The article attempts to answer the question asked by Nelson Goodman, about the moment when something becomes poetry/art. This article describes the change of communication situation that has taken place in the Polish culture after 2000. It draws attention to the aesthetic potential of poetry by such authors as Justyna Bargielska, Szczepan Kopyt, and Krzysztof Siwczyk.

The aim of this essay is to reflect on different aspects and understandings of “the uncanny” in the poetry of Justyna Bargielska. The authoress begins with analysing a few of the critical commentaries and reviews of Bargielska’s work; it seems that, one way or another, most of the literary critics – including the mainstream critics associated with a specific political option, like Andrzej Horubała – tend to infantilize the poet, identifying the subject of Bargielska’s poetry with an adolescent girl, immature and somehow unresponsible or dependent. As the authoress argues, this phenomenon has a lot to do with the literary criticism being not able to grasp and comprehend Bargielska’s references to children’s literature – picturebooks, fables, fairy tales, etc. – which remain fundamental for the very basis of her oeuvre. What the authoress proposes is to re-read Bargielska’s poems alongside the picturebooks and in context of the popular fairy tale themes, while at the same time implementing the anthropological figure of the “trickster”.

The article concerns the close-knit relationship between the physiologically perceived human body and the mystical vision of the world which appears in Bruno Schulz’s literary creation. The search for an artistic formula for joining the opposites – the pungent, bestial nature of the earthly life and its cabalistic roots – characterizes the tension in Schulz’s writing, at the same time being a reaction to the crisis of the humanistic conception of man. In its creative, original remaking, it captures the Jewish tradition as well as elements of the Polish interwar avant-garde.

The resistance of Polish writers against the postwar communist regime is presented in this article mainly as a way of collective manifestation of the attitude often called ‘inner emigration’. The article focuses on the ambiguous stratagems of some ardent adepts of the communist ideology, who fi nally became political dissidents, but before that had chosen the sort of ‘inner exile’ or ‘inner emigration’, having created their own literary codes based on camouflage, allegory, and mystification

The Champion Of The World is a book concluding scientific conferences dedicated to the person of Marcin Świetlicki. It does not bring any new to knowledge about his artistic creation but collects a variety of topics. The most important of them is the relation between Świetlicki’s writing and the Romantic tradition. Unfortunately, the speakers seem not to focus enough on popcultural themes and the metaphysical dimension of the writer’s poems and prose. The reader will find three controversial statements of young critics who suggest that Świetlicki is becoming less valued among poets and readers of the younger generation. However, their claims seem to be greatly exaggerated. One thing is certain that Marcin Świetlicki is still a great ironist who provokes differing opinions about himself.

Moje zdziwienia (My Wonderments) is a column authored by Henryk Markiewicz, professor emeritus of the Jagiellonian University, and one of the most outstanding Polish historians and theoreticians of literature. In his articles which have been appearing in the „Wielogłos” magazine since 2008, professor Markiewicz offers a critical discussion on selected publications devoted to literary studies, comments on current events associated with academic life, engages in polemics and poses questions addressed to authors of academic papers and popularizing articles; he unceasingly demands respect for standards of academic professionalism, competence, diligence and responsibility for the views and opinions expressed. This time professor Markiewicz poses some troublesome questions to cultural theoreticians of literature.

This essay presents a profi le of Marian Stala as a literary critic. The author’s reading of the notable literary historian’s critical output is at the same time an attempt to uncover the state of contemporary criticism that still recognizes the role of literature as important.