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New Wave (Polish literature)
New Wave/ Generation 68. (Polish: Nowa Fala/Pokolenie 68.) is a Polish movement in the 60-70s in the 20th century that, first of all, consisted of poets, artists, musicians and theatre and cinema amateurs. The most famous poets who belonged to this group are: Stanisław Barańczak and Ryszard Krynicki (from Poznań), Julian Kornhauser and Adam Zagajewski (from Kraków), Jacek Bieriezin and Witold Sufcowski (Łódź), Krzysztof Karasek, Jarosław Markiewicz and Leszek Szaruga (from Warsaw). One of the reasons of the movement appearance was discontent with the state of the contemporary society. The most important point for them was to hold to the truth and actuality. The most two significant tendencies of Generation 68. can be identified with the two most importnat poetic groups: "Próby", whose leaders Stanisław Barańczak and Ryszard Krynicki represented linguistic tendency, and "Teraz" , whose leaders Adam Zagajewski and Julian Kornhauser, represented existential and philosophical tendency.

History of New Wave appearance.
Writers and poets were united by the historical events and experience. They witnessed events occurred in March of 1968 when there were a lot of protests among Polish students who were discontented with the authorities decision to dispose of the people of Jewish origin from important positions 2, 4, 5. and December of 1970 when workers rebelled because of sudden rise in prices, especially food prices and were violently suppressed by the police and the military. 3 This movement also has another name – Generation 68., although literary critics consider it to be a broader term because it can be referred to other groups that are smaller than New Wave, eg: Confideration of the New Romantism (pol. Konfideracja Nowego Romantyzmu), group “Tylicz”, group “Context”(pol. “Kontekst”), “Group 848” (pol. “Grupa 848”) and others.6

New Wave poets were also united by a Kraków group “Teraz” (created by Wit Jaworski, Julian Kornhauser, Jerzy Kronhold, Stanisław Stabro i Adam Zagajewski) to which joined artists from group “Próby”: •	Stanisław Barańczak i Ryszard Krynicki, •	Krzysztof Karasek, Jarosław Markiewicz i Leszek Szaruga (from Warsaw), •	Jacek Bierezin, Zdzisław Jaskuła, Witold Sułkowski (from Łódź), •	Lothar Herbst i Marianna Bocian (from Wrocław).

The movement had publications like any other movements. It was mainly focused around the magazine “Student” (“Student”) and its addition “Mloda Kultura” (“Young Culture”) and a Kraków poets group called “Teraz” (“Now”) as well (it was founded by Wit Jaworski, Julian Kornhauser, Jerzy Kronhold). Main principles of members of New Wave could be found in the whole literary press, in particular, in “Współczesność”, “Nurt”, “Życie Literackie”, “Miesięcznik Literacki” Conferences in Cieszyn, organized by a Kraków group, regimented New Wave. The first conference was held in 1971, the last one (unofficial) – in 1973.

New Wave influenced on contemporary Polish poetry, In the second half of seventies, and then during the period of Martial Law in Poland (1981 - 1983), majority of poets came into a conflict with the Government of PRL (The Polish People’s Republic), some of them moved abroad (eg. Barańczak, Zagajewski).

Particular poets started to leave the movement at about 1976. Some of them became involved in the opposition activity; comprised with censorship they had to publish their works in Samizdat.

Particularities of New Wave as a Poetic movement
One of their main features was an organized “rebellion” against the Polish literature of those times created by their ideological opponents – Poetic Orientation Hybrids (Orientację Poetycką Hybrydy) that was characterized by a high level of artistry, aphorisms, a big variety of metaphors and affirmation of the actuality9. “The Present Day” Generation (Pokolenie “Współczesności”), whose art works tended to play an aesthetic role but not represent the actuality of sixties and seventies, didn’t actualize a postulate of “unnaive realism” laid down by Kornhauser (“nienaiwny realizm”) and oppose so called “political and propagandistic gobbledygook” There was an allusion to a linguistic concept. The linguistic concept consisted in paying their attention on the language itself, a play upon words and meanings, showing the sense by means of phonetic similarities of the words. Poets tried to unmask a language. Their intention was to show truth by the means of poetry focused on a word (function of the language demystification) in time of deceitful propaganda in March 1968. Poets of New Wave resorted to a method of the literary collage that implicates using borrowings from newspapers and other mass media (in general, literary collage is based on creating a work and using elements from other works, quotations etc 8)). Futurism and expressionism were very important for their creativity as well. This concept made them resemble poets of another literary movement – Linguistic Poetry which existed and developed in 1959-1965. Although in comparison to such poets as Miron Białoszewski, Tymoteusz Karpowicz, Witold Wirpsza and Zbigniew Bieńkowski, poets of New Wave were not interested in researching and making experiments with the language trying to discover its possibilities and limits, but in usage of the language by the society and less official language of the Polish People's Republic. It was connected with the fact that brute manipulation of the language was an important element of those generations’ experience. The language enslavement appeared to be the part of the general enslavement. That’s why the language has become one of the most important topics for poets of New Wave, a key element of the represented world. There was also a sequence of associations with other key-words: truth and breath.7 Literary critics consider the literary generation of New Wave not to have any particular achievements (eg., there wasn’t worked out any solid poetics by them), to restrict their role to organization and unifying of young poets who used repeating elements in their poems, especially terms and expressions (that are peculiar to the newspapers language, documents, letters); created a world by means of watching the reality through the window. That’s why it is no wonder that there are so many exact dates and specified places.

Most important publications containing principles and particularities of the movement1

• J. Kornhauser, A. Zagajewski Świat nie przedstawiony (The world unrepresented)(1974),

• S. Barańczak Nieufni i zadufani (1971),

• S. Piskor, W. Paźniewski, T. Sławek, A. Szuba, Spór o poezję (A controversy about the poetry)(1977). • T. Nyczek Określona epoka. Nowa fala 1968-1993, wiersze i komentarze (The definite epoch. New Wave 1968 – 1993, poetry and comments) (1994).