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Abstract

The article is devoted to the analysis of the lyrical poetry of Evdokiya Rostopchina, who was considered in the late 1830s – early 1840s as one of the most talented Russian poets. The main object of investigation is her strategy of self-representation. It is shown how Rostopchina builds her individual myth: the poetess treats herself as the heiress, the successor to Pushkin and Lermontov; she creates this myth, relying on the facts of her biography. She creates her own version of the romantic myth about the poet, varying the motives of the lyrics of these authors, as well as of Baratynsky’s poems. In the 1850s, trying to resist the realistic tendencies of the new era, she presents herself as the guardian of a high literary tradition and enters into a conscious confl ict with time, making literary “archaism” her own principle. If earlier she cultivated elegiac poetics, now she turns to satire.

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Authors and Affiliations

Andriej Ranczyn
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Abstract

The given article is an analysis of Władysław Wężyk’s Travels to the ancient world taking into consideration the most important problems and components of the 19th century Romantic worldview. Particular attention will be paid to the great Romantic themes such as folklore, art, music, spontaneous literary works and concepts of new humanity. Wężyk’s memoir reveals his openness towards the Other and the understanding of foreign cultures which is by far the most important feature of a Romantic intellectual.

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Authors and Affiliations

Monika Janota
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Abstract

The author reconstructs the Romantic concept of imagination, drawing attention to its relations with the esoteric tradition, and then presents the significance of the idea of imagination for pedagogical reflection in the period of Romanticism. What is also undertaken is the motif of the continuity of Romantic ideas in the 20th century, with special regard to the 20th century youth counterculture and the relations between the countercultural concept of imagination and the discourse on education.

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Authors and Affiliations

Andrzej Kasperek
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Abstract

Maria Janion (1926–2020), an oustanding humanist, scholar, critic, historian of literature; a professor at the Institute of Literary Research in the Polish Academy of Sciences, author of twenty books and several hundred articles; expert on Polish and European Romanticism; the tutor of the many generations of humanists. She died in Warsaw on August 23rd, 2020.

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Authors and Affiliations

Grażyna Borkowska
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Abstract

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.

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Authors and Affiliations

Jan Tomkowski
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Abstract

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).
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Authors and Affiliations

Krzysztof Trybuś
1

  1. Instytut Filologii Polskiej Uniwersytetu im. Adama Mickiewicza, Zakład Literatury Romantyzmu
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Abstract

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)?

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Authors and Affiliations

Jan Tomkowski
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Abstract

The article presents selected literary texts of Russian Romanticism, which can be classified as utopian or dystopian literature. Attention was drawn to the fluidity of borders between the species of positive and negative utopia. Works by Utopian writers were divided into two groups: those sympathizing with decay (A. Ulybyshev, W. Küchelbecker) and those representing the Pushkin era: J. Senkovskij and V. Odojevsky. The analysis of utopian texts showed that they belonged mainly to escapist utopias, and Russian Romanticism significantly influenced the development of negative utopias, which were open to the literary experiment. It was also shown that the works in question are related to the genre of travel literature and scientific fantasy.

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Authors and Affiliations

Beata Trojanowska
ORCID: ORCID
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Abstract

The article considers Lesya Ukrainka’s analytical and review work (born Larysa Kosacz – 1871‑1913) Notes about the Latest Polish Literature, published in the Russian magazine “Life” (1901, № 1). The writer chose not an analytical, but an analytical‑ironic “tone”, emphasizing the merits of Polish romantic poets headed by Adam Mickiewicz, as well as poets of the “Ukrainian school” of Polish Romanticism along with outstanding positivist writers (Bolesław Prus, Eliza Orzeszkowa, Henryk Sienkiewicz), without limiting these writers to populism, and stating their aesthetic tastes and ideological positions. The author pays most attention to the new Polish poetry, which had awoken “after thirty years of half sleep” in the age of modernism, in which she saw echoes of various “pessimistic movements” of world literature. At the same time, Lesya Ukrainka believed that Polish modernism had also its own ground, its appearance was prepared by the tragic contradictions of the Romantics, the collapse of the Polish szlachta ‘noble‑gentry’ ideals, and the degeneracy of positivist‑populist literature. The author pays most attention to the new aesthetics of Stanisław Przybyszewski and his manifesto of Polish modernism with its slogan of “art for art’s sake”.
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Bibliography

Fik I., Rodowód społeczny literatury polskiej, Wydanie drugie, Kraków 1946.
Jakóbiec M., Łesia Ukrainka i polska literatura romantyczna, „Slavia Orientalis”, rocznik XX, nr 4, Warszawa 1971.
Khmelyuk M., Polʹsʹka literatura v retseptsiyi Lesi Ukrayinky, [v:] Lesya Ukrayinka i suchasnistʹ: Zb. nauk. pr., Lutsʹk 2007, t. 4, kn. 1.
Koloshuk N., Lesya Ukrayinka u roli krytyka polʹsʹkoyi literatury, „Volynʹ filolohichna: tekst i kontekst: Zb. nauk. pr.”, Lutsʹk 2016, vyp. 22.
Korbych H., Zakhid, Polʹshcha, Rosiya v literaturno‑krytychnomu dyskursi rannʹoho ukrayinsʹkoho modernizmu. Vybrani aspekty retseptsiyi, Poznań 2010.
Korbych H., Lesya Ukrayinka – literaturnyy krytyk: osoblyvosti «zhinochoho pysʹma», [v:] Lesya Ukrayinka i suchasnistʹ. Zbirnyk naukovykh pratsʹ, t. 4, kn. 1, Lutsʹk 2007.
Kubacki W., O dramatach Łesi Ukrainki, [w:] Łesia Ukrainka. Kasandra i inne dramaty, Kraków 1982.
Mishchenko L., Lesya Ukrayinka v literaturnomu zhytti, Kyyiv 1964.
Moklytsya M., Estetyka Lesi Ukrayinky. (Kontekst yevropeysʹkoho modernizmu). Monohrafiya, Lutsʹk 2011.
Radyshevsʹkyy R., Iskry yednannya: do pytannya pro internatsionalʹni motyvy tvorchosti Lesi Ukrayinky, Kyyiv 1983.
Ukrayinka Lesya, Zibrannya tvoriv u 12 t., Kyyiv 1975‑1979.
Yakovenko S., Romantyky, estety, nitssheantsi. Ukrayinsʹka ta polʹsʹka literaturna krytyka rannʹoho modernizmu, Kyyiv 2006.
Yakubsʹkyy B., Lesya Ukrayinka yak literaturnyy krytyk, [v:] Lesya Ukrayinka, Tvory u 12‑tomakh, Kyyiv 1930, t. 12.
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Authors and Affiliations

Rostysław Radyszewśkyi
1
ORCID: ORCID

  1. Kijowski Uniwersytet Narodowy im. Tarasa Szewczenki
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Abstract

Anselm Feuerbach was a well-known but unpopular painter, partly classical but also romantic and modern. Disappointed by his failures, he decided to put into writing the concept of the art he wanted to create. The material prepared by his stepmother, Henrietta Feuerbach – Testament (Ein Vermächtnis) – is a collection of innovative, sometimes precursory thoughts about art, often close to the theories of Konrad Fiedler, but also often abandoning them in search for the true art.
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Bibliography

Allgeyer Julius, Anselm Feuerbach, sein Leben und seine Kunst, Bamberg 1894.

Anselm Feuerbachs Briefe an seine Mutter. In einer Auswahl von Hermann Uhde-Bernays, mit biographischen Einführungen und Wiedergaben seiner Hauptwerke, Berlin 1912.

Feuerbach Anselm, Der Kampf eines Künstlers, „Die Kunstwelt: deutsche Zeitschrift für die bildende Kunst”, 1911–1912, s. 135–138.

Feuerbach Anselm, Ein Vermächtnis, red. Henriette Feuerbach, München 1920.

Feuerbach Anselm, Gedanken über Kunst, „Kunst für alle: Malerei, Plastik, Graphik, Architektur”, 25, München 1909– 1910, 5, s. 114–115.

Feuerbach Joseph Anselm, Der vaticanische Apollo. Eine Reihe archäologisch-ästhetischer Betrachtungen, Nürnberg 1833.

Fiedler Konrad, Schriften über Kunst, Köln 1977.

Henriette Feuerbach, ihr Leben in ihren Briefen, red. Hermann Uhde-Bernays, Berlin–Wien 1913.

Kasperowicz Ryszard, Zweite, ideale Schöpfung. Sztuka w myśleniu historycznym Jacoba Burckhardta, Lublin 2004.

Mai Ekkehard, Feuerbach in Paris, München–Berlin 2006.

Mai Ekkehard, Anselm Feuerbach (1829–1880). Ein Jahrhundertleben, Wien 2017.

Meier-Graefe Julius, Entwicklungsgeschite der modernen Kunst, t. 2, München 1924.

Meier-Graefe Julius, Modern art. A contribution to a new system of aesthetics, t. 2, tłum. Florence Simmonds, George W. Chrystal, London–New York 1908.

Modern paintings by German and Austrian masters, red. Josef Stransky, New York 1916.

Muther Richard, Geschichte der Malerei im XIX Jahrhundert, t. 1, München 1893.

Muther Richard, Geschichte der Malerei 18 und 19 Jahrhundert, t. 3, Berlin 1912.

Schröder Bruno, Anselm Feuerbach und die Antike, „Jahrbuch der Preuszischen Kunstsammlungen”, 45, 1924, s. 85–111.

Uhde-Bernays Hermann, Feuerbach, mit 80 Vollbildern, Leipzig 1922.

Uhde-Bernays Hermann, Anselm Feuerbachs Lehrer Thomas Couture, „Münchner Jahrbuch der bildenden Kunst”, 1907, s. 135–149.
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Authors and Affiliations

Dorota Kownacka-Rogulska
1
ORCID: ORCID

  1. Instytut Sztuki Polskiej Akademii Nauk, Warszawa
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Abstract

Despite the tormented national reality, the faith in the future redemption of Poland and the idea of change and purification gave birth in the works of the Polish romantics to the hope of salvation, of the advent of the divine kingdom on Earth. Undoubtedly an idea contributed to the birth of this optimistic vision, that was the conception of a Poland like the “Christ of the nations”, which took hold in the new mystical atmosphere of the early nineteenth century and which was combined with Christian eschatologism, revolutionary aspirations and hopes for the future redemption of history. The apocalyptic and millenarian motifs present in the Divine Comedy undeniably played a part in strengthening the messianic ideas of the romantics: the present from a fertile ground for evil and chaos, through suffering and destruction, became the privileged moment of expiation that prepared the advent of the city of God. The paper aims to analyze some motifs from Dante’s Paradise which inspired some of the most stunning pages of Polish romantic literature.
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Authors and Affiliations

Andrea F. de Carlo
1
ORCID: ORCID

  1. Università degli Studi di Napoli L'Orientale
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Abstract

The horror fiction of the Romantic Age differs considerably from its contemporary descendants. While generally associated with scary entertainment (‘playing with fear’), the Romantic Gothic often enough crossed the line to explore the depths of genuine epistemological, existential or political fears. This would not have been possible without developing its own poetics which drew its strength from a variety of sources. One of them was the speculative philosophy of history in its pessimistic and optimistic variants. They both fed the sense of horror and its literary transpositions. Moreover, they formed a positive feedback loop: anxiety over the course of history led to the use of the devices and registers of the poetics of horror, which in turn led to the amplification of the effects of the historical vision on the reader.
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Authors and Affiliations

Kamil Barski
1
ORCID: ORCID

  1. Wydział Filologii Polskiej i Klasycznej, Uniwersytet im. Adama Mickiewicza w Poznaniu (Szkoła Doktorska Nauk o Języku i Literaturze)
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Abstract

The article studies the problem of the Yekaterinoslav urban text formation in Russian literature. The image of the city in the poem by Alexander Pushkin Brothers‑Robbers is analysed; the real (historical) image of Yekaterinoslav is considered in correlation with the image depicted in the poem, determined are the functions of romanticist topoi in the creation of the Yekaterinoslav text, while revealed are the peculiar features of the formation of the urban myth within the Yekaterinoslav text itself. The process of shift from the image of a real Yekaterinoslav city to the image of the ideal (non‑material) one, from a “physical” image to the “metaphysical” is investigated. There is a process of poeticizing a small city in the work of art, representing the primary stage of forming a myth about the city. After analysing the correlation of the Yekaterinoslav myth with the aesthetic constants of romanticism (the motif of freedom and predatory liberty, images of the noble robber and rebellious character, the motif of rejection, correlation with the utopian tradition) we may conclude that within the poetics of the urban text Alexander Pushkin reinterprets and transforms the traditional categories of romanticist poetics. The author’s characterization of the robber character diminishes the romantic ideal, revealing the other, “trivial” nature and interpreting rebellion not as a rejection or desire for freedom, but as a crime. Such a twist in depicting the image of a rebellious character stipulates a different interpretation of the theme of freedom, transforming it into the theme of guilt and punishment. Thus, the motifs of rejection, rebellion and repentance, compositionally uniting the development and understanding of the theme of predatory liberty in the poem, are interpreted in the metaphysical image of the city. Such a function of the city image determines the peculiar narrative structure of the poem at the level of plot, composition and style.
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Authors and Affiliations

Анна Степанова
1
ORCID: ORCID

  1. Дніпро, Університет імені Альфреда Нобеля
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Abstract

Tomasz Zan was one of the leaders of the Philomatic Association, a secret student organization that existed from 1817 to 1823 at the Imperial University of Wilno (Vilnius). This article deals with his autobiographical novel made up of letters he wrote between 1815 and 1823. As the assembled letters do not follow the author’s life in chronological order, the text has be read outside the formal categories of an autobiographical record, with due attention to the poetics of the fragment. Moreover, the textual narrator is not always a representative of the author. The occasional use of a persona suggests that the letters are not underpinned by a consistent and well-defined narrative “I”. It seems that in so far as Zan’s identity inscribed in the text appears fuzzy or disparate, its accurate reconstruction would not be possible without an analysis of the tropological system of his letters.
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Authors and Affiliations

Martyna Olejniczak
1
ORCID: ORCID

  1. Wydział Filologii Polskiej i Klasycznej, Uniwersytet im. Adama Mickiewicza w Poznaniu (Szkoła Doktorska Nauk o Języku i Literaturze)
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Abstract

In this interpretation of Juliusz Słowacki's ‘Snycerz był zatrudniony Dyjanny lepieniem…’ [The carver was busy shaping Diana's statue] the discussion focuses on his attitude to matter, especially as the material of art. The article argues that Słowacki elevates and even sacralises mud, the most lowly of raw materials, and thus exposes the falseness of the popular view that he despises matter, the base opposite of the spirit. However, it would be more accurate to say that in his vision, which is part of his Genesis from the Spirit philosophy, the path to salvation leads through the reconciliation of spirit and matter rather than a triumph of one over the other.
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Authors and Affiliations

Anna Rzepniewska-Kosińska
1
ORCID: ORCID

  1. Zakład Literatury Romantyzmu Instytutu Literatury Polskiej, Uniwersytet Warszawski
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Abstract

This article takes a look at the development women’s press in the first half of the 19th century. A comparison of the press market in the Romantic Age in France, Poland and the United States shows that usually women were eager to take up journalism as a sideline to their literary careers. The article discusses the journalistic work of three women writers — Delphine de Girardin, Wanda Malecka and Margaret Fuller. While each of them was inspired by Romantic and Preromantic writers, their journalism was for the most part a continuation of the Enlightenment models of journalism.

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Authors and Affiliations

Edyta Żyrek-Horodyska
ORCID: ORCID
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Abstract

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.
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Authors and Affiliations

Brigita Speičytė
1
ORCID: ORCID

  1. prof. dr hab., Departament Literatury Litewskiej, Wydział Filologiczny Uniwersytetu Wileńskiego
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Abstract

This article attempts to follow the dynamic process of body communication between the characters of Juliusz Słowacki's Samuel Zborowski (1845, published 1903). An analysis of some passages at the beginning of the drama and in the penultimate act indicates that in the world of the drama the body functions as a medium and body language is at least as important as the spoken word; or, to be more precise, the two types of communication complement one another. In the encounter between Eolion and the Maiden the bodies act as repositories of spiritual memory (a key idea of Słowacki's Genesian philosophy) and can trigger the process of anamnesis, which combines elements of heterosexual eroticism and the affective touch of physical interaction. Moreover, the ensuing scene of judgment hints at a nostalgic relationship between the spirit and the body, the latter acting as a guarantor of a coherent identity, though to some extent undermined by the new model of polyphonic identity. Finally, these scenes are analyzed from the point of view of the performative-persuasive functions of the body.

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Authors and Affiliations

Agata Żaglewska
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Abstract

This article presents a new approach to the interpretation of Juliusz Słowacki's Genesis from the Spirit (1844) from the perspective of the groundbreaking philosophical discourse of modernity. What it actually suggests is that the mystical Form of Słowacki's cosmic vision, believed to be an emanation of the Absolute or a vestige of Creation, has a historical and materialist core. This claim is based on a series of comparisons with passages from Hegel and the premises of the philosophy of Friedrich Schlegel. By following closely the spontaneous movement of inner tensions in Słowacki's poetic discourse this study demonstrates that it is driven his own philosophical project and less so by the discourse of mysticism.
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Bibliography

● Adorno Theodor, Horkheimer Max, Dialektyka oświecenia, tłum. M. Łukasiewicz, Warszawa 2010.
● Bielik-Robson Agata, Nowa Humanistyka: w poszukiwaniu granic, „Teksty Drugie”, nr 1, 2017.
● Blake William, Zaślubiny Nieba i Piekła, [w:] Manifesty romantyzmu. 1790–1830. Anglia, Niemcy, Francja, wyb. A. Kowalczykowa, Warszawa 1975.
● Brzozowski Stanisław, Legenda Młodej Polski, Studya o strukturze duszy kulturalnej, Kraków–Wrocław 1983.
● Coleridge Samuel, Aids to Reflection, [w:] tegoż, The Collected Works of Samuel Coleridge. Aids to Reflection, t. IX, Princeton 1993.
● Coleridge Samuel, O poezji czyli sztuce, [w:] Manifesty romantyzmu. 1790–1830. Anglia, Niemcy, Francja, wyb. A. Kowalczykowa, Warszawa 1975.
● Hegel Georg Wilhelm, Fenomenologia ducha, tłum. Ś. F. Nowicki, Warszawa 2010.
● Hegel Georg Wilhelm, Wykłady z filozofii dziejów, tłum. J. Grabowski i A. Landman, Warszawa 1958.
● J. G. Fichte, Teoria wiedzy. Wybór pism, t. 1, wyb. tłum i wstęp M. Siemek, Warszawa 1996.
● Kagarlicki Borys, Imperium peryferii. Rosja i system światowy, tłum. L. Leonkiewicz i B. Szulęcka, Warszawa 2012.
● Kojève Alexandre, Wstęp do wykładów o Heglu, tłum. Ś.F. Nowicki, Warszawa 1999.
● Kowalczykowa Alina, O „Genezis z Ducha”, „Pamiętnik Literacki”, nr 61/1, 1970.
● Maciejewski Marian, „Natury poznanie”w lirykach Słowackiego: dzieje napięć między podmiotem a przedmiotem, „Pamiętnik Literacki”, nr 57–1, 1966.
● Matuszewski Ignacy, Słowacki i nowa sztuka ( modernizm). Twórczość Słowackiego w świetle poglądów estetyki nowoczesnej. Studyum krytyczno-porównawcze, Warszawa 1904.
● Momro Jakub, Widmontologie nowoczesności. Genezy, Warszawa 2014.
● Nancy Jean-Luc, Lacoue-Labarthe Philippe, The Literary Absolute: The Theory of Literature in German Romanticism, transl. Ph. Barnard i Ch. Lester, New York 1988.
● Pawlikowski Jan Gwalbert, Mistyka Słowackiego, Lwów 1909.
● Prokopiuk Jerzy, Czy Słowacki gnostykiem był?, [w:] Słowacki mistyczny. Rewizje pod latach, red. A. Fabianowski, E. Hoffman-Piotrowska, Warszawa 2012.
● Schlegel Friedrich, Mowa o mitologii, [w:] Manifesty romantyzmu. 1790–1830. Anglia, Niemcy, Francja, wyb. A. Kowalczykowa, Warszawa 1975.
● Siemek Marek, Filozofia spełnionej nowoczesności – Hegel, Toruń 1995.
● Siemek Marek, Poznanie jako praktyka (prelegomena do przyszłej epistemologii), [w:] Marksizm w kulturze filozoficznej XX wieku, red. M. Siemek, Warszawa 1998.
● Słowacki Juliusz, Beniowski. Pięć pierwszych pieśni, [w:] tegoż, Dzieła, t. 3, Wrocław 1952.
● Słowacki Juliusz, Do emigracji o potrzebie idei, [w:] tegoż, Pisma prozą. Część druga. Pisma filozoficzne – pisma polityczne – pisma w sprawie koła Towiańczyków – pisma drobne, opr. W. Floryan, Wrocław 1959.
● Słowacki Juliusz, Genezis z Ducha, [w:] tegoż, Pisma prozą. Część druga. Pisma filozoficzne – pisma polityczne – pisma w sprawie koła Towiańczyków – pisma drobne, opr. W. Floryan, Wrocław 1959.
● Wyka Kazimierz, W kręgu „Genezis z Ducha”, „Pamiętnik Literacki”, nr 46/4, 1955.
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Authors and Affiliations

Kacper Kutrzeba
1
ORCID: ORCID

  1. Wydział Polonistyki Uniwersytetu Jagiellońskiego, Kraków
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Abstract

Polish musical criticism of 19th century is a fascinating research field for musicologists, music theorists, as well as literary scholars. They can find there a wealth of texts whose expressive style tries to emulate the homage paid to the great virtuosos of the time in poetry. While Frederick Chopin and the violinist Karol Lipiński held sway over captive audiences, there was yet another musician whose name featured prominently in reviews and poems. It was Stanisław Szczepanowski, the great guitarist, whose concerts gave rise to numerous reviews representing the romantic school of musical criticism. This paper examines some of those reviews as well as two poems dedicated to Szczepanowski, one by Teofil Lenartowicz and the other by Władysław Syrokomla.
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Authors and Affiliations

Magdalena Bartnikowska-Biernat
1
ORCID: ORCID

  1. dr, doktorat obroniony na Wydziale Polonistyki UJ
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Abstract

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.
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Authors and Affiliations

Maciej Szargot
1
ORCID: ORCID

  1. prof. UŁ, dr hab., Uniwersytet Łódzki
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Abstract

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.

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Authors and Affiliations

Agnieszka Bednarek-Bohdziewicz
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Abstract

In this article Maurycy Mochnacki’s martyrological and messianic declarations in the Preface to the Uprising of the Polish Nation in 1830–1831 are examined in the context of the martyrological discourse in the literature of the Great Emigration. Such an affirmation may appear puzzling given Mochnacki’s rejection of martyrological interpretations of Poland’s history or messianic readings of his political philosophy, let alone his reputation of being radically opposed to Adam Mickiewicz’s idea of the sacrifi cial victimhood of the Polish nation. In this study the ideological and rhetorical aspects of their statements are compared and analysed. There can be little doubt that in the Preface Mochnacki’s phrasing is steeped in patriotic pathos which seems to be at odds with the tone of his other writings. This article claims that it was a tactical move on his part: he chose the familiar martyrological loci merely as a means to enlist the readers’ support for his own pragmatic programme of restoring Poland’s independence. A general conclusion to be drawn from this apparent inconsistency is that already at that stage (The Uprising was published in Paris in 1834) the logosphere of the Great Emigration had become so dominated by the martyrological discourse that Mochnacki could not afford to ignore it.

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Authors and Affiliations

Makiko Kihara

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