The article describes cultural life in Kielce at the threshold of independence. The local theatre played a prominent role at that time, since it was the only professional scene on which the Regency Council’s manifest was read. After this event the institution had its name changed into the Polish Theatre. The directors in those days were struggling with financial and logistical problems, lack of permanent crew, and even the outbreak of typhus. The history of the theater is described in the context of provincial, poor and clerical town, in which the intelligentsia accounted for a small percentage of the population. The audience wanted some entertainment both from the theatre and the expanding world of the cinema. Therefore, the creators were trying to meet those expectations through productions based on comedy and operetta. The local amateur theatre was the only group involved in politics, staging several patriotic plays. The conclusions of the article are based on the materials published in ”Gazeta Kielecka”, a local newspaper of that time, and collections available in the branch of National Archive in Kielce (unfortunately, no documents have been preserved in Żeromski Theater), as well as the research done by regional historians. Year 1918 turned out to be just a glimpse in the long process of changing the mentality of local community. It was just the first step to rebuild its national identity.
{"title":"Rok 1918 na teatralnej prowincji. Kielce","authors":"Paulina Drozdowska","doi":"10.24917/20811853.18.7","DOIUrl":"https://doi.org/10.24917/20811853.18.7","url":null,"abstract":"The article describes cultural life in Kielce at the threshold of independence. The local theatre played a prominent role at that time, since it was the only professional scene on which the Regency Council’s manifest was read. After this event the institution had its name changed into the Polish Theatre. The directors in those days were struggling with financial and logistical problems, lack of permanent crew, and even the outbreak of typhus. The history of the theater is described in the context of provincial, poor and clerical town, in which the intelligentsia accounted for a small percentage of the population. The audience wanted some entertainment both from the theatre and the expanding world of the cinema. Therefore, the creators were trying to meet those expectations through productions based on comedy and operetta. The local amateur theatre was the only group involved in politics, staging several patriotic plays. The conclusions of the article are based on the materials published in ”Gazeta Kielecka”, a local newspaper of that time, and collections available in the branch of National Archive in Kielce (unfortunately, no documents have been preserved in Żeromski Theater), as well as the research done by regional historians. Year 1918 turned out to be just a glimpse in the long process of changing the mentality of local community. It was just the first step to rebuild its national identity.","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"69 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72389686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Three one-act plays – The Elevator, The Rebellion and The Freud – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama (The Elevator), the Ibsenesque psychological theatre (The Fraud) and a game with scenic illusion in the style of Pirandello (The Rebellion). Finally, I created a new term for Goreckis’ plays: “miniature, light and bourgeois modernism”.
{"title":"W kręgu Tadeusza Kudlińskiego: Wiesław Gorecki","authors":"Michał Zdunik","doi":"10.24917/20811853.18.16","DOIUrl":"https://doi.org/10.24917/20811853.18.16","url":null,"abstract":"Three one-act plays – The Elevator, The Rebellion and The Freud – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama (The Elevator), the Ibsenesque psychological theatre (The Fraud) and a game with scenic illusion in the style of Pirandello (The Rebellion). Finally, I created a new term for Goreckis’ plays: “miniature, light and bourgeois modernism”.","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"137 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78196814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Can a soldier be a tourist? Can we say that touristic experiences are possible during the war from the anthropological point of view? In this article I tried to find the answers to those questions, using Smak Świata by Tadeusz Kudliński. A soldier, but also a typical tourist, hungry for new experiences, was only accidentally placed in the middle of the war by history. The Tourist Gaze by John Urry and The Image: A Guide to Pseudo-Events in America by Daniel Boorstin were very useful during my research and helped to create a new view of Smak Świata novel.
{"title":"Wojenna turystyka Tadeusza Kudlińskiego","authors":"Mateusz Rozmus","doi":"10.24917/20811853.18.13","DOIUrl":"https://doi.org/10.24917/20811853.18.13","url":null,"abstract":"Can a soldier be a tourist? Can we say that touristic experiences are possible during the war from the anthropological point of view? In this article I tried to find the answers to those questions, using Smak Świata by Tadeusz Kudliński. A soldier, but also a typical tourist, hungry for new experiences, was only accidentally placed in the middle of the war by history. The Tourist Gaze by John Urry and The Image: A Guide to Pseudo-Events in America by Daniel Boorstin were very useful during my research and helped to create a new view of Smak Świata novel.","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90049777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The view of Europe betweeen 19th and 20th centuries was shaped mainly by militarism. It is confirmed by the works of Michael Howard, Ian F.W. Beckett, Martin van Creveld, and also material culture, which is the heritage of those times. Architecture, technology, as well assculptures and paintings created shortly before the First World War are an illustration of how Polish literature reacted to the conflict of 1914–1918. In Tadeusz Kudliński’s novel Smak świata, where the main character is an officer of the Austro-Hungarian artillery, the world is dominated by machines: railway, telephone etc. According to Bjonar Olsen, those things represent material culture in the view of Tim Dant, allowing the main character to keep his identity. The collection of essays Młodości mej stolica. Wspomnienia krakowianina między wojnami provide the reader with a historical view of the war in the Carpathian Mountains and on the Italian front.
19至20世纪的欧洲观主要是由军国主义塑造的。Michael Howard, Ian F.W. Beckett, Martin van Creveld的作品以及作为那个时代遗产的物质文化都证实了这一点。第一次世界大战前不久创作的建筑、技术，以及雕塑和绘画，都是波兰文学对1914-1918年冲突的反应。在Tadeusz Kudliński的小说《Smak świata》中，主人公是奥匈帝国炮兵的一名军官，世界被机器主宰:铁路、电话等。根据比约纳·奥尔森的说法，这些东西代表了蒂姆·唐太斯眼中的物质文化，让主角保持了自己的身份。文集Młodości mej stolica。Wspomnienia krakowianina między wojnami为读者提供了喀尔巴阡山脉和意大利前线战争的历史视角。
{"title":"Militarne reprezentacje w prozie Tadeusza Kudlińskiego","authors":"J. Rozmus","doi":"10.24917/20811853.18.12","DOIUrl":"https://doi.org/10.24917/20811853.18.12","url":null,"abstract":"The view of Europe betweeen 19th and 20th centuries was shaped mainly by militarism. It is confirmed by the works of Michael Howard, Ian F.W. Beckett, Martin van Creveld, and also material culture, which is the heritage of those times. Architecture, technology, as well assculptures and paintings created shortly before the First World War are an illustration of how Polish literature reacted to the conflict of 1914–1918. In Tadeusz Kudliński’s novel Smak świata, where the main character is an officer of the Austro-Hungarian artillery, the world is dominated by machines: railway, telephone etc. According to Bjonar Olsen, those things represent material culture in the view of Tim Dant, allowing the main character to keep his identity. The collection of essays Młodości mej stolica. Wspomnienia krakowianina między wojnami provide the reader with a historical view of the war in the Carpathian Mountains and on the Italian front.","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"108 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87573855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The following paper is a recollection of a series of articles by Tadeusz Kudliński, published in ”Ilustrowany Kurier Codzienny” (1936–37). “Teatralne mielizny” were very popular with readers, especially young playwrights, supported by the critic. The articles written by the Cracow „teatrał” (theatre man) aroused a heated discussion in the press, and the initiative to create Studio 39 can be regarded as its aftermath. Contrary to previous assurances concerning the final conclusion of the ”sandback” dispute, Kudliński took up the topic again nine months after the publication of the last part of the series, and his text “Przemówił dziad do obrazu” provoked the response by Tadeusz Boy-Żeleński. Thus, the whole discussion on the articles, as well as the theatre initiative brought to life by their soul, ends with three polemical texts, published in press, whose main character has, unexpectedly, become the hero of an old Polish proverb.
下面的文章是Tadeusz Kudliński发表在“Ilustrowany Kurier Codzienny”(1936-37)上的一系列文章的回顾。在评论家的支持下，“戏剧戏剧”深受读者，尤其是年轻剧作家的欢迎。克拉科夫“剧院人”的文章在新闻界引起了热烈的讨论，而创建39号工作室的倡议可以看作是其后果。与之前关于“封沙”争端最终结论的保证相反，Kudliński在该系列最后一部分出版九个月后再次讨论这个话题，他的文章“Przemówił dziad do obrazu”引起了Tadeusz Boy-Żeleński的回应。因此，关于这些文章的整个讨论，以及由他们的灵魂所带来的戏剧主动性，以出版的三篇争论不休的文本结束，这些文本的主角出乎意料地成为了一句古老的波兰谚语的英雄。
{"title":"„Przemówił dziad do obrazu” – historia pewnej polemiki","authors":"M. Sadlik","doi":"10.24917/20811853.18.9","DOIUrl":"https://doi.org/10.24917/20811853.18.9","url":null,"abstract":"The following paper is a recollection of a series of articles by Tadeusz Kudliński, published in ”Ilustrowany Kurier Codzienny” (1936–37). “Teatralne mielizny” were very popular with readers, especially young playwrights, supported by the critic. The articles written by the Cracow „teatrał” (theatre man) aroused a heated discussion in the press, and the initiative to create Studio 39 can be regarded as its aftermath. Contrary to previous assurances concerning the final conclusion of the ”sandback” dispute, Kudliński took up the topic again nine months after the publication of the last part of the series, and his text “Przemówił dziad do obrazu” provoked the response by Tadeusz Boy-Żeleński. Thus, the whole discussion on the articles, as well as the theatre initiative brought to life by their soul, ends with three polemical texts, published in press, whose main character has, unexpectedly, become the hero of an old Polish proverb.","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78835067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The novel Gniew o Soszannę was wriitten in the period 1947–1962. It came out in 1963. The writer had some difficult war and postwar experiences. First, he was repressed by the Nazis and then by the Stalinist authorities. These experiences became a source of the novel from the days of the former Israel. The story is based on the episode from the Bible, Jeph’s History. He made an unheard of Yahweh’s oath and he had to sacrifice his own daughter. However, Kudliński’s novel goes beyond the colorful of the biblical story, it carries deeper reflections on human life and relationships with Yahweh. It is also a settlement with totalitarianism. From the formal point of view, it is an apocryphal narration based on Kudlinski’s principle of «symultaneity», thus realizing the ‘three-times principle’ of spatial composition. The character becomes a collective hero. Kudliński’s work fits into the search for a modern novel form in Polish literature of the twentieth century.
{"title":"Tadeusza Kudlińskiego lektura Biblii, czyli \"Gniew o Soszannę\"","authors":"M. Olszewska","doi":"10.24917/20811853.18.10","DOIUrl":"https://doi.org/10.24917/20811853.18.10","url":null,"abstract":"The novel Gniew o Soszannę was wriitten in the period 1947–1962. It came out in 1963. The writer had some difficult war and postwar experiences. First, he was repressed by the Nazis and then by the Stalinist authorities. These experiences became a source of the novel from the days of the former Israel. The story is based on the episode from the Bible, Jeph’s History. He made an unheard of Yahweh’s oath and he had to sacrifice his own daughter. However, Kudliński’s novel goes beyond the colorful of the biblical story, it carries deeper reflections on human life and relationships with Yahweh. It is also a settlement with totalitarianism. From the formal point of view, it is an apocryphal narration based on Kudlinski’s principle of «symultaneity», thus realizing the ‘three-times principle’ of spatial composition. The character becomes a collective hero. Kudliński’s work fits into the search for a modern novel form in Polish literature of the twentieth century.","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"9 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91096024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Behind the scenes of Court. Ugo Betti, Corruzione al Palazzo di GiustiziaAbstractThe article concerns the Polish reception of Ugo Betti’s drama Corruzione al Palazzo di Giustizia.It presents the comparison of the two performances: the theatrical one, directed by MariaWiercińska (1958), and the television one, directed by Gustaw Holoubek (1970). The firstspectacle was determined by the political context in post-Stalinist times, the second wasconcentrated on moral conflicts and personal attitudes. Both performances searched for ananswer to the question about the meaning of justice.Keywords: Ugo Betti, Polish theatre, reception, television performance, justice
{"title":"Za kulisami sądu. Ugo Betti, \"Trąd w pałacu sprawiedliwości\" (\"Corruzione al Palazzo di Giustizia\")","authors":"K. Latawiec","doi":"10.24917/20811853.17.14","DOIUrl":"https://doi.org/10.24917/20811853.17.14","url":null,"abstract":"Behind the scenes of Court. Ugo Betti, Corruzione al Palazzo di GiustiziaAbstractThe article concerns the Polish reception of Ugo Betti’s drama Corruzione al Palazzo di Giustizia.It presents the comparison of the two performances: the theatrical one, directed by MariaWiercińska (1958), and the television one, directed by Gustaw Holoubek (1970). The firstspectacle was determined by the political context in post-Stalinist times, the second wasconcentrated on moral conflicts and personal attitudes. Both performances searched for ananswer to the question about the meaning of justice.Keywords: Ugo Betti, Polish theatre, reception, television performance, justice","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79895425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wiercińska).The fact that both then and now critics and researchers in the majority of cases assumed, notnecessarily consciously, they are writing about an artist that is mainly a writer and only thena critic of stage productions of his dramas and a stage producer for his own texts is significant.As a consequence they focused mainly on deconstructing the “pirandellism” condemned byBrahmer, in particular on its canonical interpretation by Adrian Tilgher. Therefore, the followingquestion comes to mind: what kind of interpretations are possible when Pirandello’sworks (especially the first part of the so-called trilogy of “theatre in a theatre” which consistsof Six Characters in Search of an Author, Each In His Own Way and Tonight We Improvise) areconsidered from the perspective of purpose, that is individual theatrical activity of Pirandelloas a co-founder, principal and stage producer of Teatro D’Arte in Rome (in operation between1924 and 1928). The present article attempts at showing the possible direction of a search foran answer to said question with the starting point being the 1962 production of Sześć postaciscenicznych w poszukiwaniu autora (Six Characters in Search of an Author) directed by MariaWiercińska in Stefan Jaracz Theatre in Łódź.Keywords: Pirandello in Poland, Maria Wiercińska, first theatre directors in Italy
摘要从20世纪60年代初到70年代，路易吉奥·皮兰德罗的戏剧一直受到波兰导演的欢迎。本土创作者承继了这位诺贝尔奖得主不同时期的戏剧作品，涵盖了从资产阶级喜剧到元戏剧作品的各种主题。这些很可能不包括当时上演的一切。正如Mieczysław Brahmer在1961年的Tak jest, jak siwa państwu zdaje(由Zofia Wiercińska导演)中所暗示的那样，人们对作者的兴趣似乎与他去世25周年有关。在大多数情况下，无论是当时还是现在，评论家和研究人员都认为(不一定是有意识地)，他们所写的艺术家主要是作家，只是当时对自己戏剧的舞台作品进行评论，对自己的文本进行舞台制作，这一事实具有重要意义。因此，他们主要集中于解构婆罗门所谴责的“pirandellism”，特别是阿德里安·蒂尔格(Adrian Tilgher)对其的规范解释。因此，下面的问题就出现了:从目的的角度来看皮兰德娄的作品(特别是所谓的“剧院中的戏剧”三部曲的第一部分，包括六个寻找作者的人物，每个人都以自己的方式和今晚我们即兴表演)，即皮兰德娄作为罗马艺术剧院(1924年至1928年运营)的联合创始人，首席和舞台制作人的个人戏剧活动，可能会有什么样的解释?本文试图展示寻找上述问题答案的可能方向，起点是1962年由MariaWiercińska在Łódź的Stefan Jaracz剧院执导的Sześć postaciscenicznych w poszukiwaniu autora(六个寻找作者的人物)。关键词:波兰皮兰德娄，玛丽亚Wiercińska，意大利第一批戏剧导演
{"title":"Pirandello jako widz zawodowy","authors":"K. Woźniak","doi":"10.24917/20811853.17.11","DOIUrl":"https://doi.org/10.24917/20811853.17.11","url":null,"abstract":"Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wiercińska).The fact that both then and now critics and researchers in the majority of cases assumed, notnecessarily consciously, they are writing about an artist that is mainly a writer and only thena critic of stage productions of his dramas and a stage producer for his own texts is significant.As a consequence they focused mainly on deconstructing the “pirandellism” condemned byBrahmer, in particular on its canonical interpretation by Adrian Tilgher. Therefore, the followingquestion comes to mind: what kind of interpretations are possible when Pirandello’sworks (especially the first part of the so-called trilogy of “theatre in a theatre” which consistsof Six Characters in Search of an Author, Each In His Own Way and Tonight We Improvise) areconsidered from the perspective of purpose, that is individual theatrical activity of Pirandelloas a co-founder, principal and stage producer of Teatro D’Arte in Rome (in operation between1924 and 1928). The present article attempts at showing the possible direction of a search foran answer to said question with the starting point being the 1962 production of Sześć postaciscenicznych w poszukiwaniu autora (Six Characters in Search of an Author) directed by MariaWiercińska in Stefan Jaracz Theatre in Łódź.Keywords: Pirandello in Poland, Maria Wiercińska, first theatre directors in Italy","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91148188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Models of testimony: “re-writing the Holocaust literature”AbstractThe article is a critical discussion of Pawel Wolski’s treatise titled Tadeusz Borowski – PrimoLevi. Prze-pisywanie literatury Holocaustu (Warsaw 2013). It is setting out selected aspects oftraversing of the researcher from Szczecin by considering the status of testimony literature.Also there is an emphasis put on the phenomenon of profiling using forms of utterancesin Holocaust discourse. The article shows two distinct strategies (analyzed by Wolski) ofautomodeling of writers’ own utterances: “towards” (Tadeusz Borowski) and “accordingto” (Primo Levi) preferred model of testimony shaped under the influence of contemporarypublic debate.Keywords: Tadeusz Borowski, Primo Levi, testimonial literature, Holocaust discourse
摘要本文对帕维尔·沃尔斯基的《博罗夫斯基—普里莫列维》作了批判性的论述。prize -pisywanie literature holocaust(2013年华沙)。它通过考虑证词文献的地位，列出了从什切青研究员穿越的选定方面。此外，还强调了在大屠杀话语中使用话语形式进行剖析的现象。这篇文章展示了作者自己话语的两种不同的自动建模策略(由Wolski分析):“朝向”(Tadeusz Borowski)和“根据”(Primo Levi)在当代公共辩论的影响下形成的首选证词模型。关键词:Tadeusz Borowski, Primo Levi，证言文学，大屠杀话语
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{"title":"Wstęp","authors":"K. Latawiec, K. Woźniak","doi":"10.24917/4547","DOIUrl":"https://doi.org/10.24917/4547","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34769,"journal":{"name":"Annales Universitatis Paedagogicae Cracoviensis Studia Historicolitteraria","volume":"136 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86304395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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