http://hdl.handle.net/11716/5902 2026-05-09T11:52:45Z 2026-05-09T11:52:45Z Kolasa, Władysław http://hdl.handle.net/11716/5956 2019-09-21T09:26:38Z 2002-01-01T00:00:00Z

Literatura i kontestacja (krótka historia "bruLionu") Kolasa, Władysław Cracovian bruLion (noteBook) in the history of Polish literature of the end of the 20th made its name as one of the most important voices of the young generation. The group connected with the magazine, which used non-conventional poetic and medial strategy, and whose main motivating force was scandal pugnaciously reached the literary Parnassus. In a sense bruLion was a subsequent link in the tradition of Polish avant-garde. However, it had its peculiarity as it protested against popular idealisation of literature. “The Wild” (as they soon called themselves) negated the whole literary tradition. They treated official literature (e.g. soc-parnasites) with the same kind of dismay as the opposition literature full of tyrteism, and they negated its inherent paradigm of equation between aesthetics and ethics. Their neo- avant-garde poetic art, which shocked critics and readers alike, not so much with the form as with the rejection of classical ideals; models of literature and missionary function of art made them immediately famous. Literary awards, poetic collections and brilliant careers quickly followed favourable reviews of their work. It is worth mentioning that the credo of bruLion changed several times. There are three periods to be distinguished in its history: the first one from the beginning in 1987 to the half of 1988, when it was a typical journal of “secondary circulation”, and when it imitated Zeszyty Literackie; the second period from autumn 1988 (No 7/8) to 1992 (No 19A and 19B), when the media popularity started and when majority of important texts were published; and the third one since 1994, when the editors moved to Warsaw and the group dissolved, and practically the bruLion formation came to its end.

2002-01-01T00:00:00Z Woźniakowski, Krzysztof http://hdl.handle.net/11716/5955 2019-09-21T09:22:13Z 2002-01-01T00:00:00Z

Wileńskie jednodniówki polskojęzyczne z października 1939 r. Woźniakowski, Krzysztof On October 27-28, 1939, Vilnius and the Vilnius province were taken by the Lithuanian Republic. Almost immediately a local substitute of the press in the Polish language was organised in the form of a series of dailies: Nasza Depesza (October 28, 1939), Witaj Litwo! (October 29, 1939), Pogoń - Vytis (October 30, 1939) and Braterstwo (October 31, 1939). Edited by a Lithuanian journalist Andrius Rondomanskis, modest one-page editions of the 47 x 32 cm format were filled with official announcements and ordinances of the new Lithuanian government, news dispatch and anonymous propaganda. They were distributed in streets posted on pillars. Presentation of the mentioned dailies is the subject matter of this article. All four dailies propagated the Lithuanian approach to the Vilnius issue, which was based on the “Vilnius myth” cultivated in the inter-war Lithuanian Republic. Vilnius was an ancient Lithuanian city, in the period of 1920-1939 occupied by Poland and inhabited by the people who were polonised language-wise but who were strongly attached to Lithuania culturally and spiritually, and who were intentionally kept by the Polish occupational government in the state of intellectual downfall and poverty. Annexation of Vilnius to the Lithuanian State was treated, in this approach, as a finite conclusion of the period of misery, poverty and foreign occupation, which had lasted since the 17th centuiy. However, the dailies (although not consistently) assured the readers that the Lithuanian Republic will allow all non-Lithuanian nationality groups of the Vilnius province (Poles including) to preserve and maintain their own cultures, on the condition of total loyalty towards the Lithuanian state and the final approval of October 27-28,1939 territorial changes. Social unrest of October 31 and November 1, 2, 1939 showed that the propaganda policy of the dailies was not based on realistic assumptions and it did not reflect the actual moods and reality of the Vilnius province. The idea of “polonised Lithuanians” welcoming changes of their statehood turned out to be a propaganda fiction. Under the circumstances, Lithuanian forces reviewed their policy giving agreement to creating the press for Poles that would be edited and published by Poles themselves. Thus, on November 2, 1939 “Kurier Wileński” came into being, and then another periodical started on November 25, 1939 entitled “Gazeta Codzienna”, which were permanently registered in the post-war history of the Vilnius province. At the same time, the Lithuanians did not give up on the idea of “polonised Lithuanians”, initiating the third Lithuanian daily in Polish “Nowe Słowo” for this group of putative readers (more real in the Lithuanian government imagination than reality) since January 14, 1940, and which presented merely the Lithuanian perspective through its peculiar continuity of the October dailies line of thinking.

2002-01-01T00:00:00Z Turkiewicz, Halina http://hdl.handle.net/11716/5954 2019-09-21T09:17:39Z 2002-01-01T00:00:00Z

O zapomnianej spuściźnie Jerzego Wyszomirskiego Turkiewicz, Halina The article reviews the literary output of Jerzy Wyszomirski, who was a poet, a literary critic and a journalist not widely known nowadays but who was associated with Vilnius in the inter-war period. His collections of poems entitled Całopalenie (1923) and Niewczesne (1930) indicate a direction of the poetic development from debutante references to the poetics of Young Poland and the Skamander group to an attempt at original themes and artistic solutions, with the simultaneous inclusion of regional motifs. Wyszomirski’s literary journalism testifies to the author’s acquaintance with the issues of most recent Polish poetry of the groups such as “Kwadryga”, "Żagary” or local authors. Moreover, it is an example of unorthodox, frequently controversial judgements of current opinions. An important foundation of Wyszomirski’s critical and literary output were also publications about Russian literature and topics on current social and sociological phenomena.

2002-01-01T00:00:00Z Ptak, Katarzyna http://hdl.handle.net/11716/5953 2019-09-21T09:14:29Z 2002-01-01T00:00:00Z

Heroizm i ofiary. W kręgu nowelistyki Juliusza Kadena-Bandrowskiego z okresu Wielkiej Wojny Ptak, Katarzyna The article presents Juliusz Kaden Bandrowski’s literary output connected with the war of Polish independence. The writer, enriched by his own war experience, exploited the war themes and soldiers’ misery extensively. Conventions of a report, picture, study and short story, as genres already stylised, and as genres emerging “right before the author’s eyes” were evenly saturated with factual material. Kaden was one of the writers who presented war as a way for “Poland to be” and who used literature as patriotic propaganda. He was also a bard who built up a myth of the legionary deeds and Pilsudski. Bandrowski’s short stories and scenes from the period of the Great War collected in Iskry, Spotkania and Przymierze Sere depict the stay of the writer’s regiment on the Narew, popular attitudes of the people of the Congress Kingdom of Poland towards the soldiers of Polish Legions, and they recall his companions from the combat trail. A documentary form is one of the platforms of reference. Kaden’s report technique directs the reader’s attention to what is objective in the general sense, and simultaneously transfers facts to a system of aesthetic motivation thus determining the imposed structure of the work. A short story merges into a report as it results directly from a commentary on the authentic life of the legion; simultaneously it departs from it because the descriptions of nature, wildlife, countryside and soldiers’ harsh living in the provincial barracks become the author’s artistic adventure in the form of a short story. The description is not strictly a report, which would eliminate other aspects. Factual presentation is “open”. Accidental factors tend to be causal and observation is submitted to a greater control. The artistic means and stylistic figures are used to document the writer’s hegemony over the publicist or reporter.

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