Witold Gombrowicz

(redirected from Gombrowicz)
Also found in: Dictionary, Thesaurus, Wikipedia.
Related to Gombrowicz: Witold Gombrowicz

Gombrowicz, Witold

 

Born Aug. 4, 1904, in Malo-szyce, near Opatów. Polish writer.

Gombrowicz began publishing in the I930’s. The novella Ferdydurke (1938). in which Gombrowicz has clearly broken with the realistic tradition, is well known. Psychological observations are presented on a fantastic, grotesque plane. The portrayal of stereotypes of the behavior and thought of a particular milieu (aristocracy, petite bourgeoisie, school) develops into a conception of the unnatural quality of human relations in general and of the inevitability of all kinds of “masks” and “poses” and pessimistically denies reality. After World War II. Gombrowicz chose to remain an émigré and became an ardent opponent of the People’s Poland.

WORKS

Ferdydurke. Warsaw, 1957.

REFERENCE

Sandauer, A. Dla każdego coś przykrego. Krakow. 1966.

B. F. STAKHEEV

Mentioned in ?
References in periodicals archive ?
While the entry makes it clear that its ressentiment is centered chiefly on the numbers of people compressed into the same car as Gombrowicz himself, "that mug ten centimeters away" does not exactly fade from readers' sight.
Gombrowicz, born in 1904, spent most of his adult life as an exile living in Argentina, his works banned by the postwar Polish government.
En el caso del estudio de Mandolessi, la argumentacion consistira en sostener que Gombrowicz es digno de consideracion dentro de un panorama de las letras rioplatenses, en tanto su obra sostiene un dialogo nada desdenable con la tradicion literaria argentina.
of Illinois-Urbana-Champaign) negotiates questions of identity, language, and the experience of expatriation in Conrad (1857-1924) Gombrowicz (1904-96) by addressing two issues.
Cosmos, by Witold Gombrowicz. Translated by Danuta Borchardt.
In November, CUNY-TV (cable channel 75 in New York City) plans to air two Andrzej Wolski film documentaries: I, Gombrowicz (1989) and Witold Gombrowicz (2000), while the Pig Iron Theater Company of Philadelphia will debut its Hell Meets Henry Halfway, which Adriano Shaplin adapted from G.W.'s gothic novel Possessed.
A fine cast brings as much depth to these characters as the screenplay allows, but the viewer is left with the impression that the novel by Witold Gombrowicz was a hard nut to crack.
(It is not beside the point to remark here that one of the first prewar reviews of Gombrowicz's novel, mine, was titled "Playing at Ferdydurke," while a recent book on our classic by Jerzy Jarzebski bears the title "A Game of Gombrowicz.") The only sad thing is that Kundera's wise observations on his beloved Jacques are accompanied by stupid remarks on Russian literature, especially Dostoevsky.
In the opening paragraph of her introduction to this long overdue volume, Ewa Plonowska Ziarek asks: "How does one read Gombrowicz? In particular, what does it mean to read Gombrowicz in the nineties in the United States?" (1).
Witold Gombrowicz (1904-69) had been born in Maloszyce.
The useful examination of theories of play opens into a series of individual studies where identifying attributes constitute a focus on the author concerned and offer a handle on the specific facet of play under discussion: 'Novel Breton', 'Formal Gombrowicz', 'Authoritarian Nabokov', 'Articulate Sarrazin', 'Deadly Perec', 'Permutational Mathews', 'Telling Calvino', 'Speculative Belletto', 'Carnal Reyes', 'Constructive Eco'.
Herve was a native Parisian with an infectious sense of humor and a passion for serious literature--his favorite authors were Gombrowicz, Musil and Genet--who at 15 had fled the double homophobia of parents who were both working-class Catholic and Communist.