Schulz/Forum <p><strong>„Schulz/Forum”</strong> to czasopismo poświęcone osobie i dziełu Brunona Schulza, a także inspirowanym przez niego utworom literackim i artystycznym, które powstały po jego śmierci. Publikowane w półroczniku artykuły w założeniu powinny jednak wykraczać (i niejednokrotnie wykraczają) poza tak zarysowane pole problemowe – na dwa sposoby. Po pierwsze, starają się włączać schulzowskie tematy w nurt współczesnej humanistyki. Po drugie, odwrotnie – ich autorzy na łamach „Schulz/Forum” stawiają dziełu Schulza pytania wyrastające z dzisiejszej refleksji literaturoznawczej, antropologicznej czy filozoficznej.</p> pl-PL (mgr Jakub Orzeszek) (Agnieszka Kranich-Lamczyk) pon, 03 gru 2018 00:00:00 +0100 OJS 60 Drohobycz stolicą XX wieku <p>Nowadays it is impossible to think about Schulz outside Drogobych. Wherever else he showed up, be it Vienna, Marienbad, Kudowa, Zakopane, Warsaw or Paris, he was a refugee, a patient, a visitor or a tourist – always a stranger. And he considered himself one, while others did the same. To an extent, it was his own fault. It could perhaps be otherwise if he did not so often write in his letters (and most likely said in conversations) that he was unable to live and work outside his hometown. But the words of the writer could only encourage others to contribute to a stereotype of a “modest schoolteacher from a small town.” The provincial status of Schulz, however, is not so obvious. At the end of the 19th century, thanks to oil Drogobych reached the end of centuries long stasis from which even the salt mines opened in the Middle Ages could not save it. Oil changed the life of many people in Galicia. Without leaving Drogobych, Schulz could actually watch and personally experience in doses which let him keep his independence and inner stability the rise of a metropolitan mentality described by Georg Simmel. Yet Paris was too much for him – after three weeks he escaped from the French capital with not a single word of commentary. To live in the capital of the 19th century, as Walter Benjamin called it, would have been a torture for him. Thus Schulz did not cancel the opposition of center and periphery, the capital and the provinces, but turned such distinctions upside down. Thanks to writing, the center of the world moved to his hometown so that perhaps Drogobych became the capital of the 20th century.</p> Stanisław Rosiek ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Wiersze truskawieckie <p>Two poems written in a café in Truskawiec during 7th International Bruno Schulz Festival in Drogobych.</p> Paweł Huelle ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Szpargał, artefakt, fantazmat. Mapa w „Ulicy Krokodyli” <p>The paper focuses on the map which is a motif that organizes a large part or even the whole of “The Street of Crocodiles,” a short story by Bruno Schulz. It is an analysis of a series of transformations of a map into an etching, a photo, an architectural drawing, and an icon, as well as the changes of its focalization and coloring. Inspirations have been drawn from critical cartography, the Deleuzian idea of the fold, studies by Svetlana Alpers and Georges Didi-Hubermana, Freudian psychoanalysis and its continuation by Torok and Abraham, and the theories of melancholy.</p> Maciej Dajnowski ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Akwarium i luneta. Metaforyka okulocentryczna w twórczości Brunona Schulza <p>The paper is an analysis of the motif of glass in the fiction of Bruno Schulz. The writer’s fascination with this particular material is related to the experience of modernity, since glass served as the substance of permanent and repetitive phantasms. In this respect, Schulz’s writing can be read as an artistically processed testimony of fascination with one of the material dimensions of modernity, which was glass architecture. The author interprets the modernist oculocentrism in Schulz’s stories, focusing on transparency in the spatial figures of the author of Cinnamon Shops (including panoramas, glass balls, telescopes, etc.).</p> Katarzyna Szalewska ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Porządek kalendarza, porządek wyobrażenia. W stronę biogeografii Schulza <p>The paper proposes an approach to Schulz’s life in terms of biogeography. The author criticizes the stereotype of Schulz’s biography as that of a settled, provincial man who hardly ever left his hometown, and when he did, he suffered from anxiety and the sense of failure. That stereotype was created by Jerzy Ficowski, who brought into being the figure of Schulz as a weak, shy, hypersensitive, and anxious artist, who in his art found shelter from everyday reality. The paper presents some aspects of Ficowski’s approach to Schulz’s spatial experience (decontextualization, negligence of social life and the urban experience) to show how a critique of that approach may lead to a new, biogeographical version of the writer’s life.</p> Marcin Romanowski ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Miejsca bezpieczne: Kafka, Walser, Schulz <p>The paper begins with a reference to Franz Kafka’s unfinished long short story “The Burrow,” which has been chosen as a starting point of a series of intertextual associations focusing on futile efforts made by various modernist literary narrators and characters to find a sense of safety in some specific settings. The route from “The Burrow” runs through selected short stories by Martin Walser toward late fiction by Bruno Schulz, in particular “The Republic of Dreams” and “The Homeland,” revealing affinities connecting the Polish writer from Drogobych with two writers of the German language, who shared his fears and obsessions.</p> Marek Wilczyński ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Panorama Drohobycza z 1907 roku i inne ujęcia miasta. Ze zbiorów Zbigniewa Milczarka <p>Panorama of Drogobych 1907 and other images from the Zbigniew Milczarek's postcard collection.</p> ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Zobaczyć Drohobycz (i…) <p>But which Drogobych? There are many of them. Certainly it is not the town which now belongs to Ukraine. One may easily go there for a tourist trip. What is at stake in this game – the game of aspects, views, and images – is not the Drogobych that is actually accessible, but the one that is probably gone forever no longer to be found. In that Drogobych, of the cinnamon shops, Schulz was born and lived. Can we still have any access to it? The safest and the shortest way to Drogobych runs through Cinnamon Shops. Schulz’s drawings and graphic works, where the town is always the setting, may be of some help, too. But there is also another way, through collecting documents and meticulous reconstructing of the place (and time). It is taken by these travelers who are passionate collectors of postcards and photos. Each town has its visual conventions beyond which it is hard to reach. The more often towns and cities are photographed – Paris is a good example – the more prevalent and permanent visual schemas become. The spectator must abandon them to see the place with an unprejudiced eye. Also the official photos of Drogobych from the early 20th century show some kind of excess of the visible. Yet it is enough to change perspective, reduce the distance or enlarge the background and suddenly the official locations may reveal their private atmosphere.</p> Stanisław Rosiek ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Opowieści o mieszkaniach z kręgu Schulzowskiego mitu <p>The topic of the paper are descriptions of apartments pccupied by Bruno Schulz and his two friends, Emanuel Pilpel and Stanisław Weingarten, included in the letters written by eye-witnesses to Jerzy Ficowski. The perception of those interiors was ambivalent – some accounts stress the dark and unhealthy atmosphere of the house. Even though they come from Schulz’s friends, they prove that his otherness was not fully accepted by them. There are also descriptions made by open-minded young observers, mainly schoolboys, for whom Schulz’s den is a temple of goodness and art. The accounts of the apartments of Pilpel and Weingarten also show problems with accepting otherness. The analysis presented makes the reader realize the distance separating Schulz and his friends from the stereotypical bourgeois culture.</p> Jerzy Kandziora ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Bruno Schulz – i co dalej? <p>A short article published in <em>Chwila</em> (1935, no. 5921). The author, who must have known Schulz personally, interprets <em>Cinnamon Shops</em> in opposition to literature that was socially and politically engaged. Besides, the text includes a description of Schulz’s apartment.</p> A. Brun ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Sinowskie „pożegnanie z mistrzem”? <p>The authors associated with the periodical <em>Sztuka i Naród</em> were highly critical of the art of the interwar period. In their common opinion, it was unpatriotic and limited to the worship of individualism, which proved to be disastrous for the state and its social structure. Still, Wacław Bojarski, the acting editor-in-chief, decided to honor Bruno Schulz with an obituary even though the writer had nothing to do with the nationalist ideology. Schulz did not write any “engaged” or “nationalist”, but for some reason the editors of Sztuka i Naród resolved to save his name and literary achievement from oblivion.</p> Iga Lasek ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Pożegnanie z mistrzem <p>A fragment of Wacław Bojarski’s short story “Pożegnanie z mistrzem” [Farewell to the Master], published under the penname of “Jan Marzec” in the underground periodical <em>Sztuka i Naród</em> (1943, nos 9–10). The story, which is an attempt to imitate Schulz’s style, is an interesting trace of his reception in the Polish patriotic-nationalist discourse.</p> Wacław Bojarski ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Projekt księgi umarłych <p>The paper sheds light on the postwar reception of Schulz’s work and biography, usually underestimated by scholars. It reveals that at the very beginning of that period Jerzy Ficowski cooperated closely with the Jewish Society for the Encouragement of Fine Arts and later Jewish Historical Institute in Warsaw, although his collaboration was rather unofficial and relied on mutual information transfer. It also presents the results of research conducted in the Archives of the Jewish Historical Institute, particularly an analysis of the documents from the Ernestyna Podhorizer-Sandel and Józef Sandel files. These are mainly biographical notes on Bruno Schulz and other Polish-Jewish artists murdered by the Nazis during World War II that were to be included the monumental and unfinished Sandels’ <em>Polish-Jewish Artists Lexicon</em>. The main question is how the Holocaust narrative influenced Schulz’s mainstream reception in the future.</p> Jakub Orzeszek ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 It’s a writer’s book. Anglojęzyczni pisarze czytają Schulza (na potęgę) <p>The long awaited publication of Madeline G. Levine’s retranslation of Schulz’s fiction has sparked new interest in the reception of Schulz in English-speaking countries. In Poland, the general view seems to be that the author has not received the attention he deserves. Based largely on a review non-specialized periodicals from 1963–2018, the paper presents a strong and lasting trend in the reception of the English Schulz, namely the admiration of hosts of fellow authors: writers of high-brow and popular fiction, poets and playwrights from the whole anglophone world, form Australia to Canada. Examining their reviews of Schulz’s stories, interviews and articles promoting their own work, and intertextual references to Schulz which some of them employed, the paper adds some a new names to the small handful of Schulz-loving anglophone authors of whom Polish scholars have been aware so far.</p> Zofia Ziemann ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Słownik języka Brunona Schulza? <p>The author points at some methodological problems connected with a dictionary of Bruno Schulz’s Polish, conditioned mostly by its implied audience. In comparison to other lexicographic projects, such a project would have to take into account the sources of the lexical items listed in dictionaries, their number in relation to the language as a sum total of such items, the ordering of Schulz’s vocabulary, and the meaning of words in his idiolect, compared to their commonly accepted meaning. The differences under consideration imply that even though the dictionary may prove useful in the research on common Polish – its history, linguistic norms, and semantics, in the first place it would meet the needs of both literary scholars and linguists specializing in Schulz. They would find in it well organized material to study the writer’s imagination, the linguistic world picture of his works, his style, his artistic inspirations, the ways of connecting ideas, and his linguistic mastery in general. Besides, such a dictionary would be helpful for common readers, as well as translators of Schulz into foreign languages and scholars from abroad. The theoretical assumptions and practical options involved will depend the primary goal of the project.</p> Ewa Badyda ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 Wyjazd Brunona Schulza do Francji <p>The period of July 31st-August 26th, 1938 Bruno Schulz spent in Paris. Suppressing his doubts, he eventually decided to visit the French capital „to study literature and organize an exhibition of paintings.” The paper includes previously unknown documents which the author has found in the Lviv archives, together with their analysis. Some of them are manuscripts, supplemented by an unknown photo of Schulz.</p> Łesia Chomycz ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100 VIII Międzynarodowy Festiwal Brunona Schulza w Drohobyczu <p>For the eighth time, the town of Drogobych hosted International Bruno Schulz Festival. The topic was the place, approached by participants in a number of original and unique ways. The town itself was an important, but by no means the only place taken into consideration. During the festival, Drogobych became not just the site or background of many events, such as presentations, concerts, performances, and meetings with writers, but it was indeed much alive. The very fact that the participants could visit Schulz’s hometown must have been an extraordinary experience for them.</p> Balbina Hoppe ##submission.copyrightStatement## pon, 03 gru 2018 00:00:00 +0100