ejournals

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O Stanisławie Przybyszewskim europejskim, patriotycznym i prekursorskim (szkic przekrojowy)

Gabriela Matuszek-Stec

Yearbook of Gdańsk, LXXXIII (83), 2023, pp. 23 - 38

https://doi.org/10.26881/rgtn.2023.01

The article is an essential approach to the life and work of Stanisław Przybyszewski, prepared on the basis of the previous works of the author, an expert on the writer’s work and his German reception, editor of the scientific critical edition of S. Przybyszewski’s Literary Works, which has been published by the Jagiellonian University Publishing House since 2022. The text presents the most important issues related to Przybyszewski’s writing, presented in chronological order, from his German and Polish periods of work. Presented here are, among others: lesser-known facts from Przybyszewski’s biography (especially his social and patriotic activity), the reception of his work by German critics and researchers, the writer’s most important achievements, his theories on art and precursor concepts towards later artistic phenomena, as well as the writer’s importance, are presented in a synthetic way for both literatures (Polish and German). The text serves as an introduction to the Gdańsk conference on “Przybyszewski et al.” It also contains information related to the writer’s social activities in Gdańsk.

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Artyści modernistyczni jako mniejszość

Gabriela Matuszek-Stec

Konteksty Kultury, Volume 14 Issue 1, 2017, pp. 42 - 54

https://doi.org/10.4467/23531991KK.17.003.7268

The authors tries to apply the category of minority to artistic groups, focusing primarily on the situation of Early Modernism artists, regarded in broader contexts. She shows that artistic milieus often find themselves in a “minority situation,” even though such a minority conforms only to some elements of the “hard” definition. A significant role is here played by the psychological dimension: the subjective feeling of “being a minority” and the expression of separateness. The bonding factors include recognizing the world in crisis, alienation and (self)exclusion, as well as anthropological similarity (theories concerning the higher level of evolutionary development).

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O ironii w Biesach Marii Komornickiej

Gabriela Matuszek-Stec

Wielogłos, Issue 2 (32) 2017, 2017, pp. 41 - 51

https://doi.org/10.4467/2084395XWI.17.011.7769

The article addresses a topic not researched before, that is, the presence of irony in Maria

Komornicka’s poem Biesy. The author shows that, in the nooks and crannies of the text,

which is imbued with autobiographical frankness and untamed directness, there may

lurk irony, and its “cracked” subject, full of ambivalence and disharmony, sometimes

adopts a pose which after Kierkegaard may be described as an “infinite absolute negativity.”

A subtle network of ironic tensions is analyzed: between the Self and the world;

the speaking subject and the subject spoken of; the Self and Non-Self; and the Prototype

(Prototyp) and the Not-Fully-Born (Niedorodzona). The author emphasizes the

fact that – contrary to Kierkegaard’s ironic subject – Komornicka’s heroine remains

alienated not only in her worldly existence: even the transcendent being appears as an

unfinished supplementation of a defective spirit. Thus, the existential irony extends to

metaphysical irony. Komornicka’s poem reveals not only the core of a traumatic existential

experience, but also the ironic face of nothingness which underlies the world.

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Gdy wstaniemy z martwych – epilog dramatyczny Henryka Ibsena

Gabriela Matuszek-Stec

Wielogłos, Issue 2 (36) 2018, 2018, pp. 1 - 13

https://doi.org/10.4467/2084395XWI.18.016.9961

The author interprets Henryk Ibsen’s last drama, which is an epilogue of a series of plays started with the A Doll’s House, which did not enjoy much interest of contemporary readers and later researchers. The precise composition of the play, the revealed encounters of realistic and symbolic space, the alienation of reality and its phantasmic shape, and the ontologically uncertain status of the protagonists are analysed. The article demonstrates how Ibsen’s work on an artist proves to carry aporetic meanings, indicating that the most important obligation of man is to experience his own life, especially love wholeheartedly, but at the same time stating that only a suppressed libido can be a source of art. An attempt to solve this unresolvable contradiction is the vision of the resurrection, the central axis of the drama, which acquires aesthetic, existential, and eschatological significance

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Gabriela Matuszek-Stec

Jagiellonian University in Kraków, Gołębia 24, 31-007 Kraków, Poland

Jagiellonian University in Kraków, Gołębia 24, 31-007 Kraków, Poland