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EN
The text is an attempt to prove that the descent to the underworld that the poem depicts (written after Carol’s death) led the Old Poet-Orpheus to absolute, completely objective and maximally interiorized knowledge of loss. The knowledge is of certain weight to the author, who only a few years earlier wrote a dramatic poem entitled ‘It’ (‘To’) and made it the first text of his poetic book under the same title. Unlike the case of the ancient Orpheus, or other later Orpheuses, that knowledge is not, however, the character’s final destination. The ending of the poem allows the reader to assume that — typically of Miłosz — it is an opening to the grand epiphany of existence.
EN
The first two sections of the paper draw attention to some incompletely interpreted issues within two Romantic dramas: the unclear status of the protagonist in "Dziady, Part IV" (on the one hand, representing the indefinability of man and, on the other, constituting the illustration of how lightly one may lose consistency and identity), and the ambiguous relationship between Goplana and Grabiec in "Balladyna" (which can be perceived in terms of the complex relations between ‘the angelic soul and the bluff head’ (dusza anielska i czerep rubaszny). The third section of notes is an encouragement to discuss two topics: ‘From Zygmunt Krasiński’s Leonard to Jerzy Andrzejewski’s Diego de Manente’; ‘From "Pierścień Wielkiej-Damy, czyli: Ex-machina-Durejko" by Cyprian Norwid to "Tango" by Sławomir Mrożek’.
FR
Questionnaire
EN
In response to the questionnaire, Jacek Brzozowski points to his constant literary fascinations and emphasizes the value of repeated reading and reading comprehension of works which shaped him as a scholar and a man.
PL
Przedmiotem notatek są dwa późne wiersze Tadeusza Różewicza, wiersze o fundamentalnych Różewiczowskich problemach: o śmierci oraz o kondycji współczesnego człowieka. Pierwsza część notatek przynosi zwięzłą próbę określenia zasadniczych treści oraz kontekstów wiersza Wrota śmierci, poświęconego pamięci zmarłego w 2005 roku Henryka Bereski. Druga część — jest próbą interpretacji wiersza bez tytułu jako utworu, w którym poeta — na ład bilansu czy podsumowania — zapisał istotę swoich poglądów na naturę współczesnego człowieka.
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