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Number of results: 15
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Abstract

An attempt has been made to present “continuity” which, despite artists’ denials, is a prerequisite for the creation of novelty. Subsequent movements and styles (trends today) in architecture have tried to deny the ideas and forms of their predecessors. Avant-garde art distances itself from any continuation. The original does not exist even in the modern world, let alone in post-modernity. The world is filled with shapes, colours and images of the past, unable to liberate itself from it. The artists are left with a false impression of their genius and originality. Looking at the buildings built today, one can discern the unbuilt architecture of the early twentieth century. This is by no means the accusation of lack of originality, but rather the realisation of a harsh fact that it is impossible to create complete novelty. It might have been easier for our predecessors without access to the Internet and the World Library of Imagination.

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Authors and Affiliations

Tomasz Kozłowski
ORCID: ORCID
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Abstract

This article presents a profi le of Stanisław Jaworski as a literary scholar with a life-long involvement in avant-garde literature. He defi nes the avant-garde as a mosaic of diverse trends with no common aesthetic or ideological denominator and, at the same time, as a transcultural network of artists apparently unrelated artists. Focusing on his major studies (Foundations of the Avant-garde, Tadeusz Peiper: Writer and Theoretician, Between the Avant-garde and Surrealism, and The Avant-garde) the article reconstructs Jaworski’s insights and theoretical constructs in the context of contemporary network studies and reassesses his commitment to both history and theory of literature.

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Authors and Affiliations

Michalina Kmiecik
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Abstract

Regarded primarily as a scandalist, Bruno Jasieński is also an innovator and ‘theoretician’ of the avant-garde. Then, so the argument, he converted to Communism and put his pen in the service of that ideology. He paid for it with the price of debasing his talent to the level of a socialist realist hack and, eventually, the price of his life when the regime he so avidly supported turned on him in the great purges of 1937–38. This article takes issue with the claim – which is part of the generally accepted narrative – that Jasieński ‘swerved gently to the left’ in 1923–1925. This article analyses the politics of young Bruno Jasieński's verse, i.e. the texts produced before 1921, the year of the publication of the first collection of his poems. In so far as his early poetic work contains nothing but praise of the Russian revolution and its ethos, his ideological evolution in the nineteen twenties should termed radicalization rather than a shift to the left.
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Authors and Affiliations

Kasper Pfeifer
1
ORCID: ORCID

  1. Uniwersytet Śląski
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Abstract

This article explores various text coding strategies in the work of Polish Futurists. Drawing on the concept of Jerome J. McGann’s bibliographic code, this analysis of the fonts, layout and typographic devices used in their texts reveals a development culminating in literary breakthrough at the beginning of the interwar period. It shows, moreover, that the Futurist revolutionists depended heavily on the material and manufacturing base which they wanted to overthrow and replace. That dependence manifests itself in the incongruous adoption of various traditional fonts, typographic and graphic designs, which remains the most striking characteristic of a Futuristic text.
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Authors and Affiliations

Aleksander Wójtowicz
1
ORCID: ORCID

  1. UMCS
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Abstract

The article is a reappraisal of the work of Tymoteusz Karpowicz, one of the landmarks of the Polish poetic Neo-avant-garde, in terms of the quixotic model (principle). This approach brings into focus the following building blocks of Karpowicz’s autocreative poetics: the private library project, the idea of the book of books, the concept of holistic interconnectedness and the poet’s programmatic detachment (isolationism). In his verse they form sylleptic configurations in which language-games collide with the existential concrete and, in effect, transform the poetry into a performance acted out by the author both in his text and his highly mythicized geographic space. The superposing of his autothematic statements on his autocreative performative actions shows their remark-able congruence, and hence t the incontestable applicability of the quixotic model to describe the nature of Karpowicz’s creative project. In sum, he was a poet bent on finding his own place between the totalizing power of language and the harsh realities beyond the pale of literature.
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Authors and Affiliations

Karolina Górniak-Prasnal
1
ORCID: ORCID

  1. Wydział Polonistyki UJ
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Abstract

The article presents a previously unknown poem by Jalu Kurek, found in the Józef Czechowicz Museum of Literature in Lublin. The youthful poem titled Nostalgia shows Kurek’s breaking away from the spell of futurism and edging towards an avant-garde poetics with a great deal of juxtaposition.

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Authors and Affiliations

Aleksander Wójtowicz
ORCID: ORCID
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Abstract

This article presents a new reading of the spoof poetic manifesto ‘Chamuły poezji’ [‘The Cads of Poetry’] written by Julian Przyboś in 1926. His use of the apocalyptic tones of early modernist poetry to lampoon a trio of acclaimed poets associated with Young Poland (especially Jan Kasprowicz) suggests a complex nature of Przyboś’s rejection and dependence on that movement. In general, the influence of Young Poland, though quite conspicuous in is juvenilia and early publications, tends to fade away. ‘Chamuły’ is a pejorative nonce word which alludes to the Biblical Ham as well as a Polish word for a cad or ill-bred bumpkin. This article adds to it another layer of meaning, based on Derrida’s interpretation of the Apocalypse, with allusions to sexual and genital imagery. And more generally, it reframes the whole Przyboś’s poetic work (not just his early poems) using Catherine Malabou’s concept of plasticity. Seen in a broader historical perspective, Przyboś’s struggles to break with Young Poland are not unlike the predicament of many eighteenth-century writers caught in the dispute between the Moderns and the Ancients, satirized in Swift’s Battle of the Books. The overall conclusion of this study is that at all times the avant-garde and the arrière-garde remain in a continuous dialogue and the innovators never lose sight of those left behind. Poetry is, after all, metamorphic and cannot be contained within within the bounds of manifestoes and artistic programmes.

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Authors and Affiliations

Iwona Misiak
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Abstract

If the characterization of avant-garde proposed once by Henri Saint Simon, and later maintained by Daniel Bell as well as Lidia Burska in the book entitled Awangarda i inne złudzenia. O pokoleniu ‘68 w Polsce (“The avant-garde and other illusions. On the ’68 generation in Poland”) is adopted, the philosophical revisionism inside Polish Marxism (the Warsaw school of the history of ideas) may be considered a phenomenon analogous to the artistic avant-garde which gained prominence in the middle of the 1950s. In Burska’s understanding, the significant trait of avant-garde is effective impact on the state of consciousness, stances and choices of the public. This essential factor highlights the connection between avant-garde and revisionism, due to the fact that, as it was commonly believed in Poland, the Warsaw school played a major role in the formation of the Polish post-war humanities. The purpose of the paper is to propose an understanding of the impact exerted by the Warsaw school of the history of ideas. In relation to this problem, the author refers to the testimonies of people who constituted that milieu, and he focuses on some topics from the hermeneutics of H.-G. Gadamer (the concept of the efficacy of history; the concept of application) and from the philosophy of H.R. Jauss (the concept of the horizon of expectations).

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Authors and Affiliations

Mirosław Tyl
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Abstract

The sketch comedy Szopki, a show staged irregularly (1927–1931) by a trio of poets who clustered round the avant-garde magazine Reflektor was a fascinating artistic project combining literary aspiration and popular culture. This article tries to position Szopki in the context of the burgeoning entertainment industry and the specific social, political and economic conditions of Lublin, a provincial centre that joined an ambitious modernization project. However, to continue the Great Lublin Project the town needed to borrow more money it could not possibly pay back. No wonder the official narrative of modernization came under an unending barrage of ridicule and derision while local satire revelled in words like crisis, credit, bankruptcy, seizure and sale.
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Bibliography

● J. Arnsztajn, K. Bielski, W. Gralewski, Pierwsza Szopka Reflektora, w zbiorach Muzeum Józefa Czechowicza w Lublinie, sygn. MC 143 R.
● J. Arnsztajn, K. Bielski, Druga Szopka Reflektora, w Zbiorach Specjalne Wojewódzkiej Biblioteki Publicznej im. H. Łopacińskiego w Lublinie, sygn. 2156.
● Z. Bauman, Płynna nowoczesność, przeł. T. Kunz, Kraków 2006.
● M. Berman, „Wszystko, co stałe, rozpływa się w powietrzu”. Rzecz o doświadczeniu nowoczesności, przeł. M. Szuter, Kraków 2006.
● K. Bielski, Most nad czasem, Lublin 1963.
● Ł. Biskupski, Miasto atrakcji. Narodziny kultury masowej na przełomie XIX i XX wieku. Kino w systemie rozrywkowym Łodzi, Warszawa 2013.
● T. Bocheński, Szopka lubelska, „Ziemia Lubelska” 15.05.07.
● J. Cymerman, D. Gac, G. Kondrasiuk, Scena Lublin, Lublin 2017.
● J. Cymerman, A. Wójtowicz, Uwagi wydawców, [w:] Józef Czechowicz, Pisma zebrane, t. 9, Varia, oprac. Jarosław Cymerman, Aleksander Wójtowicz, Lublin 2013, s. 653–654.
● J. Czechowicz, Pisma zebrane, t. 1, Wiersze i poematy, opr. J.F. Fert, Lublin 2012.
● A. Czuchryta, Przemysł rolno-spożywczy w województwie lubelskim w latach 1918–1939, Lublin 2008.
● D. Fox, Kabarety i rewie międzywojennej Warszawy. Z prasowego archiwum dwudziesto-lecia, Katowice 2007.
● H. Gawarecki, O dawnym Lublinie, Lublin 1974.
● Historia Lublina w liczbach, A. Jakubowski, U. Bronisz, E. Łoś, Lublin 2017.
● M. Hemar, J. Lechoń, A. Słonimski, J. Tuwim, Szopki Pikadora i Cyrulika Warszawskiego, opr. T. Januszewski, Warszawa 2013.
● E. Jabłońska-Depuła, Wielkomiejski plan rozwoju Lublina z 1924 roku, [w:] Lublin w dziejach i kulturze Polski, pod red. T. Radzika i A. Witusika, Lublin 1997.
● T. Kłak, Czasopisma awangardy, cz. 1, 1919–1931, „Polska Akademia Nauk”, Wrocław 1978.
● E. Krasiński, Warszawskie sceny 1918–1939, Warszawa 1976.
● S. Kruk, Teatr Miejski w Lublinie 1918–1939, Lublin 1997.
● Kuligowska-Korzeniewska, Kabaret w złym mieście podczas Wielkiej Wojny oraz M. Szydłowska, Gwiazdy i meteory lwowskiego „Ula”, [w:] Kabaret – poważna sprawa, pod red. D. Fox i J. Mikołajczyka, Katowice 2015.
● Z. Landau, Pożyczki ulenowskie, „Najnowsze Dzieje Polski: Materiały i Studia z Okresu 1914–1939” 1958, t. 1.
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Authors and Affiliations

Aleksander Wójtowicz
1
ORCID: ORCID

  1. Instytut Filologii Polskiej, Uniwersytet Marii Curie-Skłodowskiej
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Abstract

This interpretation of Michał Choromański's novel Schodami w górę, schodami w dół ( Upstairs, Downstairs) focuses primarily on issues related to the inner life of the characters and the representation of the outside world in the context of classical psychoanalysis. The appropriateness of the psychoanalytical approach is justified by numerous references to Freud's theory in the text of the novel. The study reaches out to Choromański's other novels and short stories, but embarks on a more systematic comparison of Schodami w górę, schodami w dół with only one of them, Zazdrość i medycyna ( Jealousy and Medicine), his most popular novel published in 1936.
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Authors and Affiliations

Daniel Natkaniec
1
ORCID: ORCID

  1. Szkoła Doktorska Nauk Humanistycznych, Uniwersytet Jagielloński
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Abstract

This article is an attempt to confront the autothematic refl ection in Leopold Staff’s (Ars poetica and The Artist’s Sadness) with two poems, inspired by a somewhat similar approach, by Tymoteusz Karpowicz and Krystyna Miłobędzka. What they seem to have in common are textual signs of welcome with ‘open arms’ and ‘the outstretched hand’. These emblematic gestures invite the reader/the Other to a diffi cult dialogue and at the same time indicate the nature of the authors’ poetic ambition. The analysis of the two pairs of poems is set in the context of the 20th-century evolution of the idea of poetic genius and the poet’s self-awareness. Crucial to this comparative study of the poetic practice of Leopold Staff, Tymoteusz Karpowicz and Krystyna Miłobędzka is an appraisal of the authenticity of their vision and the language they used to express their maximalist ambitions.

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Authors and Affiliations

Karolina Górniak-Prasnal
ORCID: ORCID
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Abstract

Jalu Kurek, a prominent member of the Cracow avant-garde, is the author of several novels. This article discusses the undeservedly neglected S.O.S., published in 1927, and suggests that its weird plotting and literary mockery is in fact an apocalyptic narrative. It has a place, it is argued, in the 'catastrophist' trends which were on the rise in the Polish literature of the late 1920s and 1930s. It should be read in the context of a growing sense of decline and crisis of European society, which, on the one hand, drew on the cultural pessimism of the turn of the 19th century, and, on the other hand, was a reaction against the wave of modernization that was sweeping the world. As this analysis shows, Jalu Kurek's S.O.S. is deeply ambivalent about the onslaught of modernity.
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Bibliography

● Bergel R., Dwa debiuty powieściowe, „Głos Narodu” 1926, nr 6, s. 3.
● Bergel R., S.O.S. (Katastroficzna powieść Jalu Kurka), „Głos Narodu” 1928, nr 17, s. 3.
● M. Berman, „Wszystko co stałe, rozpływa się w powietrzu”. Rzecz o doświadczaniu nowoczesności, tłum. M. Szuster, Kraków 2006.
● Bolecki W., Modalności modernizmu, Warszawa 2012.
● Cichla-Czarniawska E., „Heretyk awangardy” – Jalu Kurek, Lublin 1987.
● Collins J.J., The Apocalyptic Imagination. An Introduction to Jewish Apocalyptic Literature, Cambridge 1998.
● Czechowicz J., Wyobraźnia stwarzająca. Szkice literackie, oprac. T. Kłak, Lublin 1972.
● Jaworski S., Pisarz społecznej pasji – Jalu Kurek, [w:] Prozaicy dwudziestolecia międzywojennego. Sylwetki, red. B. Faron, Warszawa 1974, s. 413–443.
● Kłosińska K., Katastroficzna odmiana powieści popularnej, [w:] Katastrofizm i awangarda, red. T. Bujnicki, T. Kłak, Katowice 1979, s. 57–76.
● Kłosiński K., Dyskurs katastrofy, [w:] Katastrofizm i awangarda, red. T. Bujnicki, T. Kłak, Katowice 1979, s. 23–39.
● Koniński K.L., Z tęsknot i myśli kryzysu, „Przegląd Współczesny” 1928, nr 80, s. 438–447.
● Kott J., Postęp i głupstwo, t. 2, Warszawa 1956.
● Kruczkowski L., Recenzja S.O.S., „Kurier Zachodni” 1928, nr 57, s. 9.
● Kryszak J., Katastrofizm ocalający. Z problematyki poezji tzw. Drugiej Awangardy, Warszawa 1978.
● Kurek J., Mój Kraków, Kraków 1978.
● Kurek J., S.O.S. (Zbaw nasze dusze!), Kraków 1927, s. 44.
● Kwiatkowski J., Literatura dwudziestolecia, Warszawa 1990.
● Matlingiewicz M., Dwa oblicza historiozofii – o katastrofizmie w powieści dwudziestolecia międzywojennego, „Prace Naukowe Wyższej Szkoły Pedagogicznej w Częstochowie. Studia Neofilologiczne”, pod red. P. Płusy, I. Świtały, t. 3, 2002, s. 129–136.
● Mazurek S., Witkacy – próba historiozofii humanistycznej, [w:] tegoż, Wątki katastroficzne w myśli rosyjskiej i polskiej 1917–1950, Wrocław 1996.
● Piwiński L., Powieść polska, „Przegląd Współczesny” 1928, t. 25, s. 323–355.
● Przyboś J., Listy Juliana Przybosia do Jalu Kurka, [w:] Materiały do dziejów awangardy, oprac. T. Kłak, Wrocław 1975, s. 81–82.
● Speina J., Powieści Stanisława Ignacego Witkiewicza. Geneza i struktura, Toruń 1965.
● Katastrofizm i awangarda, red. T. Bujnicki, T. Kłak, Katowice 1979.
● Wat A., Mój wiek: pamiętnik mówiony, t. 1, Warszawa 1990.
● Wójtowicz A., Cogito i „sejsmograf podświadomości”. Proza Pierwszej Awangardy, Lublin 2010.
● Wójtowicz A., Modernizacja i jej cień. O prozie pierwszej Awangardy, [w:] Dwudziestolecie 1918–1939. Odkrycia. Fascynacje. Zaprzeczenia, red. A.S. Kowalczyk, T. Wójcik, A. Zieniewicz, s. 250–265.
● Wróbel E., „Rozwichrzona” powieść Jalu Kurka, „Prace Naukowe Wyższej Szkoły Pedagogicznej w Częstochowie. Seria: Filologia Polska” 2003, z. IX, s. 80.
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Authors and Affiliations

Iwona Boruszkowska
1
ORCID: ORCID

  1. Wydział Polonistyki Uniwersytetu Jagiellońskiego, Kraków
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Abstract

This article is an attempt to present a comprehensive view of the poetry of Józef Czechowicz in the context of Martin Heidegger's fundamental ontology. Czechowicz's poetic work, the article argues, is an exploration of mutual relations of the basic ontological categories of being and nothingness ( das Sein and das Nichts). They constitute the philosophical foundations of the purely literary tensions that can be detected in all comprehensive accounts of his work, such as the opposition of Arcadia and Catastrophy (Tadeusz Kłak) or the discussion of the ‘bright’ and the ‘dark’ strain in the poetry of the Second Avant-garde (Jerzy Kwiatkowski).
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Authors and Affiliations

Marcin Całbecki
1
ORCID: ORCID

  1. Uniwersytet Gdański
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Abstract

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.
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Authors and Affiliations

Joanna Stacewicz-Podlipska
1
ORCID: ORCID

  1. Instytut Sztuki PAN

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