Witold Gombrowicz

Also found in: Dictionary, Thesaurus, Wikipedia.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.


Ferdydurke. Warsaw, 1957.


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


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
In conclusion, Polish, Hybrid, and Otherwise: Exilic Discourse in Joseph Conrad and Witold Gombrowicz is a very uneven book.
Cosmos, by Witold Gombrowicz. Translated by Danuta Borchardt.
This attitude can be also found in the work of Witold Gombrowicz, the Polish absurdist writer who emigrated from Poland in 1939 and to whom Polanski is often linked.
(6) Witold Gombrowicz nace en Maloszyci (Polonia) en 1904.
In this essay, I consider two instructive--and still relatively little-studied--cases of such interactions of the diasporic and the exilic, articulated in the lives and work of two writers who spent the greater part of their lives as members of Slavic diasporic communities in Latin America, Witold Gombrowicz (1904-1969), who lived in Argentina from 1939 through 1963, and Valerii Pereleshin (2) (1913-1992), who lived in Brazil from 1953 until his death.
Beyond personal failure, she censures a more general collapse of international solidarity and attenuation of political engagement; this is a time, she concludes, when "[o]nly domestic political commitments seem plausible." The provincialism and timidity excoriated in "There and Here" provide stark contrast to the heroism extolled in the essays of "Reading" and "Seeing." The moral compass that US intellectuals have so tragically lost she finds in writers like Yugoslavia's Danilo Kis, "who spoke up against nationalism and fomented-from-the-top ethnic hatreds" but "could not save Europe's honor, Europe's better idea," and Poland's Witold Gombrowicz, who in "strengthening his disaffection from nationalist pieties and self-congratulation" became "a consummate citizen of world literature."
Gombrowicz's Grimaces is undoubtedly a ground-breaking and long overdue in-depth study of the major prose works (with the exception of the play History) by the Polish emigre writer Witold Gombrowicz (1904-69).
Sitting in an Argentine train compartment, seething at the press of others, the twentieth-century Polish emigre writer Witold Gombrowicz begins his Diary entry for the year 1962 this way:
Ten years after the destruction of the Warsaw ghetto, Le communisme, a book by Dionys Mascolo, incarnated for Witold Gombrowicz, the Polish writer who had been living in exile in Argentina since the 1930s, some important materialist precepts.
By Witold Gombrowicz. The Odyssey Theatre Ensemble, Los Angeles.
Bobkowski belonged to what is usually called "the 1910 generation." To this group belong Czeslaw Milosz, Jerzy Andrzejewski, Kazimierz Wyka, and Witold Gombrowicz. However, unlike his other great contemporaries, Bobkowski made his way into literature relatively late, that is to say after the Second World War.