Anna Pekaniec

HYBRID OR RESUMPTION OF LIFE (H. KIRCHNER, NAŁKOWSKA ALBO ŻYCIE PISANE)  
By reaching out for a metaphor derived from the sphere of fi ne arts – “sepia sketch”, in her monumental biography of Zofia Nałkowska, Hanna Kirchner encompasses the life of the authoress of Granica within a delicate and unclear framework, though one which is drawn with a bold line. The impossibility of a direct transposition of one’s life into a written text, produced a shiny, multi-aspect “multi-portrait”. A few dozen chapters make up a fascinating story which though focused on a reconstruction of the authoress’s biogram, it transgresses considerably the task which is traditionally ascribed to biography.

Walking among the books, strolling among the theories, wandering in the critical wilderness

The main of paper is to show Inga Iwasiów’s ways of understanding how women’s novels (mainly written after 1989) deal with categories such as: women’s writing, theoretical borders, politics of literature. Ideas are shown in both ways: as literary practice and critical concepts. Also under consideration was taken literature of personal document, what made panoramic map of women’s writing more diversified, and furthermore, made interesting proposals of interpretation and reading (both, critical and personal) exquisitely useful and efficient.

 

Between the Familiar and the New: Not Only Young-Poland Echoes in Jadwiga Gamska-Łempicka’s Poetry

This paper, which is devoted to the poetic unveiling of Jadwiga Gamska-Lempicka,a forgotten female poet, translator, and editor of the interwar period, aims to evoke the character of her poetry. It is also an attempt at presenting her various texts. Closely influenced by the Young Poland movement, she was in constant dialogue with concepts taken from the Skamander Group or avant-garde poetics. However, since she used the prerogatives her education had given her, Gamska should be treated not only as a Young Poland epigone: as a doctor of letters, she was strongly aware that her poetry was a successful collage of poetic conceptions that were often starkly different from one other and tailored to her individual expression, discreetly but visibly breaking with concepts that had been taken from the poetry of Leopold Staff or Maryla Wolska. A closer look at the three volumes of Gamska’s poetry is also a significant attempt at filling one of the many gaps in the study of women’s lyrics published before the Second World War.

Forgotten revolution? No and yes.

Agata Araszkiewicz’s book is a very interesting collection of possible ways of reading same novels from interwar period, novels written by women. By using tools mainly taken from feminist criticism such as écriture féminine or gynocriticism she builds interpretation of prose written by Aniela Gruszecka, Irena Krzywicka, Pola Gojawiczyńska, Wanda Melcer and Maria Kuncewiczowa. Araszkiewicz emphasizes it uniqueness, and by that she brings them back to history of polish literature. What is important to see, is that she focuses not only on poetics, but also on problems, themes, and, what is the most significant, on it’s aesthetic, what helps her to reveal revolutionary potential. Seen by Araszkiewicz, women’s novels from interwar period appeared not only as continuations of Young Poland poetic, but an innovative, multidimensional, autonomous space of literature with women’s signature.
 

Niniejszy szkic skoncentrowany jest na kilku ważnych kwestiach związanych z pisaniem/czytaniem dzienników. Dzienniki traktowane jako codzienna praktyka życiowa, oparta na obligatoryjnej narratywizacji doświadczenia (za Hannah Arendt), zostają tu umieszczone w horyzoncie etycznym wyznaczanym przez idee filozoficzne Paula Ricoeura, Charlesa Taylora oraz propozycje lekturowe Davida Parkera. Teza tego ostatniego o immanentnej etyczności gestu diarysty zostaje skonfrontowana z teoriami autobiograficznymi Philippe’a Lejeune’a, Małgorzaty Czermińskiej i Magdaleny Marszałek. Dodatkowo rozważania zostają uzupełnione o niezbędny komponent genderowy. Narracyjność w diarystyce staje się również punktem wyjścia do zmiany optyki postrzegania dzienników – od hermeneutycznej po konstrukcjonistyczną, odbijające się także na kształcie podmiotu dziennikowych notatek.