Tadeusz Boy-Żeleński: Une critique littéraire engagée dans l’exploration de la vie et de l’autonomie de l’art Tadeusz Boy-Żeleński: A literary criticism committed to the exploration of life and the autonomy of art
The aim of this article is to demonstrate how the Polish literary critic and translator
Tadeusz Boy-Żeleński achieved two contrasting goals in his work. The author shows how
important the context, external to the ground of the literary work itself, is for Boy, (and
he reflects on the specific reasons why Boy adopts this attitude), while also describing the
way Boy refuses simultaneously to consider it as a clue which could allow us to decode the
meaning and deeper senses of a literary work. Moreover, Boy emphasizes the means great
writers used to invent in order to transform reality in his own art and to insert the figures
they created into an immanent dynamic evolution of literary patterns.
The author sets forth a thesis that Boy’s method of digging out the genuine form
of the works he analysed was due to the careful attention he gave to the oral and, more
broadly, the sonic dimension of human experience, which to him was a source of constant
fertilization. At the same time, the article explores the way this sensibility to sounds
was deeply rooted in Boy’s direct life experiences — his relationship both to Paris and
to the modernist literary movement called Young Poland “Młoda Polska” led by such
outstanding figures as Stanisław Przybyszewski and Stanisław Wyspiański with whom Boy
frequented Cracow’s various cafés and theatres as a young man.
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