http://hdl.handle.net/11716/5903 2026-05-02T02:53:38Z http://hdl.handle.net/11716/5919 Nowa baśń. Strzyga Romana Zmorskiego i Wiedźmin Andrzeja Sapkowskiego Roszczynialska, Magdalena Andrzej Sapkowski’s story, which introduced wizard Geralt into Polish literature, is a transformed folk motif of a “princess — lamia” as recorded by Roman Zmorski in his literaiy version of the tale Strzyga. The transformation refers to the following aspects: the change of the central motif from the fairy tale monster into the wizard; the reconstruction of characters from stereotypical into multidimensional ones; implementation of psychological motivation instead of fantastic one: introduction of economic and political factors in place of religious ones, alterations in the axiological area of the tale to create ethical dissonance; plot distortions leading to the reversal of conventional fairy tale sequence of events; focus on the language of narration. The narrator, who is revealed in the language layer of the work through the use of contrasted lexical and phraseological forms (such as archaisms, neologisms, borrowings, vulgarisms, prosaisms, colloquial expressions and jargon of the trade expressions) creates a distance towards the presented world, and he functions as stylizer and plagiarist, introducing ironic undertones in the story. Sapkowski’s tale Wiedźmin disturbs the fairy tale convention replacing the fairy tale with anti-tale. 2003-01-01T00:00:00Z http://hdl.handle.net/11716/5918 Metafora w reportażu lat 70. Polskie paradoksy? Sosin, Beata Klaudia The article touches upon the reality of the 70-ies of the twentieth century. It was only here, in the “most joyful of the socialist barracks'’ that such a success in fighting the censorship could have taken place as multiple publications of Dertold Brecht’s forbidden poems. It was a period of increased censorship and paradoxically brave reports. This genre was extremely successful both on television, radio and the press at that time. Decoding subsequent meanings hidden behind the dense network of metaphors, I observed that an encounter with the feedback from the Contest which was organised thirty years ago by “Gazeta Krakowska" may also be an intellectual adventure today. All awarded authors used a peculiar, original, however comprehensible code. That is why we cannot treat Corrida po polsku (Corrida the Polish Way) and the remaining collections Nagle zaskoczenie (Unexpected surprise) and Bez retuszu (No Retouch) merely as a straightforward record of reality. They are something more, and first of all, through the use of appropriate devices and literary tricks they constitute an attempt of evaluation and interpretation of man’s living in that reality. That is also the reason for my placing them at the borderline between literature and journalism. In my opinion, those commentaries were created in opposition to the contemporary poor quality literature. One of the authors of the early volume adds: ’’The commentary added something, deleted something, and deformed something. Or perhaps it did not deform anything. Maybe the life was like in newspaper columns. [...] And since the years - over thirty years have passed quickly as lightning so that the greatest political breakthroughs could not occupy more space than of two or three metaphors, it was not the reporter to blame but the time which cannot be enclosed on paper pages”. 2003-01-01T00:00:00Z http://hdl.handle.net/11716/5917 Między życiem a śmiercią - o cierpieniu i wolności wyboru (na podstawie Esther Stefana Chwina) Paszko, Izabela Esther by Chwin is a work of palimpsest nature, in which questions appear concerning suffering, lapse of time, pain, not only physical, but also existential. The characters of the novel are “dead alive”, or constantly rub shoulders with death — they are melancholic, incurably ill, and rebellious against the order of the world. The pain of existence which they feel is unbearable, therefore, some of them choose suicide, others, like Esther Simmel, conscious withdrawal from life, dwelling in the intermediate sphere. A question arises what makes our life suddenly break through and why things that used to bring joy, cease to do so. Such and other questions concerning the dark side of existence remain unanswered. In order to domesticate the thinking of the ultimate end of everything, Chwin proposes cancelling the border separating life from death - a human being starts dying from the moment of his birth. Such a philosophy allows us to dispel the fear of illness, old age, passing away. The necessity to appreciate every NOW, the choice of active living, the fight against “the demon of pessimism and melancholy” - this is Chwin’s proposal for a living. What is weak in a man may constitute his greatness. Even illness and suffering has a recovering power which enables the man to get rid of bad predispositions. Against the frailty of existence (there is no such beauty that time would not destroy) stands the world of things, in which the author searches for his own spiritual identity that would bring sense and continuity to existence. 2003-01-01T00:00:00Z http://hdl.handle.net/11716/5916 Juliana Kawalca pieśń o starości Faron, Bolesław Constituting the background of the main theme, the first part of the article deals with several recent critical works on the subject. Among those are texts by Ryszard Przybylski entitled Baśń zimowa. Esej o starości (Winter Tale. An Essay on Death), Elżbieta Kieślak’s Szkice do portretu artysty i czasów starości (Sketches to the Artist's Portrait and Old Age) (about Czesław Miłosz), Wojciech Ligçza’s Worek strachów. O upływaniu czasu w twórczości Aleksandra Wata (A Sack of Fears. On Time Passing in Aleksander Wat’s Output), Andrzej Strendo’s O szczególnych właściwościach tzw. późnej twórczości Różewicza (On Peculiar Characteristics of the so-called Late output of Różewicz). In this context, Julian Ka- walec’s output from 1990-ties is viewed. It was the time when his transformation took place from a prose writer to a poet who demonstrated all characteristic aspects of “the old age” creation, meaning the problems of life and death, limitations resulting from the old age. The same topics are also discussed in small narrative forms that appear towards the end of the 1990-ties. The analysis of this phase of Kawalec’s literary creation leads to several conclusions, namely that the anatomy of the old age is inscribed in poet’s biography. The covered problems are decline of physical strength, atrophy and relation between youth and old age, recollections from childhood, maladjustment to contemporary times and the end of the category of death. Death is approached stoically by the author who only rebels against its preposterous occurrence in wars, revolutions and terrorist attacks. 2003-01-01T00:00:00Z