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JULIUSZ SLOWACKI'S 'MAZEPPA' AS A DRAMA OF MIMETIC DESIRE ('Mazepa' Juliusza Slowackiego jako dramat mimetycznego pragnienia)

100%

Ziemba K.

Pamiętnik Literacki

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2009

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tom 100

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nr 3

61-85

EN

In its character, the paper reveals an interpretation of Juliusz Slowacki's drama, and as its theme it develops the scenes of future Ukrainian hetman's life prior to the forced, back to front, unusual Mazeppa's nude bareback riding achievement fixed in his legend and in Western art. The authoress points at the elements of imitation, reflections and echo in the space construction, the action, and the characters' behavior to state that it is a mimetic desire (René Girard's literary criticism category) that directs the lifes of the protagonists. The analysis of the mimetic relations between the characters brings out Mazeppa's double Ukrainian-Polish identity, and Slowacki's understanding of the connections between the aforementioned countries set in the drama. Moreover, the article questions the title protagonist's idealizing interpretations: the authoress is more likely to link him rather with the heroes of ethnic and cultural borderlands of the pre-partition Polish Republic and Lithuania than with a set of morally developing figures from Slowacki's mystical period.

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THE BODY AND THE SOUL IN A DISPUTE ABOUT POETRY. JULIUSZ SLOWACKI'S 'POET AND INSPIRATION' ((Cialo i duch w sporze o poezje. 'Poeta i Natchnienie' Juliusza Slowackiego)

100%

Siwiec M.

Pamiętnik Literacki

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2009

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tom 100

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nr 3

43-59

EN

The article is an interpretation of Juliusz Slowacki's 'Poet and Inspiration' and attempts to present the poet's writing conception just after so-called mystic turn. The key problem of the suggested reading is the relation between the material and the spiritual. The relation in question, reflected as love between the poem's two characters: the Poet and his beloved - and at the same time his inspirator - ceases to rely on a simple juxtaposition of opposing categories (body-soul, past-present, paganism-christianity) but depends on their aporic combination. Reluctance to the matter does not exclude its valorisation - it is viewed as a prison and at the same time as a language the spiritual world speaks, and as the Poet's only available mode of expression. The exchangeable identification of the lovers with their opposite poles allows to present a concept of Slowacki's poetry as internally conflicted concept.

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TWO FORGOTTEN DRAWINGS BY JULIUSZ SLOWACKI (Dwa zapomniane rysunki Juliusza Slowackiego)

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Brzozowski J.

Pamiętnik Literacki

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2009

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tom 100

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nr 3

167-179

EN

The paper is a presentation of Juliusz Slowacki's two drawings done most probably in the first months in 1845. The drawings have never been reproduced and the scanty pieces of information on them are either casual or grossly inadequate. The first drawing shows in a satiric way an episode common among the émigrés: Mickiewicz's prophetic vision signaling Andrzej Towianski's arrival to the West. The second drawing is an ironic and derisive evaluation of pro-Russian tendencies in the Circle of God's Cause initiated by its founder Andrzej Towianski and his deputy, Adam Mickiewicz. At the turn of 1844 and 1845 Slowacki actively and keenly protested against the aforementioned tendencies: he wrote proclamations, notes, letters, and poems. Their analysis in the first part of the paper (fragments 3-5) gives evidence to prove that at a moment the drawings in question appeared as an important element of some action lead by Slowacki. One may not exclude the idea that while working on them, Slowacki thought of publishing them (and it was probably also with the intention that he copied a poem from his draft to give it a title in the clean copy 'A Lair' (Matecznik). The second part of the paper (especially fragments 7-8) brings a commentary to the drawings in question and an attempt to a possibly complete identification and explanation of all the details Slowacki put in them. One may explicitly see here the core of Slowacki's extremely critical attitude to the political and spiritual endeavors into which Master Towianski and his deputy involved their supporters.

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JULIUSZ SLOWACKI'S 'IN SWITZERLAND'. IMAGERY AND SYMBOLISM ('W Szwajcarii' Juliusza Slowackiego - obrazowanie i symbolika)

100%

Wojcicka Z.

Pamiętnik Literacki

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2009

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tom 100

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nr 3

135-165

EN

Introduction to the article is devoted to the shaping of Slowacki's artistic attitude: plastic education, learning about the old and contemporary painting and the papers by Western Europe theatre set designers, and his own reflection upon transferring of the realia set in his memory to the images he created. Imagery of the nature in the poem 'In Switzerland' was directly influenced by the Swiss Alps landscapists but Slowacki broke their conventions since the space he created proves to be of sign character, is dominated by movement, and conveys its senses with the help of symbols taken from Mediterranean mythology, the Bible, anthropology and folklore. The images' characteristic feature is a suggestion of the Whole Universe (the influence of German idealistic philosophy) and its spiritualizing. Slowacki juxtaposes literality with metaphor, the real space with spiritual one, and the finished with the unfinished. The nature serves as the background and a place for love episode which ends with the death of the beloved. The narrator and at the same time her melancholic partner reconstructs the past and maps his internal state onto the vision of the world. The final part of the paper looks the subject proper ahead and considers the poem 'Anhelli' to formulate a conclusion that without 'Anhelli' and 'In Switzerland' the poem 'King-Spirit' would not have reached the masterly level.

5

EYE-TO-EYE INTERACTION IN JULIUSZ SLOWACKI'S 'THE SPIRIT KING' AND THE POETRY OF TADEUSZ MICINSKI

80%

Pilch U. M.

Ruch Literacki

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2007

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tom 48

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nr 3(282)

301-316

EN

In this article poems by Tadeusz Micinski are juxtaposed with passages from Juliusz Slowacki's 'Król-Duch' (The Spirit King). Their analysis is concerned chiefly with the way they signal eye-to-eye interaction. The analysis has revealed two key issues. One is the subject's monitoring of his own gaze; the other is the subject's sensitivity to the presence of 'other' eyes and his reaction, the concentrated 'look back'. The latter is marked by tension characteristic of a situation in which a set of complementary roles of the dominant and dominated party is tried on and fixed. The stand-off reaches its dramatic height in the oscillating confrontation of the subject's eye whose ability to hold out and project its controlling gaze is put to the test by the besieging, intrusive gaze of the Other. Such eye-to-eye interactions seem to be crucial in determining key aspects of the subject's identity.

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MISSED COPIES OF JULIUSZ SLOWACKI'S POEMS

80%

Brzozowski J.

Pamiętnik Literacki

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2008

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tom 99

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nr 1

171-181

EN

In the first part, the paper informs of the so far unknown copies of epic poems ('There stands a bent tree after each half mile', 'Master Thaddeus', 'Attempts at a philosophical epic poem') and copies of Juliusz Slowacki's poems. The copies in question, made by Zygmunt Szczesny Felinski, are deposited in Ossolineum Library (No. 9899/II) and known to publishers as manuscripts containing texts which belong to second rhapsody of 'King Spirit'. In the second part the author presents the text (and its variants) of 14 copies which were not included into the edition: J. Slowacki, 'Wiersze. Nowe wydanie krytyczne', prepared by J. Brzozowski and Z. Przychodniak (2005).

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GOPLO

80%

Piwinska M.

Teksty Drugie (Second Texts)

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2008

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nr 4(112)

146-153

EN

The legends on Piast and King Popiel are related to the lowering of waters of pre-Goplo lake, the locality of Kruszwica then being removed away of local water trade routes. Literature and historiography took up legends on the origins of Polish state during the Partition time (J. U. Niemcewicz, J. Lelewel). Juliusz Slowacki, who had never seen Goplo himself, was the only great Polish romantic author who resumed the theme, trivialised as it was by patriotic didacticism. The Goplo vicinity in 'Balladyna' and 'Lilla Weneda' has a colouring of their author's readings (Shakespearism, ballad-mania, political topicalities, Slowaczynski's dictionary of the geography of Poland, historical readings). Overlapping with Goplo was the image of Leman whose imagination-fertilising presence is testified to by the poet's correspondence and the Dedication Letter in 'Lilla Weneda'. Slowacki points out therein also to another segment of imagination: the 'Pinsk recollection'. In 'Król Duch', Goplo-related rhapsodes are dug out of the 'centuries-old memory' - and Slowacki's own memory; the poet added up a personal and romantic(ist) colouring to the Goplo vicinity. In building the entry in question, the author wanted to point to a diversity of visions of this historically important site in Polish culture and to the multi-ingredient poetic image of Goplo and the historic vicinity as depicted in Slowacki's vision.

8

Golden Dream of Slowacki, or on Poetry and Politics

80%

Markiewicz B.

Przegląd Filozoficzno-Literacki

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2007

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tom 6

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nr 3-4(18)

479-487

EN

In the article the authoress analyzes complex relationship between poetry and politics in the works of Juliusz Slowacki, especially his 'golden dream' - 'Genezis z ducha' (Genesis from Spirit). She inclines towards a thesis that this 'dream', as well as whole poetry, functions to make the future more familiar, its shape more perceptible and just to think about it.

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SACRIFICE, EVOLUTION AND PERSPECTIVE IN THE MYSTICAL OEUVRE OF JULIUSZ SLOWACKI. A COMPARATIVE STUDY (NORWID, KRASINSKI) (Ofiara, ewolucja i perspektywicznosc w tworczosci mistycznej Juliusza Slowackiego na tle porownawczym; Norwid, Krasinski)

80%

Nieukerken A. v.

Pamiętnik Literacki

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2009

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tom 100

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nr 3

7-42

EN

Norwid characterized Slowacki's long poem 'Król-Duch' (King-Spirit) as a 'phenomenological epic'. In this respect, 'Król-Duch' continued the inspired prayer 'Genezis z Ducha' (Genesis from the Spirit). On the level of humanity, being consists in creating intellectual categories that allow grasping the primeval forms of nature as rudimentary stages in the growth of self-consciousness. Due to this concept, a man grasps being as a spiritual whole developing towards infinity. However, this idea engages us into fundamental aporia. The intellect, having emerged from more 'primitive' stages of being, can never judge about the ultimate meaning of the process in which it partakes. That would be the privilege of almighty and omniscient God. However, the assumption that the ultimate sense of reality is guaranteed by a perfect and eternal being would leave no room for the individual creativity of the self. The idea of individual creativity cannot be severed from the concept of freedom since beings are free to succeed, i.e. they can either develop into higher, more complicated organisms, or fail. A success in the evolutionary process cannot be achieved without self-sacrifice. From our human perspective, this willingness has been embodied by Jesus Christ, the God-man. Slowacki's tendency to treat the Scriptures, and particularly the Gospel, as a symbolic form of a particular stage of being could not be approved by Cyprian Norwid, who tried to remain faithful to the Letter of the Christian revelation. However, it seems quite probable that due to Slowacki's perspectivism Norwid started to seek traces of the Gospel in all aspects of being (even the most material and 'base'). Yet, in Norwid's case, this awareness does not imply an ontological relationship between the lower stages of being and Christ the God-man. It just means that the human self realizes 'here and now' its own potential 'Christhood'.

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DID SLOWACKI WRITE POEMS IN FRENCH? ON THE BEGINNING OF THE POET'S CAREER IN PARIS IN 1832 (Czy Slowacki pisal francuskie wiersze? O poczatkach kariery literackiej poety w Paryzu 1832 roku)

70%

Przychodniak Z.

Pamiętnik Literacki

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2009

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tom 100

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nr 3

181-199

EN

The subject of the article is Juliusz Slowacki's literary activity in the first period of his stay in Paris (September 1831 - December 1832), after the collapse of the Polish November Insurrection (1830-1831), among the Polish émigrés and in the French communities (among others, his contacts with Marc-Antoine Jullien, the editor of 'Revue encyclopédique'). Slowacki prepares his literary debut ('Poezje' (Poetry), vol. 1-2, 1832), strives for his recognition by critics and considers writing in French. The aim of the paper is a description of the relation between Slowacki's literary pieces in Polish and in French (En s'éveillant nous suit de ses regards pensifs..., Le Roi de Ladawa, Béatrix Cenci) and an explanation of the reason of his failure in reaching a satisfactory literary position.