A translation into Greek and Latin of four poems by Adam Mickiewicz, three from his Lausanne Cycle, composed in 1839–1840, and one slightly earlier (“Gęby za lud krzyczące…”).

The article attempts to outline Adam Mickiewicz’s concept of subjectivity. He introduces it in his visionary poetic drama Dziady (Forefathers’ Eve) where a radically ambivalent situation is presented through the duality of the main character Gustaw/Konrad. The article describes this duality in terms of Paul Ricoeur’s distinction between cogito exalté and cogito brisé. In Dziady Mickiewicz dramatizes the transition from exaltation to dejection, the condition of cogito brisé (living with a wound). His romantic subject cannot throw away his past, but because he is acutely aware of his failings and his inadequacy he is able to free himself from delusions of grandeur and self-centered pride. The condition of uncertainty, inadequacy and chronic insatiability is like a gaping wound or a lack which may lead the ‘I’ to open up and seek the Other. It is a vision of man who knows he is deeply flawed but capable of pursuing a noble desire; vulnerable and fallible, beset by ‘endless error’ and yet able to act and get his act together; self-centered and yet, because of the relational nature of the human identity, capable of redirecting his emancipatory energy to Others. It can be summed up the concept of homo capax (homme capable) which, as this article argues, provides the key to Mickiewicz’s anthropology.

The ten years Stanisław Pigoń spent in Wilno (1921-1931) was a very important phase of his life. Wilno not only attracted a great deal of his research but also became the focus of a lasting emotional attachment, a sentiment which he reaffirmed in a memoir published shortly before his death in 1968. Although a lot is already known about Pigoń’s Wilno decade, there are some episodes that are worth a closer examination. One of them is a debate about Konrad’s cell which he triggered off just before leaving Wilno. The controversy concerns a cell in the former Basylian Monastery where Adam Mickiewicz was imprisoned in 1823 and where Konrad, the main character of his Dziady (Forefathers’ Eve) undergoes a spiritual transformation, the climax of the poetic drama. Pigoń contributions to this interminable debate exhibit a fine balance of scholarly precision and passionate conviction. This article not only looks at the origin and the early phases of the Konrad’s cell controversy in their contemporary background but also tries to show Pigoń’s involvement in the life of the university and the cultural and literary life of Wilno.

This is a comparative analysis of the key ideas regarding nation-building in the writ-ings of Adam Mickiewicz and Patrick Pearse, who have gone down to history as icons of the Polish and Irish national revival. In the case of Mickiewicz the article focuses on Dziady – Część III (Forefathers’ Eve – Part III), Konrad Wallenrod, Księgi narodu polskiego i pielgrzymstwa polskiego (Books of the Polish Nation and Poland’s Pilgrimage); the Irish materials include Pearce’s dramas The King and The Singer as well as Theobald Wolfe Tone’s ‘Speech from the Dock’. A trope common to all of them is the concept of ‘a beauti-ful, awesome voice’ / ‘a traitorous song’: literature as a mighty force that can create a community dedicated to the national cause. A comparison of passages that articulate the messianic idea indicates that, though understood by either writer in his own way, they both envision it as a catalyst turning nation-building literature into an apotheosis of martyrdom and death – a process which could be described as axiological metabolism. The article also examines the paradoxes of the projections of the myth of national unity in the work of both writers, especially in Mickiewicz’s Pan Tadeusz and Pearse’s short story ‘In My Garden’.

This article discusses Grzegorz Uzdański’s verse novel Wypiór (2021, the title is a pun on the word ‘upiór’, Pol. spectre) which is multifaceted commentary on the Romantic tradition and the ‘Romantic paradigm’, epitomized in the figure of Adam Mickiewicz transformed into a vampire. The pop-cultural frame invites the reader to pursue all kinds of links between Wypiór and the gallery of the living dead, ghosts and spectres in Mickiewicz’s stories (conceived both as characters from the past and a metaphoric projections of the Romantic poet). The article compares the references and allusions in Uzdański’s novel to Mickiewicz’s own text as well as the text of another contemporary comic horror novel, Ale razem z naszymi umarłymi ( But Not Without Our Dead) by Jacek Dehnel. The analyses, which rely on a methodological toolkit inspired by Jacques Derrida’s hauntology, offer a more accurate reading of Wypiór and highlight its place in the contemporary reception of Romanticism with its predilection for haunting, ghosts or persistent spectral presence.

The phenomenon of the so-called Polish monumental theatre has for nearly a century resisted attempts at conceptualization. Created by artists living in a transitional period and formed in a peculiar “trans-era” mental space, this theatre was wrought from a hybrid substance that combined a Romantic and post-Romantic content with an avant-garde form. Being “simultaneously national and supra-national”, it appeared as a unique conceptual and artistic construct; a construct that was touted as the innovative Polish input into the reform of European theatre. Owing to the heterogeneity of its subject-matter, it was at times included into, and at other times excluded from the body of endeavours of an avant-garde nature; the correct categorization was until now made difficult by the conceptual template constructed around the dogma concerning the incompatibility of the two areas: the avant-garde and the so-called national duties. Seen in the perspective of modern-day research on the variegated nature of Modernism and on its inner tensions, however, this phenomenon may emerge as an interesting illustration of the synthesizing efforts of Modernism.

Adam Mickiewicz’s Pan Tadeusz (in English: Sir Thaddeus, or the Last Lithuanian Foray), the national epic poem, was first published in June 1834. It was perceived as a idyllic work, full of happiness and very ideal heroes. However, one of the most problem of this poem is treason! It is very important to put a question: what is treason in the strict sense of the word? There are a lot of kinds of treason or only one? Is it possible to betray own country on account of favouriting strange fashion, customs or painting? In Pan Tadeusz Mickiewicz intended to stand up for the Polish tradition. He had a high opinion of loyalty, steadiness and the selfless sense of duty.

In his lecture the author explains the role played by the problem of memory in Ballady i romanse ( Ballads and romances). In his reading of the ballads he concentrates mainly on the subject of romantic memory and on the places of memory, indicating memory-forming experience of death. The author presents the hypothesis about two culminanting points of the development of memory problems – in Ballady i romanse and the consecutive parts of Dziady ( Forefathers’ Eve).

Adam Mickiewicz’s Pan Tadeusz (in English: Sir Thaddeus, or The Last Lithuanian Foray ), the national epic poem, was first published in June 1834. It was perceived as a patriotic work, full of very ideal heroes. However, one of the most problem of this poem is love! Pan Tadeusz is the poem about love. There are many kinds of love: erotic love and maritial love, also familiar love (between parents and their children), love for country and others. My article applies not just to love affairs, but the very essence of love. What is love in Mickiewicz’s poem – is it “love that moves the sun and other stars” (Dante)?

Przedmiotem rozważań jest analiza artykułów w czasopismach ukazujących się na przełomie XIX i XX w., które przedstawiały postać Jakuba Jasińskiego. Badaniami objęto następujące tytuły prasowe: „Czarno na Białem” (1939), „Echo Pragi” (1917), „Gazeta Warszawska” (1924), „Gazeta Wileńska” (1906), „Kurier Literacko-Naukowy” (1927), „Kurjer Polski” (1917), „Kurier Poranny” (1886), „Kurier Warszawski” (1917), „Nowa Reforma” (1918), „Nowa Gazeta” (1917), „Sybilla Nadwiślańska” (1821), „Świat” (1917), „Tygodnik Ilustrowany” (1917). Zamierzeniem autorów było ukazanie osoby Jasińskiego na tle historii Polski. Nawiązywano do Mickiewicza, jako tego, który starał się wynieść Jasińskiego do grona polskich patriotów. Obraz ten był wielokrotnie powielany.

I have been asked to give a thought on the University. It is arranged in a sequence of “past – yesterday – today”, to which I will occasionally refer. It will not, however, constitute a rigid scheme governing this talk. The inspiration for these thoughts was specified by the question “what perception of the University I imbibed in my family home, how I later confronted this with my own practice or «experience» of the University, how I look at it from the perspective of the experience I have had and from observing the changes taking place.”

Roman Micnas was a distinguished Polish physicist, well known for his works in the field of condensed matter theory and statistical physics. One of his best known achievements is development of theory of superconductivity with local electron pairing. He also published a number of important contributions to the theory of magnetism, theory of phase transitions, and theory of ultracold atoms on optical lattices. His more than 140 publications were cited over 3200 times by other authors. He graduated at the Faculty of Mathematics, Physics and Chemistry of Adam Mickiewicz University (AMU) in 1970, where he hold a position until his passing away on 13 January 2022. He received PhD in 1978, habilitation in 1988, and became Professor in 1990. In the Faculty of Physics of AMU he was the head of Solid State Theory Division in years 1998–2018. For his development of theory of superconductivity with local electron pairing he was awarded, together with Stanisław Robaszkiewicz, the Marie Skłodowska-Curie Scientific Prize of the Polish Academy of Sciences (PAS) in 1989. In 1994 he became Corresponding Member of PAS, and in 2016 – Ordinary Member. He served a number of important functions in PAS, among others he was a member of Committee for Physics of PAS, and since 2015 a Dean of Division III of Exact Sciences and Earth Sciences of PAS. He was a member of several scientific societies: Polish Physical Society, European Physical Society, American Physical Society and American Association for Advancement of Science. He co-organized 35 home and international conferences, among others the cycle of the European Conferences „Physics of Magnetism”, which he co-chaired since 1993.

Adam Mickiewicz's epic poem Pan Tadeusz, published in Paris in 1834, can be seen as an expression of a romantic culture of remembrance which emerged in Poland and Lithuania in the aftermath of a traumatic political event, the January Uprising of 1830–1831. This article discusses the poet's transformation of the devices and generic model of heroic epic for the double purpose of expressing a notion of historical time which holds out an open future for both the individual and the national community, and of promoting the acceptance of a complicated past through the resolution of its conflicts. Both in Poland and in Lithuania, Pan Tadeusz was regarded as a monumental tribute to the culture of the Polish-Lithuanian Commonwealth and a major influence on the modern national literatures in Lithuanian, Belarusian and Yiddish, sprouting on the territory of the former Grand Duchy of Lithuania.

This article attempts to formulate a new interpretation of the mysterious messianic character marked "Forty and Four" from the Vision of Priest Piotr in Adam Mickiewicz's poetic drama Dziady ( Forefathers' Eve), Part III. After a review of earlier readings of this crux and its symbolism, the author of the article presents his own proposal, which contextualizes the enigmatic number in three historical frameworks. The first of them is ancient history, and, more specifically, 'Forty four' is seen as a reference to the Ides of March in 44 B.C., the date on which Julius Caesar was assassinated by a group of conspirators led by Brutus. The other two relevant contexts are the Reign of Terror during the French Revolution, and the high tides of modern history culminating in tyrannicide. In effect, the 'Forty four' passage is seen as an affirmation or even a sacralization of tyrannicide, symbolized by not only by inexplicit references to Brutus and the Israelite heroine Judith. It is a theme which reverberates not only in Dziady but also throughout Adam Mickiewicz's work.