Schulz typograf. Nowa winieta „Przeglądu Podkarpacia”
Journal Title: Schulz/Forum - Year 2015, Vol 6, Issue 6
Abstract
Schulz’s occasional graphic designs which made the margin of his art included also a vignette of the Przegląd Podkarpacia, drawn in 1937 and used for the first time in the periodical’s 70th number, dated October 17. Before that the vignette had been composed of accidentally chosen type letters available at the printer’s. Schulz preferred a modern type but he did not use the printer’s resources. His vignette was an ink drawing, which guaranteed him maximum liberty. The artist combined a picture of an oil well and a refinery with a letter logo. The first letter “P” was of a double size so that it belonged to both title words placed one under the other. The letters was close enough in style to art deco, yet the whole vignette did not follow any particular schema. The last number of the Przegląd Podkarpacia with Schulz’s vignette was published on July 23, 1939.
Authors and Affiliations
Stanisław Rosiek
À la manière de Bruno Schulz. Pastisz, parodia i naśladowanie Schulza w okresie dwudziestolecia międzywojennego
The paper focuses on three cases of pastiche and parody of Schulz’s fiction, published in the Polish press in the 1930s. The author realizes that success in emulating was conditioned not so much by the imitation of Schul...
„Ja rozpisałem się bardzo, bo żółć mnie zalała”
The paper focuses on the letter from Stefan Napierski to Kazimierz Wyka of November 15, 1938. It sheds light on the publication of the notorious "Double Review" of "The Sanatorium under the Sign of an Hourglass" written...
Jerzy Ficowski o Schulzu – między rekonstrukcją a retoryką
According to the title, the author makes an attempt to reconstruct and analyze the rhetoric of Jerzy Ficowski’s works on Schulz. Since rhetoric is understood here as a way of articulating the text, in many cases it overl...
Dorożka w lesie – Schulz i pisanie
This paper treats Bruno Schulz’s Cinnamon Shops as a depiction of two entirely different models of writing: the first disturbingly real for Schulz, and the second more idealized, or even nostalgic. The first model presen...
„Niepokój, groza wieczności”. Taine czytany przez Schulza (próba lektury równoległej)
There is only one published piece of evidence that Bruno Schulz read Taine: a note that he made in reference to Taine’s Philosophy of Art (pages 51-71 of volume II of the Polish 1911 Lviv edition). The note has been disc...