happened to be a person, famous before the war – Tadeusz Boy-Żeleński. A well-known writer and translator, pediatrician by profession (he abandoned his profession), lent his name and endorsed the propaganda activities of the Soviet authorities, and also put his signature under declarations accepting Russian aggression against the 2nd Polish Republic and incorporation of the Eastern borderlands to the USSR. Boy-Żeleński wrote many articles to Polish-language, Soviet collaborationist rags published in Lvov, as “Czerwony Sztandar”, or “Nowe Widnokręgi”. He participated in numerous propaganda meetings and rallies. At that time in Lvov and other places of the occupied Polish territories, mass arrests were taking place, as well as transportations of many thousand people to Russia, evictions, executions, and other methods of horrible repressions. After Germans entered Lvov, Boy was arrested and murdered by new invaders on 3 July, 1941.

Między potocznością a erudycyjnością. Uwagi o języku Tadeusza Boya-Żeleńskiego

83%

Sokólska U.

Poradnik Językowy

2022

tom 796

nr 7

35-51

This paper is an attempt to discuss certain aspects of Tadeusz Boy-Żeleński’s style. It notes the coexistence of in fact mutually exclusive lexical phenomena in the artist’s texts, i.e. popular, colloquial, bawdy, and vulgar names (e.g. bufon, safanduła, pierdoła, pryk, bajdurzyć, mizdrzyć się, rżnąć marsze, zalać pałę) and vocabulary attributable to the sphere of erudition, that is vocabulary the primary feature of which is that it is present today, but it was also present at the turn of the 20th century and in the interwar period in the written variant of Polish or in carefully worded utterances (e.g.: epikurejczyk, erudyta, diatryb, eufemizm, mimetyzm, preegzystencja, trawestacja, sardoniczny, deliberować, restytuować). It also points to the fact that expressions that are diverse in terms of emotional and stylistic markedness function in Boy-Żeleński’s works naturally and virtually unpretentiously.

Witkacy’s Paintings as Frozen Drama

71%

Żakiewicz A.

nr 4(31)

73-78

In this article the author applies Tadeusz Boy-Żeleński’s claim that Witkacy’s paintings are “theatre frozen on canvas” by examining the many characters who coexist in both his paintings and dramas. This is evident not only in the content of his later drawings and paintings when he was most productive with his dramatic literary output, but also in the subject matter of earlier art pieces before he even began the fruitful period of his dramatic works. Moreover, some of the images in his artwork reflect his own real life experiences. The author borrowing a phrase from Daniel Gerould claims that Witkacy creates a “unified world of imagination” in which various characters appear in multiple literary and art works.