This paper discusses the linguistic features of political propaganda in the Polish newspaper “Trybuna Radziecka”, which was published in Moscow in 1927–1938 and edited by Polish left-intelligentsia, living in USRR as political émigrés in the interwar period. “Trybuna Radziecka” as the other Polish newspapers published in Soviet Russia was a part of the Soviet press. It entirely depended on Soviet authorities. Its language reflected the Soviet Russian language and was an example of political jargon typical for all communist newspapers of the interwar period.
This article discusses the problem of orphan manuscripts and writings in the collection of documents deposited with the Jagiellonian University. The author mentions the difficulties in the access to this heritage, due to the unclear status of these works. In this context she analyzes and presents biographies and views of all Jewish philosophers who received Ph.D. degree at the Jagiellonian University in the years 1918 through 1939, many of whom probably did not survive World War II.
This article outlines the rise and development of popular science periodicals in Poland from the 18th century until 1939. Their history begins in 1758 with the publication of Nowe Wiadomości Ekonomiczne i Uczone [Latest Economic and Learned News]. Our corpus includes 128 periodicals representing a great diversity of formats and content.
Many performing artists in the interwar period in Poland assumed stage names, which were considered a tool of promoting one’s image, but also served other functions, such as the concealment of identity. Over two hundred such pseudonyms — together with the respective artists’ birth names — have been collected and analysed in the article. Approximately in the case of half of them was the original given name retained, and only the surname underwent a change. The comparison of the assumed names with the real ones shows that many names were shortened, and/or made to sound foreign or exotic. Minority surnames — Jewish/German, Russian, Ukrainian — were frequently made to sound Polish, while the Polish ones were foreignised (to make them look English, Italian, French) or vaguely exoticised.
The aim of this article is to bring back from oblivion Antoni Bogusławski, a man of multiple talents and a distinguished figure of the interwar Warsaw and the Polish community in London. He was a brilliant journalist, writer, poet, literary critic, author of children’s literature, translator, officer of the Polish Army.
This article confronts the text of A Literary Prize, a comedy by Maria Pawlikowska-Jasnorzewska, with its contemporary reviews. Staged by the experimental theatre Reduta (directed by Zofia Modrzewska) in April 1937 at Teatr Nowy in Warsaw (under the directorship of Jerzy Leszczyński), it fell into complete oblivion which lasted until the recent discovery of the director’s copy buried at the Academy of Theatre Library in Warsaw. While contemporary reviewers found A Literary Prize to be one of the weaker works of an outstanding poet, Maria Pawlikowska-Jasnorzewska in her letters contrasted the ‘violent attacks’ of the critics with a fairly warm reception of the general audience. The play was performed to capacity audiences until 19 May, and revived for a single occasion a year later in Poznań. A Literary Prize juxtaposes two plots. One, with elements of comedy of manners, follows the fortunes of a young girl, Taida Serebrzycka, who tries to navigate between two men with literary ambitions, Klemens Niedzicki and Albin Niekawski, while the other explores the challenges faced by prospective writers, especially the role of prize-winning competitions in the discovery of talent and the building of reputation. This article is focused primarily on the character of Taida, who makes the impression of being somewhat scatterbrained and snobbish, but is in fact a strong-minded, independent young woman conscious of her sexuality. She wants an honest, equal relationship, and is ready to fi ght hard for her happiness, which does include sexual satisfaction. The analysis of the reception of Maria Pawlikowska-Jasnorzewska’s play, and especially the characterization of Taida, the female protagonist, is complemented with an examination of the mechanisms of the critical discourse.