Cezary Zalewski

The article is an analysis of Henryk Sienkiewicz’s epistolography written during his stay in Greece (in 1886). The basic interpretive category is the figure of the pilgrim, which is used in two modalities: (1) as a unifying and organizing autobiographical project and (2) as a description of a specific journey to a sacred place (here: the Acropolis). In the first case, the trip to Greece will be an attempt to return to the self from the period of philological studies; in the second one – to perform a private ritual on the ruins of ancient temples. The second aspect will be analysed in depth in terms of: (a) impressions, (b) imaginings and (c) explanations that are triggered by a stay on the Acropolis. As a result of the inquiry, the presence of an attitude of aesthetic pantheism, which acquires a Stoic tinge, is established in Sienkiewicz. In the conclusion, the difference between this stance and a strictly religious experience is indicated, which is subject here to a clear suppression.

The article is devoted to the analysis of the modern experience of love, to which the entire narrative of the Planter of Malata has been devoted. The modern approach to the subject will be understood here as the penetration of the sacred sphere into the domain of the profane. Thanks to this mechanism, it becomes possible to create the expression of an indirect, confused, quasi-sacred experience. Conrad’s protagonist thus sees a woman in terms of “sanctity,” which will be interpreted in terms of “modern idolatry” (J.-L. Marion), eliminating any distance between the worshiper and the object of worship. The main scope of the analyses will concern the consequences that result from the starting point established in this way. Conrad’s text confirms the assumption that “pain is a sign and a means of contact with the divine” (D. Morris), but at the same time indicates many levels at which this process takes place.

* The project was founded by The National Science Centre (Poland) on the basis of decision number 2012/05/B/HS2/04065.

The article concerns Czesław Miłosz’s late poetry which contains a few poems dedicated to old photographs (from XIX and beginning of XX century). Active dialogue which Miłosz displays in his works runs symmetrically and paralle. On the one hand Miłosz admiring feminine beauty (Piękna nieznajoma) or condemning bloodthirsty crowd (Człowiek-Mucha) yields subjective temptations which uncovers his own illusions. On the other hand: when he presents photos of dead persons (Mój dziadek Zygmunt Kunat, Anka, Fotografi a) he in fact describes the experience of epiphany which leads him to the truth.

The article presents the fundamental category of René Girard’s anthropology, namely the concept of desire. The author discusses, above all, its imitative nature which is revealed in its two basic types: the external and the internal one. The characteristic is supplemented with the metaphysical dimension which appears at times when the object of the desire is existence itself. The presentations were also widened to include the views of psychologists, for whom Girard’s findings constitute an important inspiration.