The 1956 revolution in Hungarian literature. On the margins of the literary canon

The article is an attempt at an outline of the situation in Hungarian literature confronted with the revolution of 1956. The events of the Hungarian October are some of the more frequent themes in revisionist literature. Selected examples of literary works show the most important features of that literature, writing strategies, patterns of artistic message. From the wide selection of the literature, a poem, fragments of a diary, a novel, and an authobiographical essay by Sandor Marai, Gyorgy Moldova, Istvan Orkeny and Imre Kertesz were selected.The article is an attempt at an outline of the situation in Hungarian literature confronted with the revolution of 1956. The events of the Hungarian October are some of the more frequent themes in revisionist literature. Selected examples of literary works show the most important features of that literature, writing strategies, patterns of artistic message. From the wide selection of the literature, a poem, fragments of a diary, a novel, and an authobiographical essay by Sandor Marai, Gyorgy Moldova, Istvan Orkeny and Imre Kertesz were selected

Isolation and Characterization of Novel Mycobacteriophages From the Central Illinois Region

Members of the Illinois Wesleyan General Biology Science Education Alliance (SEA) laboratory isolated and characterized fifteen distinctive phages capable of infecting Mycobacterium smegmatis. Each student collected soil samples from the central Illinois area and used direct plating or enrichment techniques to isolate phages. Streak assays were used to purify single phage populations. Individual phage populations were then characterized and DNA was isolated. Based on the following characteristics; plaque morphology (size and turbidity), life style (temperate or lytic) and DNA restriction patterns, we determined that each student has isolated a unique phage. The DNA from a single Mycobacteriophage, Kazan, was sent to the University of Pittsburgh for genome sequencing. DNA Sequencing determined that Kazan is 52,160 base pairs, including 10 base pair 3\u27 overhang (CGGTCGGTTA), and a member of the A6 subcluster of Mycobacteriophages. Kazan is most closely related to the phages EricB and DaVinci (99% identity). Genome analysis, using the computer programs DNA Master, Glimmer, GeneMark, and Aragorn, determined that the Kazan genome housed 99 genes and 3 tRNAs. The potential protein function for each gene was determined using the computer programs HHPred, BLASTP and Phamerator. All the individual phage data was submitted to the Mycobacteriophage DataBase and the genome annotation, when completed, will be submitted to the DNA database, GenBank

Pytania stawiane sobie? „Do poety” Jerzego Lieberta – próba lektury

In its pastiche character of a poetic colloquim with the author of Srebrne i czarne [Silver and Black], a poem by Jerzy Liebert Do poety [To the Poet] introduces two counter- effects: his own self-portrait and a portrait of Lechoń. This gesture of the portraitist discloses something irritatingly dispatching and, at the same time, disturbingly concealing. Not only does Liebert raise doubts (“what if…”), basically framing his artistic self-consciousness, but also liberates himself from the cumbersome protection of Skamander. This temerity of looking into poetic looking-glasses, one’s own and those of others, allows him to rich full independence of artistic means, which will reveal itself in the later artistic period

Idylla/testament wiersze przebrane, testament/idylla wiersze przybrane

„Zamieszkaj w idylli lub pisz testament” – tabliczka z taką dyrektywą wisi nad biurkiem każdego literata. Wszystko zaczyna się od tego podstawowego rozróżnienia. Albo ktoś jest wyrozumiały i podatny na piękne kłamstwo literatury, albo każdy akt lektury i pisania traktuje jako trudną próbę wytrzymywania w surowej prawdzie. Ani idylla, ani testament nie pozostają w swych gatunkowych ograniczeniach. Mają charakter mediacyjny – stale o coś walczą, negocjują warunki, testują ograniczenia i rozmiary działań. Ruch wyrosły z poetyckiego bezwstydu, nieskromnej pasji, bądź zatajania prawdy – bądź jej ujawniania, wynika ze sprzeciwu wobec praw i możliwości poprawiania tego świata. Dlatego też testament nie musi być rozważaniem starca będącego myślami w innej epoce, a idylla – gaworzeniem pastuszka próżnującego ku uciesze obserwatora

Kto ten pejzaż zimą niewydarzoną zatruł? : tropy egzystencji w liryce Jerzego Kamila Weintrauba

Poetry by Jerzy Kamil Weintraub hides silence rarely interrupted by the historians of the literature. Apart from two post-war issues prepared by Jan Śpiewak and Ryszard Matuszewski, texts by the author of Próby powrotu, constitute an unknown are a on the historio-literary map. Hardly ever do we meet a fresh and, at the same time, delayed work, the new, and at the same time, more than 60-year old literature. Poetical “old newness” — the output by Jerzy Kamil Weintraub seems to be the victim of carelessness and selectiveness of the contemporary historio-literary awareness. Such a state of affairs, in the area of the studies on the war and occupation literature , turns out to be unjustified, contemptible and harmful to the “war victims”. That is why the present article is an attempt to order and make an initial classification an d exposition of the literary output ascribed to Jerzy Kamil Weintraub, a recognition piece of work, a harbinger of overstatements on this underestimated and non-silent muse during the war. How and is it at all possible to move the poetry of the forgotten author Jerzy Kamil Weintraub closer as his lyrical attempts did not manage to catch the attention of the literary critics for the last 60 years. Is it, thus, possible to try and legitimize a poetical position of Jerzy Kamil Weintraub as an important, though separate and nomadic link in a big chain of the war and occupation poetry? These questions constitute the aim and horizon of expectations in the present work. What dominates in my scientific inquiries with respect to the poetry by Jerzy Kamil Weintraub constitutes existential traces of the lyrical persona thrown into the unfortunate fate of an outcast and exile into the unfortunante coincidence of life, national and historical events. The dissertation resigns from monographic attempts, i.e. a linear model of his creative personality development, big-picturesque perspectives of reception, and the work of lyrics based on biographical genealogy. In the first chapter, entitled „Chłopięce igrzysko”. Wojenne mikrohistorie w poezji Jerzego Kamila Weintrauba i Krzysztofa Kamila Baczyńskiego. Tropy mikrologiczne, the author of the article makes an attempt to follow the traces of micrologists. The very traces are not always clear and easy to recognise. To find them, sometimes, it is necessary to use special tools equipping an eye of a rese arch e r and causing a non-standard way of perceiving poetical things. One of such special and modern methods is literary micrology. Micrological signs can appear in the most unexpected places of the text. In the case of lyrics by Jerzy Kamil Weintraub, “microelements” can be found in poetical considerations on “the Spirit of history”, sense, aim and rationalism of great History. This chapter follows a “double” trace, i.e. that of Jerzy Kamil Weintraub and Krzysztof Kamil Baczyński. The very trace is not coincidental; it does not result only from the similarities of the their birth certificates, places of living or unfortunate fate. What connects the two poets is Weintraub’s big friendship with Baczyński. The second chapter, entitled „Kto ten pejzaż zimą niewydarzoną zatruł?” O korpusie tekstów zimowych Jerzego Kamila Weintrauba. Tropy fantazmatyczne, constitutes an integral part of the thesis under discussion. Jerzy Kamil Weintraub, in his winter story, constructs his own reality based on a counterhistorical, “higher” and para-historical poetical narration. The poet’s “second horizon” — a hyperborian land is a theoretical model, a mainstay of unchanging truth(s), built in accordance with an allegoric way of world articulation. This is the world parallel to the reality of occupied Warsaw in which the poet, thanks to his consistent work of imagination and intellect (the “cold” reasoning), managed to breathe life into the phantasm of winter — a safe existential model by means of the power of a poetical word. Such an attitude derives from the awareness of a linguistic utopia, and a romantic drive to create alternatives. Therefore, Weintraub’s existential traces imprinted in the “corpus of w inter texts” are so legible and clear. Neither the poet himself, nor the researcher of his poetry selected his “winter” poems. The corpus of winter texts constitutes the platform here, and is treated as one of the variants of an interpretational reflection on his poetry. Despite the fact the “winter poems” do not form an outline composition, do not have the hallmarks of the author’s methodical arrangement into the poetical atempts and re-issued subcycles, particular winter images form a given sequence which, as a complex lyrical utterance, shows the principle of poem sequence and combination. The corpus of winter texts is a whole made of many heterogeneous texts, various genological, stylistic and metrical formulas. Despite a big span of time under which the texts were created, and their formal diversification, the project is not finished and fragmentaric — as if the author of Tropy zimowe tried to describe “an indescribable winter” — knowing that this task is impossible and doomed to constant causality. Weintraub’s worldimage is the “land of one hundred winters” — an ominous winter, a catharctic winter, a winter of a hybernatic dream, a winter of a piercing cold, a winter of immaculate beauty, a winter of blizzard and constant freezing. Such a multidimension of white viewpoints is pertained due to a winter paradigm, whereas their change is caused by a move of imagination between particular autonomised worlds. In the la st chapter, entitled „Lato eligijne”, lato ostatnie. Tropy tanatyczne, the author of the article takes a look a t the texts having a special stigma. In the case of poems by Jerzy Kamil Weintraub, it is a full awareness of ending life. This painful knowledge enabled the poet to thinking an uncompromised and unspeculative way, though not from biterness, fear and sadness. These poems are more economical and lapidaric, though enriched with the conviction that words in the face of death are empty yet necessary. However, it would be surprising for someone searching for a panic hurriness in the light of passing time of a justified nervous quiver or a cataleptic stupor in these testamenta rystanza s because Jerzy Kamil Weintraub wrote his “last poetical will” in a peaceful way, and in full awareness (“sanity”)

Nowe doświadczenie wojny

The article undertakes a polemological reflection which is not limited to historiography and philosophy of history, being an attempt at reaching multidimensional and non-standard vision of war. It may seem that studying a computer simulation of people’s lives during the war conflict is far from what a literary scholar should be doing. Nevertheless, This War of Mine redefines the notion of computer games and of classically defined agon. The interactive production of Warsaw 11 bit studios becomes a pretext for studying the ways in which new media refer to literature. The unique experience of war depicted by This War of Mine draws from literary testimonies but at the same time it captures more than literature could ever do. Is the “word in play” the missing link of Bachtin’s equation

Czarne drzewa. Wokół Dębów Zbigniewa Herberta

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Zima i egzystencja : romantyczne tropy w korpusie tekstów zimowych Jerzego Kamila Weintrauba

In the article, the author examines the corpus of winter texts by Jerzy Kamil Weintraub. The author’s deliberations start with the question on the “white stain” in Pan Tadeusz by Mickiewicz, its lack of winter season, blackened in a pastiche by Słowacki which, as it turns out, constitutes a post scriptum coincident with Epilog by Weintraub. Therefore, a phantasmatic study, i.e. questions about existence, is preceeded by a Romantic context, i.e. questions about “winterness”. The author follows the Romantic traces (existential and intertextual ones), on the basis of which he recognises existential states of the poet - loneliness, fear and suffering present in Weintraub’s allegoric illustrations and winter works. A tropological discourse worked out by the author of the article allows for a translation of the senses derived from the winter landscape into the world sensation full of melancholy