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Wokol zla ontycznego w prozie Gombrowicza

100%

Fiala E.

tom 103

nr 2

41-58

The author defines ontic evil in contrast to moral evil. The latter involves a conscious and free choice of an individual, while the former is a synonym to suffering, sickness, physical and spiritual handicap, man’s mortality and his “feeling of personal villainy” (Ricoeur). Perceived in this way, the evil is traced in psychological picture of selected characters in Gombrowicz’s Cosmos (Kosmos) (Witold, Mrs. Kulka, and Ludwik), as well as in Pornography (Pornografia) (Siemian and Amelia), and further on developed in reflections on Gombrowicz’s provocative discourse in his Diary (3) (Dziennik <3>) where he formulated a thesis that Hitler is present in every Pole. Fiala interpretes this statement in st. Paul’s biblical anthropology registers as a figure of susceptibility to evil embedded in every person.

Dwie figury pisarstwa: nieznane zwierzę – Zantman, Gombrowicza i kopidoł Rybka, Morcinka

86%

Mikołajec M.

2012

tom 10

nr 1(18)

69-79

Marek Mikołajec in his essay Two figures of writing: unknown animal – Zantman by Gombrowicz and the gravedigger Rybka by Morcinek tries to describe situation of the first person narrator. In the analysis Readers can see clearly that in both cases (Gombrowicz and Morcinek’s) the narrator is a disillusioned outsider. Only this type of a ”storyteller” is able to tell all of inconvinient truths. The narrator is a person that is wanted and unwanted in the community at the same time. Zantman and Rybka have felt that humanity is shameless and full of hipocrisy. Zantamn tried to redefine nature as biological and cultural idea and Rybka made an attempt to understand the human heart that had experienced the traums of modern history (between the end of 19th and the first half of 20th century). Both of them tried to solve philosophical problems through storytelling. Walter Benjamin selected two types of the narrator - the first one could be described as follows: “When someone goes on a trip, he has something to tell about” and the second one is the man who has stayed at home, making an honest living, and who knows the local tales and traditions. In other words – the first one is a seaman and the second is a tiller. Gombrowicz and Morcinek’s narrators (homosexual Jew and Silesian gravedigger) connect both of these types and this double bind makes them monsters. With every deeper view they lose the ground beneath their feet. The main thesis of Mikołajec’s essay is: Only the dropout narrator can make a breakthrough in Readers’ world view.

Węgierska Operetka. Rola muzyki Piotra Salabera w spektaklu Andrzeja Bubienia w Nemzeti Szinhaz (Teatrze Narodowym) w Budapeszci

86%

Demby Ł.

nr 4

211-219

Łucja Demby’s article considers the performance produced at the Nemzeti Színház (National Theatre) in Budapest, based on Witold Gombrowicz’s drama Operetta and created by two Polish artists: the director, Andrzej Bubień, and the composer, Piotr Salaber. The author’s primary focus is the function of music in this production. Although in his drama Gombrowicz referred to the operetta as a music genre, he was not really concerned about the musical setting of its prospective stage productions. He viewed operetta as a symbol of the old world order, a caricatured image of the obsolete form. The grotesque was the form of art that interested him most. Their collaboration with the renowned Hungarian theatre enabled the Polish artists to approach Gombrowicz’s drama in a modern way. This was partly due to the fact that in Hungary the genre of grotesque has not developed as much as it has in Poland, whereas Viennese operetta has got a long tradition. The article highlights the way in which the music of Piotr Salaber, which is present during the whole performance, tells about the destruction of the old world and illustrates the deconstruction of Gombrowicz’s form. The Budapest National Theatre production was presented at the 11th International Gombrowicz Festival in Radom in October 2014 and won the Grand Prix.