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1
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Julia Hartwig słucha dzieł luterańskich kompozytorów. O wierszach: Kantata Schütza i Kantata Bacha

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Wiśniewski J.
Zagadnienia Rodzajów Literackich
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2017
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vol. 60
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issue 4 (124)
97-109
PL
The poems by Julia Hartwig, Schütz’s Cantata from the volume Obcowanie (1987) and Bach’s Cantata from Czułość (1992), constitute a poetic record of the reception of ancient musical works (which are gaining more and more popularity in modern times). The poet is interested in cantatas by Schütz i Bach — religious works of art of two baroque composers from 17th and 18th century, whose artistic activity was strictly connected with Lutheran spirituality and liturgy. For the poet these cantatas are not only the source of aesthetic experience. Its reception (most probably from the radio, recordings or concerts) becomes a great inspiration for existential and religious reflections. It also makes the poet recognise their uniqueness: as being examples of theocentric art and deep religiousness of their composers, these cantatas reveal the ability to harmonise the human psyche, and consequently they seem to be a perfect art form.
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Arietta Jarosława Iwaszkiewicza

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Wiśniewski J., Uniwersytet Łódzki W. F., jurwis@t-system.com.pl
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2012
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vol. 01
EN
Arietta, written in the final months of Iwaszkiewicz’s life (1894–1980), is one of a cycle of poems Music for a String Quartet from his posthumously published volume of poetry Music in the Evening (1980). Like all the poems from this cycle, it is a short poetic “narration” the central them of which is an image of an old man waiting for death. However, the structure of Arietta distinguishes the poem from other works. Unlike other poems consisting mostly of two four-line rhymed stanzas, Arietta is the only free verse, which is decidedly different from the metrical scheme used by Iwaszkiewicz in this part of the volume. In order to express one of the most crucial experiences in life, the poet crosses the borders of the formerly used model of communication (a poem-song), creating a new unique form of a poem-arietta and imitating the basic structural pattern of a musical arietta — a cavatina. An excerpt from Goethe’s Wanderers Nachtlied, slighly changed when quoted at the end of Arietta (“Warte nun balde / Ruhest du auch”), can be read as an encouragement to experience patient, fear-free waiting for the end of life, but it can also be understood as a kind of “singing” which gives you courage to face death. This final “arioso” in Iwaszkiewicz’s poem is not only a pacifying lullaby but also an expression of heroic waiting for irrevocable death.
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Poeta i dźwięki w nowym mieszkaniu. Uwagi o cyklach wierszy "Trynkowanie mrówkowca" i "Niedzielojda" z tomu "Odczepić się" Mirona Białoszewskiego

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Wiśniewski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2008
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vol. 11
EN
A new flat in a high-rise block in Saska Kępa-Chamowo described by Miron Białoszewski in a collection of poems Odczepić się (published in 1978) is a strange and unfriendly area which the author must constantly get familiar with. Some of the factors which make it difficult for the poet to feel settled there are strange, annoying and disruptive sounds. Many poems testify how helpless Białoszewski was against the noises coming from outside the windows, behind the walls and ceiling. However, in the cycles Trynkowanie mrówkowca and Niedzielojda the poet shows how he tries to “civilize” or “domesticate” the noises by discovering their harmonious and elementary connections with music which symbolizes a superior order. Finally, it turns out that a hostile world of this high-rise block can be arranged and organized by drawing parallels between the noise and classical music. In this way it is possible to look at the acoustically irritating block of flats with a new perspective. These new acoustic relations seem to be - as other unknown situations - a new reality where one can tune in and search for the essence of being.
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Uwagi o inspiracjach muzycznych dwu wierszy Wojciecha Wencla: "Srebrne i złote" oraz "Oda na dzień św. Cecylii"

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Wiśniewski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2007
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vol. 09
EN
The sketch presents music inspirations and the meaning of several musical motives in the two of Wojciech Wencel’s pieces, which were analysed in details: Silver and Gold, Ode for St. Cecilia’s Day. Similar mottoes and a few allusions are shown in musical compositions which inspired the poet; those are Haendel’s Messiah and Purcel’s Ode fo r St. Cecilia's Day. Wencel doesn’t concentrate on the plot and the structure of these works, but he understands them as “celebrations” which make the holy order appear in the world.
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Polacy przy jedzeniu i za stołem w piosenkach Wojciecha Młynarskiego

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Wiśniewski J., Katedra Literatury Polskiej XX i XXI Wieku U. Ł.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2010
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vol. 13
EN
In Wojciech Młynarski’s early songs culinary and drinking motives serve both main and secondary functions. There are snacks and soups (one song even gives a recipe for żurek), main courses (different Polish chops and cutlets, Boeuf Stroganoff, etc.), desserts (cakes, loaves, icecream). There are drinks as well (beer, wine, vodka, but also coca-cola). People who sit at a table and eat these dishes are often quite bizarre and strange characters (a supercilious singer, office lovers, weird members of a multigenerational family). The food described in the lyrics is frequently connected with three topics and refers to love, the socio-political realities of a communist country, and tradition. Drinks and beverages presented in various contexts and situations help the songwriter create a portrait of the Polish society.
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Morze i muzyka polifoniczna. Uwagi o wierszu "Sól konstrukcji" Mirona Białoszewskiego

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Wiśniewski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2009
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vol. 12
EN
In the poem Sól konstrukcji from the cycle of poems Pokrewieństwa in the volume Obroty rzeczy 1956 (The Revolution o f Things), Miron Białoszewski describes a waving sea, which leads to discovering its hidden nature, surprisingly similar to the structural characteristics of polyphonic music - exemplified by the form of a motet and the works of Bach. Searching for affinities and similarities between distant things, Białoszewski discovers the harmony and internal cohesion of the world. It becomes possible when all stereotypic opinions and cliches are rejected and we perceive a new and unknown “revolution of things”
7
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Lira i struna w poezji Zbigniewa Herberta

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Wiśniewski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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1998
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vol. 01
EN
In Herbert’s poetry the words which are the names of musical instruments function both on the level of literary text stylistic composition - they are constituent elements of the metaphors and comparisons - and as signs of concrete or symbolic objects, which constitute one of the categories of motifs visible in the poems. The essay is an attempt to define the function performed by the motifs of the lyre and the lute, the first two instruments to appear in Zbigniew Herbert’s poetry. The group of poems in which the motifs of the lyre, the lute and the string - a frequent synexdoche of the two instruments - appear includes twelve poems: Do Apollina [To Apollo], O Troi [On Troy], Do Marka Aurelego [To Marcus Aurelius], Struna [The String], Las Ardeňski [The Forest of Arden], Arijon [Arion, from the volume Struna Światła [The String of Light]), Niepoprawnoić [Incorrectness], Do Pięści [To the Fist], Prośba (A Request, from the volume Hermes, pies i gwiazda [Hermes, a Dog and a Star]), Apollo i Marsjasz [Apollo and Marsyas], Szuflada (The Drawer, from the volume Studium przedmiotu [A Study of an Object]), Wit Stwosz: Uśnięcie Najświętszej Marii Panny (Veit Stoss: Repose o f the Virgin, from the volume Elegia na odejście [An Elegy on Passing Away]). In the symbolism of the poems by Zbigniew Herbert the motif of the lyre has ambivalent value. It symbolizes a type of art which does not suit twentieth century experiences or kind of poetry ruthlessly indifferent to evil and thus deserving ethical criticism on the one hand and represents art., which can provide man with a sense of the order of existence, on the other. It is because of the second function that is must be saved. In Herbert’s poems the lyre symbolizes classical poetry - its stylistic tone and function; it is also a symbol of music and harmony - presented as a desired state existing in the world. The string - if it is not a synexdoche of the lyre or the lute - becomes a symbol of new poetry, which results from twentieth century catastrophes, but does not totally reject classical tradition (though compared to it, it is only partial and incomplete). The way the two motifs function in Herbert’s poetry illustrates one of the author’s fundamental dilemmas. The question is: How can a poet who has rejected traditional classicism remain a twentieth century classical poet?
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Czy Maurycy Mochnacki koncertował, grając na klawikordzie? Uwagi na marginesie wiersza Jana Lechonia.

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Wiśniewski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2001
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vol. 02
EN
The article deals with the question whether the poetic representation of the concert in the verse “Mochnacki” by Jan Lechoń is probable. There is some doubt about one of the elements making the world pictured in the verse - the instrument the protagonist is playing. We know the account given by a person present at the concert performed by Mochnacki in the Societć Philharmonique in Metz on March 23rd 1832 and that lets us point rather to a piano then to a clavickord as the instrument used for the concert. Our opinion is supported by the sound characteristics and the design of the instrument given by the poet in the verse. The clavickord is not able to achieve such a variety of musical expression as Jan Lechoń says Mochnacki could yield. There is a strong probability that the instrument was a piano but the poet called it a clavickord (by mistake or on purpose) for style reasons.
9
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Muzyka w twórczości Zbigniewa Herberta

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Wiśniewski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2003
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vol. 06
10
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Muzyczny rezonans w świecie. O niektórych funkcjach odniesień muzycznych w wierszach Krzysztofa Kamila Baczyńskiego

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Wiśniewski J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2001
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vol. 04
DE
Die Musikresonanz, die eine in der dichterischen Welt funktionierende Variante der Regel der Wiederspiegelung in der dichterischen Welt von Krzysztof K. Baczyński wird, wird im Weltraum verwirklicht - zwischen dem Himmel und der Erde und in den Personenbeziehungen - zwischen Gott und dem Menschen und auch zwischen den Leuten. Die Musik in der Darstellung nimmt verscheidene symbolische Bedeutungen ein. Der Klang der Urharmonie in der Himmelsphäre wird infolge des Bösen auf der Erde deformiert. Die Symptome der Zerstörung auf der Erde werden auch negative Gefühle, sowohl die motivierten von subjektiven, persönlichen Erfahrungen des Helden als auch die, die aus inneren Umständen erfolgen. Der unveränderte Klang des Himmels zieht in Wirklichkeit der Erde durch die den Menschen erreichende Gottessendung ein und bedeutet eine Welt erretende Liebe.
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Prognozy rynku kart płatniczych w Polsce

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Sokołowska E., Wiśniewski J.
Studia Ekonomiczne
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2016
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vol. 289
175-190
PL
Przeprowadzono badanie rynku kart płatniczych w Polsce. Wykorzystano dane kwartalne, opublikowane przez Narodowy Bank Polski. Wykorzystano narzędzia ekonometrii do zbadania intensywności rozwoju rynku kart płatniczych w Polsce. Wśród czynników rozwoju tego rynku uwzględniono przede wszystkim zmiany w infrastrukturze, umożliwiającej dokonywanie transakcji bezgotówkowych oraz dokonywanie wypłat gotówki poza systemem kasowym banków. Równania opisujące mechanizmy intensywności użytkowania kart płatniczych wykorzystane zostały do oszacowania prognoz na lata 2015-2016. Prognozy mają charakter kwartalny, z powodu wykorzystywania tego rodzaju szeregów czasowych w modelowaniu ekonometrycznym.
EN
A study of the payment card market in Poland was carried. It is based on the quarterly data, published by the Polish National Bank. The tools of econometrics to examine the intensity of the development of the payment card market in Poland were used. Among the factors of development of this market, the changes in the infrastructure enabling people to make cashless transactions and making cash withdrawals outside the system of cash banks, were studied. The equations describing the mechanisms of the intensity of payment cards’ use served to estimate the forecasts for the years 2015-2016.
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