Przeglądanie według Temat "emigracja XX w."

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Emigrant wobec polskości. Literackie prowokacje Mariana Pankowskiego
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Pasterska, Jolanta
The basic idea of writings by Marian Pankowski refers to the attitude of rebellious artist: independent author deeply convinced of his own value, writer constantly on search for his most suitable literary form. Literary provocations by Pankowski are treated as the expression of discontent to stereotypical images not only of such concepts as homeland and exile, but also religion and Western civilization. Polemic with history, Romanticism and religion, as well as unrestrained eroticism, are all perceived as an attempt to free the artistic individuality limited by obsolete forms and masks. Demythologization of Polish emigration – through exposing Pankowski’s compatriots who imitate the tradition of romantic post-insurrection émigrés – serves the same purpose. True Polishness is associated by Pankowski with the pattern remembered from his childhood: simplicity unaffected by politics, ideology, artificial pathos and hypocrisy. Opposition to this pattern is described in the images of Polishness abroad, associated with religious and political trashy meetings that commonly made use of symbols such as Black Madonna of Częstochowa and the Great Emigration. Pankowski accepts the role of an outsider alienated from the groups of both artists in Poland and emigres in order to provoke Poles to discuss the subject matter of Polishness itself. However, in his struggle against any examples of hypocrisy Pankowski does not expose the very source of his rebellion and from his extraordinarily vivid and carefully adjusted literary descriptions one cannot draw any moral. As a result, his experimental writings exceed and violate all the boundaries (political, literary, genre, moral) and thus cannot be undisputedly classified. His works have as many enthusiasts as they have adversaries. Undoubtedly, his art meets the basic requirement of aesthetics and does not leave its reader indifferent and unmoved.
Kazimierz Wierzyński w kręgu Polskiego Instytutu Naukowego
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Dorosz, Beata
The article presents an episode in the biography of Kazimierz Wierzyński related to the time of his emigration in the United States of America: since 1941 until his departure to Europe in 1959. Further contacts with the environment of Polish émigrés in New York, still kept after the poet’s return to Europe until his death in February 1969, are also taken into consideration in the article. However, the main point of reference is Wierzyński’s cooperation with the Polish Institute of Arts and Sciences in the United States (headquartered in New York). The Institute was formed in May 1942 as a branch of the Polish Academy of Learning in order to support unhampered artistic and scholarly development of Polish scientists and artists living in the USA during the wartime. Wierzyński was not only involved in activities of the Commission of Literary History of PIAS but had also been for many years a member of the Board of the Institute. Wierzyński, as well as the other prominent representatives of New York Polish émigrés like Jan Lechoń or Józef Wittlin, took part in numerous cultural and artistic events organized by PIAS or under its auspices. Discussing these events enables, on the one hand, individual analyses of Wierzyński’s works and their reception among both Polish and American readers (among others: English publications, translations and endeavours towards the Nobel Prize for the poet). On the other hand, observations of the émigrés’ society and its involvement in preserving and promoting Polish culture in exile can also be provided. In order to describe the role of Wierzyński as an independence activist the article recollects several facts related to the cooperation between PIAS and the National Committee for Free Europe. The main focus falls on the involvement of Polish poets, including Wierzyński, in a variety of programs of the Radio Free Europe, as well as on their participation in the organization of the Congress of Free Polish Culture that was to take place in Paris in 1956. Discussion related to the development of PIAS and its possible cooperation with academic institutions of the People's Republic of Poland is used in order to present Wierzyński’s attitude towards contacts of the émigrés with Poland. He was in favour of such contacts due to the strong conviction that any links with Western culture support his compatriots in their resistance to the communist regime and their struggle with the process of sovietization. The article quotes hitherto unknown documents as it is based on materials discovered mainly in Polish and American archives in the USA. Thus, the article is considered a contribution to the biography of Wierzyński, discussed not only from the perspective of literary and cultural context, but also historical, political and sociological point of view.
Kim jesteśmy? Kim będziemy? Poszukiwanie tożsamości emigracyjnej w "My zdies' emigranty" Manueli Gretkowskiej
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Boczkowska, Magdalena
The article analyses a novel "My zdies’ emigranty" by Manuela Gretkowska published in 1992. The main focus falls on the problem of émigré identity which the generation that left Poland in 1988 was forced to face. Gretkowska undertakes an attempt to describe her image of political émigré who leads a peculiarly nomadic life. His main features are lack of a permanent address and unwillingness to put down roots. Gretkowska, the author of "Europejka", depicts a variety of emigrant groups with their different ‘émigré identities’. The first one consists of Polish émigrés who long for their homeland and want to return there. The second group unites those who reject their Polish identity and make a symbolic attempt to ‘flush their Polish passport down the Seine River’. The third group consists of nomads who are always ready to pack up, depart and live wherever they like or anywhere their fate places them. The described by Gretkowska Paris episode can also be found in her latest book entitled "Trans". The final paragraphs of the article mention other novels undertaking the subject of contemporary émigrés as well. Here the main focus falls on "Zapiski szwedzkie" from "Własne miejsca" by Katarzyna Tubylewicz. According to the author of the article, Tubylewicz and Gretkowska describe similar observations of the émigré identity of Poles.
"Merkuriusz Polski - Życie Akademickie" (styczeń 1957 - listopad 1958). Historia pisma
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Moczkodan, Rafał
The aim of this article is to present the history of the magazine “Merkuriusz Polski – Życie Akademickie” with special emphasis put on its publications and the correspondence between its editors and associates. First, as an introductory remark, the author of the article reminds of the fact that „Merkuriusz Polski – Życie Akademickie” is considered the third in turn mutation of the magazine published in London since 1949. At its beginning the magazine was published by the English branch of Polish Students' Association, later on – by the poetical group “Kontynenty” and the Association of Polish Students and Graduates in Great Britain. Second, the article discusses the series of turbulent changes the periodical underwent at the time given, when the magazine of one cover and one title was in fact edited by two separate editorial staffs. According to the author of the article, these changes resulted mostly from the magazine’s financial problems and several divergences in ideas related to the future of the magazine that was to be divided into two periodicals: „Merkuriusz Polski” and „Życie Akademickie”. Third, the attitude of the magazine’s associates towards its former versions, as well as all the program and publishing declarations published at that times in both “Merkuriusz” and “Życie”, are discussed. Internal changes within both editorial staffs, together with their disputes and arguments, are also presented. The author of the article proves that several arguments occurred not only between the quarreled editorial staffs (due to these conflicts the group finally split up and started to publish separate magazines) but also within the staff of “Merkuriusz Polski”. The conclusion of the article discusses also another debate that was published in the London magazine. This time however, the subject matter was related to the existence (or non-existence) of the young generation of émigrés and their poetical group associated under the auspices of „Merkuriusz”. According to the author, this debate has not been of no importance for the further development of the magazine.
Notatki do Czerniawskiego
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Kisiel, Marian
The article is considered a summa of remarks related to the less known and rarely commented works by an émigré – Adam Czerniawski. The subjects of interpretation are his poems translated into English, miniatures of literary criticism, short novels and his memoirs. Modern Polish prose is still commonly treated as a ciphertext, a subject interesting for but a few readers who revel in this labyrinth of thoughts. It may seem that at the end of our century – a period so involved in discourse with traditional understanding of literature – avant-garde variants of prose should be obvious and legible for everyone or, at least, that literary criticism shall place them on the appropriate level in the hierarchy of modern forms. Apparently, it turned out that the situation is different. The prose model imposed by Positivism still remains predominant in habits and tastes of both literary critics and readers. Few decades of struggle with that one narrative pattern suddenly became questionable. Therefore, the short narrative novels by Czerniawski has not yet been sufficiently analyzed by critics. These narrations are considered – with their Gombrowicz-style grimace – the absolute stories. The feature of absoluteness is visible at all their levels: origin, narration, reading. Everything is possible here but nothing is accidental or random. However, limiting these narrations to only avant-garde rules would with no doubt distort their sense. The prose by Czerniawski uses also infinite potential of grotesque, it plays with its own language and makes out of it an undoubtedly philosophical "Ding an sich". The prose was also written in order to face traditional sanctities such as, for instance, irreformable „Polishness” that glorifies old symbols by perceiving them as hallowed by God’s interference. Finally, the prose by Czerniawski is based on „common sense” that can be found in numerous funny contexts of the surrounding world.
O listach Jana Lechonia i Kazimierza Wierzyńskiego (Kilka uwag na marginesie przygotowania edycji krytycznej)
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2012) Dorosz, Beata
This article presents the problems faced by an editor preparing a correspondence dialogue between Jan Lechoń and Kazimierz Wierzyński (237 mainly handwritten letters from 1941-1956) for a critical edition, among others, the issue of completeness, dating, reading of the autograph. It signalizes some of the appearing motifs and problems in the letters, making an initial attempt to interpret them in the context of biographies of both authors and historical events (especially the experiences of emigration). Moreover, it contains seventeen short poetic pieces (poems, epigrams and trifles) by both poets which may be found among other contents on the pages of those letters. They have been read from the handwritten manuscripts and edited and therefore they appear in print for the very first time.
Polski teatr na emigracji
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Braun, Kazimierz
A great number of individual Polish actors and small theatre companies are active all over the world; sometimes, a visiting production from Poland excites the émigré audiences strengthening their ties with the mother country. Two key notions help to understand both the ethos and the history of theatre of Polish émigrés: (1) “Citizen’s theatre” is a theatre in which spiritual, human, ethical, patriotic and communal values play the most important role, while aesthetic and utilitarian values are secondary. (2) “Theatre of service”, which is created in order to serve the spectators, to help them to preserve their traditions, support their needs, and express their hopes. The structure of theatre life of Polish émigrés can be visualized as a three-layer pyramid. Its foundation is made of dense and ubiquitous “theatricality of life”, which permeates all areas of life, such as social, familial, religious, political, academic, sport, or commerce. Manifestations of “theatricality” include weddings, anniversaries, parades, jubilees, funerals, liturgies, processions, celebrations of Christmas, Easter, or Corpus Christi, and other events and activities. They use Polish imagery, symbols, costumes and/or songs. “Theatricality” employs theatre’s categories: action, characters, structuring the space and the time of the event, as well as theatre’s means of expression. Above “theatricality” is a deep layer of amateur theatre practiced at schools, parishes and various associations and organizations. Polish amateur productions in the US have been recorded since the 1870s in the cities of especially numerous Polish population such as Chicago, Buffalo, Detroit, Pittsburgh, Philadelphia and New York. Polish amateur theatre companies can be found in many countries. The tip of the pyramid consists of the performances given by Polish professionals abroad and tours of Polish productions. Helena Modrzejewska, in America known as Modjeska (1840-1909), after stardom in Kraków and Warsaw arrived in America in 1876, and made a splendid, thirty years lasting career on American stages, performing in English. In the 1880s she was considered the greatest American female stage star. Ryszard Bolesławski (1889-1937) in his youth was an actor and director at Moscow Art Theatre of K. Stanislavsky. When Poland regained its independence (1918), he returned to Warsaw and directed at the Polski Theatre. In 1922, he went to America where he directed and taught acting, first in New York’s theatres and acting studios, and then in the film industry in Hollywood. He is credited for introducing American actors to the realisticpsychological Stanislavsky’s method, with a poetic, typically Polish tint. Polish professional theatre companies were active outside of Poland during World War II in New York (1942–1945) and in London (1942-until present). In 1943, professional theatres were organized at the Polish Armed Forces by Jadwiga Domańska, and at the Polish Division under the Soviet command by Władysław Krasnowiecki. Polish professional productions were also created in Rumania, France, Brazil, British Palestine and elsewhere. After the war, the strongest Polish theatre centre east of Poland (in its borders established at the Jalta conference, 1945) was Teatr Polski established in Lwów in 1958, by actor and director Zbigniew Chrzanowski, while at the West, it was the Polski Instytut Teatralny in New York managed since 1976, by actress and director Janina Katebach (Nina Polan). In the 1970s and the 1980s Polish theatre life flourished in Ottawa, thanks to the works of Jadwiga Domańska; and since the 1990s, in Toronto, where actress and director Maria Nowotarska created permanent Polish stage, collaborating with a cluster of actors. Experimental theatres of Tadeusz Kantor, Jerzy Grotowski, and Włodzimierz Staniewski performed for international audiences. Great Polish actors, such as Elżbieta Czyżewska, Ryszard Cieślak, and Andrzej Seweryn, appeared in foreign productions. Plays written by best Polish playwrights – Stanisław Ignacy Witkiewicz, Witold Gombrowicz, Tadeusz Różewicz, Sławomir Mrożek – were staged in many countries. Books on Polish theatre and drama were published in several languages. Polish theatre scholars and artists lectured and taught at foreign universities. Polish productions created either within the émigré communities or visiting from Poland contributed to preservation of Polish language, traditions, and values. Generally, Polish theatre was a vibrant element of Polish culture abroad.
Precyzja i milczenie. O twórczości poetyckiej Wojciecha Gniatczyńskiego
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Pasterski, Janusz
The article discusses the poetical writings by Wojciech Gniatczyński, the editor of Polish Radio Free Europe, talented writer and literary critic. The author of the article analyses essential problems and artistic features of this poetry on the basis of two published volumes of poems, biographical information, gathered correspondence, unpublished works and articles concerning issues of literary criticism by Gniatczyński. However, the main focus of the article falls on the links between the writer and the war-time generation, tragic experiences gained in the Nazi extermination camp in Auschwitz and further emigration solitude. The author of the article discusses also the post-war episode in writings by Gniatczyński – first in the context of London groups known as "Merkuriusz" and "Kontynenty", next with reference to the Munich society of writers and radio reporters gathered around the RFE. The analysis of poetical works by Gniatczyński describes a relatively invariable repertory of undertaken problems and a number of references to avant-garde patterns. According to the author of the article, Gniatczyński is currently a forgotten writer who treated poem as an expression of thought rather than a wordplay or imaginative jugglery. Thus, the poet made attempts to bind simplicity with innovation. As a result, the article presents Wojciech Gniatczyński as a writer who cannot be labeled according to the common emigration stereotypes: he is focused on inventing his own poetical form that often uses prose devices, irony and paradoxes.
Słowo wstępne
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Pasterska, Jolanta
Artykuł jest wprowadzeniem do 6 numeru „Zeszytów Naukowych Uniwersytetu Rzeszowskiego. Seria Filologiczna. Historia Literatury” (ukazującego się zarazem jako 1 numer nowego czasopisma literaturoznawczego „Tematy i Konteksty”) poświęconego niezwykle ważnemu problemowi, wyrażonemu w tytule "Wielka Emigracja – Druga emigracja niepodległościowa – (E)migracja końca XX wieku". Celem prac pomieszczonych w tomie jest próba ukazania wspólnych źródeł, pokrewieństw, przemian, a także podstawowych różnic w rozumieniu emigracji i emigracyjności od wieku XIX aż po początek XXI stulecia. Stąd w publikacji znalazły się zarówno nowe interpretacje utworów znanych pisarzy, jak i odczytania twórczości autorów zapomnianych lub jeszcze nieodkrytych. Po trzech dekadach systematycznego opisywania literatury emigracyjnej XX wieku czas spojrzeć na nią w szerokim kontekście zarówno Wielkiej Emigracji, jak i emigracji niepodległościowej oraz (e)migracji współczesnej. Zamieszczone w „Zeszycie Naukowym” rozprawy i artykuły zostały podzielone na dwie grupy tekstów. W pierwszej znalazły się prace odnoszące się do oryginalnych materiałów źródłowych i oparte na eksploracji archiwów, w drugiej zaś studia i szkice o charakterze interpretacyjnym.
Tropy i powiązania emigracji
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Ostasz, Gustaw
Review: Podgórski Wojciech Jerzy, "Emigracja walczących. Wokół polsko-szkocko-angielskich powiązań kulturalnych wojennych i powojennych", Muzeum Niepodległości w Warszawie, Warszawa 2011, pp. 623, il. 104.
"Umrzeć jest najprościej". O zesłańczych doświadczeniach w prozie Danuty Ireny Bieńkowskiej
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Paliwoda, Agata
The aim of this article is to discuss two short novels selected from a few writings by Danuta Irena Bieńkowska collected in the volume “Między brzegami” (London 1978) published after her death. The writer was born in Toruń (1927). After the Second World War she lived in England, and, since 1955, in Canada. The novels contain a variety of quasi-diary (“Droga do Rosji: fragment z dziennika”) and short-prose (“Północ i południe: szkice z Rosji”) references to her experiences gained during the period of deportation to the labor camps in the Komi Republic and Uzbekistan. The article provides an interpretation of the mentioned works as a personal document in the context of gulag literature (by, among others, Beata Obertyńska, Barbara Skarga, Gustaw Herling-Grudziński, Anatol Krakowiecki, Jerzy Krzysztoń) and thus it presents the writer’s contribution to the literature undertaking the task of „naming the unnamable”.
W służbie idei - "Tu jest Polska" Herminii Naglerowej
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2011) Wal, Anna
The article discusses the drama by Herminia Naglerowa entitled "Tu jest Polska". The author of the article is concerned with extraordinary circumstances of origin of the text that was written between 1942 and 1943, that is during the ongoing Second World War, soon after the writer left gulag and joined the Women's Auxiliary Service in the army commanded by Gen. Władysław Anders. Although the article proposes an interpretation of the drama mainly as a literary text, additional supportive information used is related to the performance of "Tu jest Polska" by the Drama Theatre of Polish Army in the East. The article stresses biased and propaganda character of the play that results from both political and ideological implications and from the fact that it addressed an audience consisting of soldiers of the Polish II Corps: usually ex-prisoners and former laborers of gulags. The play by Naglerowa can be classified as a representative of the emigration drama mainstream described by Dobrochna Ratajczakowa as ‘servient’. The topics of conspiracy and uprising that can be found in the play are considered a continuation of the tradition of Polish Romanticism in which any fight for independence and civil service receive the top priority. The author of the article focuses her attention on these passages of the play that discuss problems developed also in several further works by Naglerowa and related to the subject matter of war. Among these problems one should mention the motif of heroism contrasted with romantic models as well as the subject of women’s way of experiencing history.