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) śro, 05 cze 2019 00:00:00 +0200 OJS 60 Schulz nasz bliźni <p>When in 1947 Pierre Klossowski called the Marquis de Sade his „neighbor,” in fact he did it on behalf of an entire generation of French intellectuals, writers, and artists, for whom the „divine Marquis” became emblematic both as a source of philosophical inspiration, and as an existential figure. Soon the author of <em>120 Days of Sodom </em>would be taken into consideration by Bataille, Blanchot, Camus, and de Beauvoir, and then by Barthes, Ricoeur, Lacan, Deleuze, and Kristeva, to mention only the French. Now, after several decades, it is clear that the twentieth-century humanities made his writings one of their permanent points of reference, either negative, or positive. Therefore, Sade became a neighbor of every one of them. Still, Klossowski did not only mean rational and “structural” kinship when he called the author of <em>Juliette </em>his “neighbor.” His statement seems to have reached much deeper, at something most intimate and dark that remains beyond the pale of reason – Schulz called it the “basic capital of imagination,” the “roots of individual spirit,” the “mythic core.” Just like de Sade, Schulz has many devotees – commentators who also are his “neighbors.” Schulz Studies stem from a statement by Jerzy Ficowski, “I have found the Authentic.” He was then followed by many scholars who were similarly dazzled and seduced, ready to „engage in discoveries.” There are more and more of them nowadays, but Schulz, like the „divine Marquis” in the 20th century, has become for us, overwhelmed by the less and less intelligible and more and more grotesque reality of the 21st century, also a point of reference and an emblem of a certain intellectual and aesthetic identity. With his new materialism, non-anthropocentrism, and the ethic of care, Schulz seems now a harbinger of a new paradigm of Polish culture, which is emerging under our eyes. Perhaps soon enough someone will claim on behalf of a whole generation of post-humanists: Schulz, our neighbor. Will it be true? For now, we are in abeyance, relying only on ourselves. In a trembling voice, with a premonition of something intimate and dark in ourselves, each of us repeats in his or her own name: Schulz, my neighbor.</p> Jakub Orzeszek Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Czy należy spalić Schulza? Likwidatorzy: Wyka i Napierski <p>The author considers the circumstances in which Kazimierz Wyka and Stefan Napierski, two respected literary critics, published texts which criticized Bruno Schulz in the monthly magazine Ateneum (1939, no. 1). Schulz’s prose works were already widely known to&nbsp;be difficult, but there was no doubt as to their merit. The writer’s high position seemed indisputable, and yet Wyka and Napierski still consciously tried to destroy Schulz’s legacy. Their critical attack on Schulz is interpreted in the essay not as an isolated exploit, but as a model case of interpretational misunderstanding, which is not so much the effect of a lack of understanding, but of planned action and ill will of the critics. Wyka and Napierski did not want to understand, and with their dislike of the type of prose that Schulz wrote they programmed a certain type of reading and critical approach, which had many followers and determined reception. At the same time, however, their dismissal of Schulz turned out to have a positive value ‒ not for the history of criticism, but for Schulz studies as such.</p> Eliza Kącka Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Dwa sanatoria / dwa uniwersytety <p>The starting point of the paper is Jacques Derrida’a reflection on the university today presented in his lecture on the „Unconditional University.” Then the author analyzes some passages from Thomas Mann’s <em>Magic Mountain</em> to demonstrate that the novel has been based on the picture of the university during the anti-positivist reaction. In Mann’s novel, the Sanatorium is an allegory of the University, while the protagonist, Hans Castorp, is a student seeking Mentors and the Truth. Schulz’s story, “Sanatorium under the Sign of the Hourglass,” has been interpreted as inspired by <em>The Magic Mountain</em>, since arguably it includes some traces of the „sanatorium – university” parallel. The paper refers also to Paweł Huelle’s novel <em>Castorp</em>, which tells a story of Mann’s character during a period of his studies in Gdańsk, anticipating the events described in <em>The Magic Mountain</em>. All the three texts – by Mann, Schulz, and Huelle – are connected by the debates characteristic of the humanities before the Great War (Mann, Huelle) and before World War II and the Holocaust (Schulz).</p> Józef Olejniczak Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Powtórna rebelia ojca. O ciągu dalszym „Traktatu o manekinach” Brunona Schulza <p>The essay is an interpretation of the middle part of the “Treatise on Tailor’s Dummies.” The opposition of matter and form has been translated into the key opposition in Schulz’s fiction – the conflict of the sexes. The father represents in Schulz’s stories a patriarchal order. A vision of the father’s domination is the foundation of his lecture, which makes it different from the first part of the “Treatise,” where Jacob attempted to win the affection of the listening women by a praise of a heretic doctrine identified with matriarchate.</p> Marcin Całbecki Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Druga wojna światowa i Holokaust w prozie trzeciego pokolenia (z akcentem Schulzowskim). „Kontrapunktowe” przypadki Piotra Pazińskiego i Erwina Mortiera <p>The paper is a comparative analysis of the „schulzoid” and „contrapuntal” novels by Piotr Paziński (<em>The Boarding House</em>) and Erwin Mortier (<em>Marcel</em>). A comparison of the novels is, however, a pretext to approach a much more complex topic which is the representation of trauma by the third post-Holocaust generation, both from the point of view of the victims (Paziński), and that of the oppressors (Mortier). The author has identified characteristic Schulzian motifs which in <em>The Boarding House</em> and <em>Marcel</em> have different functions: the autobiographical setting, the child-narrator, the tension between harmony and discord of remembrance, fascination with trash, and interest in the myths of genesis. Schulz – both the style of his fiction and he himself as a Holocaust victim – has turned into a significant figure for a generation, connecting two seemingly diverse discourses of Paziński and Mortier.</p> Kris van Heuckelom Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Problematyka pamięci w twórczości Brunona Schulza z perspektywy niemieckiej refleksji pamięcioznawczej <p>The author attempts at reconstructing the concept of cultural memory found in Bruno Schulz’ oeuvre. The aim is to show that Schulz, not unlike Thomas Mann, anticipated some theoretical aspects of postmodern memory studies as pursued in Germany since the 1980s. On the one hand, there are striking affinities between Schulz and the art historian Aby Warburg whose ideas of “collective visual memory” and “pathos formulas”, developed until the 1920s, have only recently been rediscovered and acclaimed in the present-day cultural research. On the other hand, Schulz draws on Jung’s depth psychology by referring to the theory of archetypes and the common unconscious. Unlike Warburg’s, Jung’s ideas have been rejected in contemporary German memory studies because of their alleged biologistic flaw. Due to his affinities to both Warburg and Jung, Schulz suggests his own vision of individual and collective memory, which allows for reconciling the “biological” and the “culture-oriented” reflection on collective memory and may be a source of inspiration in today’s research.</p> Katarzyna Lukas Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Księga Schulza, Księga Lema <p>The Book is not only a crucial element of the fictional world of Schulz and Lem, but also a metaphor of creation. The poetic imagination of both writers is rooted in the mythical image of the ur-Book, the Authentic Scroll which makes the axis mundi of reality. The artistic task of Schulz was to reconstruct that lost idea, while Lem decided to abandon it in favor of a vision of enormous, overwhelming libraries. At any rate, the attitude toward the myth of the Book turns out to be a common element, if not a symbol characteristic of both Schulz’s and Lem’s fiction.</p> Tymoteusz Skiba Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Rośnij, rośnij! <p>The present essay is a personal, literary record of reading experience. The author does not pay much attention to the scholarly context of Schulz studies in favor of the emotional aura of his stories. In her opinion, the most important components of Schulz’s fiction are its epiphanic character, the need for togetherness, and openness to the Other.</p> Ewa Graczyk Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Schulzowskie obrazy wstrętu – „Karakony” <p>The aim of the paper was to interpret Bruno Schulz’s short story, Cockroaches, in the context of the phenomenon of repulsion. Disgust has been interpreted as an ontological, aesthetic, and epistemological determinant of modernist literature, as well as Schulz’s fiction. The experience of disgust has been interpreted in the terms proposed by Julia Kristeva, Mary Douglas, Walter Benjamin, and the non-anthropocentric humanities. It has been suggested that repulsion may be analyzed as the main element of the „topography” of Schulz’s universe: one of its main principles, both forming and destroying its matter.</p> Aleksandra Naróg Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Schulz i ekonomia. O doświadczeniu nowoczesności w „Ulicy Krokodyli” <p>The paper focuses on the motifs characteristic of the experience of modernity, which appear in Bruno Schulz’s fiction – specifically, on those derived from modern economy and its influence on the individual’s reception of reality, such as metropolis, crowd, loneliness, commercial street, and commodity fetishism. The context includes the accounts of modernity proposed by Marx, Benjamin, Simmel, and Marshall Berman. In his description of the commercial street in “The Street of Crocodiles,” Schulz draws on the tradition of modernist literature, developing the traditional modes of description in terms of his own imagination and literary mythology. He approaches the economic modernity from a peripheral point of view, which allows his to perceive its aspects that are invisible in the center.</p> Maciej Abramowski Copyright (c) pon, 03 gru 2018 00:00:00 +0100 „Jednakowoż bez pieniędzy”. Sytuacja materialna Brunona Schulza <p>The author makes an attempt to test a widespread opinion that Bruno Schulz had serious financial problems. This view, however, dating back to the writer’s own statement and then supported by such outstanding experts on his life and work as Jerzy Ficowski, seems to be rather untenable. Having analyzed Schulz’s income confirmed by his letters, as well as the income of other Polish writers in 1918–1939, Piotr Sitkiewicz has reached a conclusion that in fact his living standard in the 1930s was quite high, particularly if one takes into account the economic situation of Poland stricken by the crash of 1929 and its consequences. Schulz’s complaints on his teaching job and salary were not caused by objective estimation, but by his worldview which was influenced by chronic depression.</p> Piotr Sitkiewicz Copyright (c) pon, 03 gru 2018 00:00:00 +0100 „Byłem już w myśli pozbawiony posady i w ostatniej nędzy”. Nie tylko o finansach Brunona Schulza głos drugi <p>Even though the present essay has been written in response to Piotr Sitkiewicz article „‘Yet penniless.’ Bruno Schulz’s Income and Living Standard,” it is not a polemic, but rather a different interpretation of some aspects of Schulz’s biography. A starting point is an analysis of the writer’s income – of what is known about it, what is not known yet, and what will probably never be known. The main goal is answering the question of Schulz’s condition as a human being painfully tried both by his personal life and by history. Małgorzata Ogonowska has not followed either of the two popular biographic narratives on the author of the <em>Cinnamon Shops</em>: she neither confirms the legend of Schulz as a helpless artist, unable to cope with everyday problems, nor challenges his own myth of himself. Analyzing the available sources, such as Schulz’s letters, school reports, and the local press, and placing them in social, economic, and political contexts, she is looking for some third way, trying to understand the ambiguities and multifacetedness of Schulz’s existence without passing judgement, condemning or idealizing.</p> Małgorzata Ogonowska Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Łódzkie obrachunki, czyli cztery ekslibrisy Brunona Schulza <p>The author disagrees with a popular belief the Schulz’s bookplates have been made with the cliché-verre technique. He reconstructs the reasons for this misrecognition promoted by Jerzy Ficowski and Michał Kuna and the common association of Schulz’s graphic art with the <em>Booke of Idolatry</em> only, but in the first place makes a detailed analysis of the known bookplates, which allows him to claim that the techniques used were zincotype, drypoint, and heliogravure. The paper includes reproductions of four known bookplates by Schulz, with full descriptions made by the author.</p> Włodzimierz Rudnicki Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Nieznane ilustracje Brunona Schulza do zeszytów z nutami <p>In the paper, the author presents the results of her research on the origins of two illustrations credited to Bruno Schulz. Illustrations decorate the covers of two different tango sheet music books from the 1930s – „Dziewczę me, wspomnij noc. Tango” („Oh Girl, Remember the Night. Tango”) and „Biały motyl” („White Butterfly”). One of the covers was found on a vintage auction, while the other remains only in the memory of the last owner and inheritor of the songwriter. The author interviews the last owner of the books, reconstructing the story of Schulz’s friendship with musicians and the history of lost illustrations.</p> Aleksandra Skrzypczyk Copyright (c) pon, 03 gru 2018 00:00:00 +0100 „Xięga bałwochwalcza” w reprodukcjach <p>The paper is an attempt to document and acknowledge the reproductions of individual graphic works from Schulz’s <em>Booke of Idolatry</em>. Its main point is that the Booke of Idolatry as we know is just a fantasy, a copy of the original isolated in the dark halls of the museum. It is known only from reproductions made by Schulz’s biographers and Schulz scholars. The reproductions of Schulz’s graphic works have been described in terms suggested by Walter Benjamin in his essay, „The Work of Art in the Age of Technical Reproduction.”</p> Eliza Gościniak Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Bruno Schulz 2018. Raport (według dziennika aktywności <p>The paper reports the global reception of Schulz in 2018 according to the record of activity of on Facebook. It covers events, auctions, exhibitions, bibliography, Schulz studies, and theater.</p> Branislava Stojanović Copyright (c) pon, 03 gru 2018 00:00:00 +0100 Śmierć Fotografa <p>The mourning note on Bogdan Konopka, photographer and a friend of Schulz/Forum.</p> Stanisław Rosiek Copyright (c) pon, 03 gru 2018 00:00:00 +0100