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Nostalgia za Początkiem. „Mały Tel Awiw” i jego audiosfera w Tel Awiw haKtana Natana Altermana

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Tarnowska B.
Białostockie Studia Literaturoznawcze
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2014
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vol. 5
EN
The subject of this article is the image of old Tel Aviv and its phonic space in Natan Alterman’s prose. A characteristic quality of the Tel-Aviv audio-sphere is mutual permeation of sounds which are part of the world of nature and those generated by people and their civilizational activity. On the one hand, the poet expresses his pride of the growing city, whose noise, interpreted as a manifestation of youthful dynamism, becomes a sign of transformation into a big metropolis, but, on the other hand, reveals a nostalgia for the past: both connected with the origins of the city, as well as with the distant diaspora.
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Cisza zaryglowanego miasta. O pejzażu dźwiękowym Jerozolimy w prozie Amosa Oza

100%
Tarnowska B.
Przegląd Orientalistyczny
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2018
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issue 1-2 (265-266)
127-139
EN
The aim of this article is to analyze Jerusalem’s soundscape as depicted in the works of the Israeli writer Amos Oz, employing the notion of a “soundscape” created by the Canadian musicologist R. Murray Schafer and developed within the interdisciplinary field of “sound studies”. Oz’s literary vision of Jerusalem refers mainly to the period of the riots and armed attacks in the 1940s, as well as to the later division of this city that lasted until 1967. The most distinctive and most often presented sounds, the so called soundmarks, in Oz’s prose create the specific character of Jerusalem and its identity as distinct from the rest of Israel. It is depicted as an outlying, gloomy and “distrustful” city that is overwhelmed with fear. The sounds of nature, such as reverberations of wind or voices of wild and domestic animals (howling of jackals, barking of dogs or caterwauling of cats) merge with the sounds belonging to the sphere of culture (clangour of bells, tunes of the piano), as well as with those of firings and explosions. Because of the lack of noise generated by cars, the soundscape of Jerusalem is typical of rustic spaces rather than of the spaces of other modern cities: all sounds, even the most low-keyed rustles and humming, are audible in its dominant silence.
3
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Kamień i ból. Obraz Jerozolimy w poezji Jehudy Amichaja

100%
Tarnowska B.
Białostockie Studia Literaturoznawcze
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2015
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vol. 6
EN
The article presents the image of the Holy City of Jerusalem in the poetry of one of the most distinguished Israeli artists, Jehuda Amichai. Here, the imagery includes the dominant motifs of stone, water, and light. Stone, as shown in the images of soaring temples and houses, symbolizes, on the one hand, power and stability; it guards the past and expresses religious zeal. On the other hand, however, it emerges as if from “below” to represent decay, chaos, oblivion, and death. Mourning associates stone with water – through the image of tears or sea – and with artificial light, which again is semantically negative. Furthermore, while the light, for example, helps to reveal the nocturnal glory of ancient architecture, it becomes associated with the lightning – the biblical symbol of God’s wrath. Eventually, it warns us and, at the same time, foresees the impending catastrophe.
4
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Jerozolima Amosa Oza (na podstawie powieści Mój Michał)

100%
Tarnowska B.
Białostockie Studia Literaturoznawcze
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2016
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vol. 9
EN
The article presents the image of Jerusalem of the 1950s. Despite the realistic topography of the Holy City in My Michael, the line between the imagery of urban space and the world of the protagonist’s inner experiences has been blurred. The labirynth-like space of Jerusalem becomes not only the material equivalent of Hanna’s deteriorating mental health, but also a universal metaphor of loneliness, madness and suffering.
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Miłosz w Izraelu (rekonesans)

100%
Tarnowska B.
Świat i Słowo
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2015
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vol. 13
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issue (2)25
165-182
EN
The main purpose of the article is to present the reception of the writings by Czeslaw Milosz in Israel. While in the West Milosz was for a long time perceived as a “political writer”, the author of The Captive Mind and The Seizure of Power, in Israel, as early as in the 70s, the critics regarded him as a distinguished poet. They appreciated Milosz both as the author of the poems on the extermination of the Warsaw Ghetto: Campo di Fiori and Poor Christian Looks at the Ghetto, and the co-creator of the neoclassical style in modern poetry. The style of Milosz`s poetry, its realism, self-restraint and clarity, especially in splendid translations by David Weinfeld, have significantly influenced modern Israeli poetry.
6
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Obraz kaukaskich rzek w poezji Tadeusza Łady-Zabłockiego

100%
Tarnowska B.
Acta Neophilologica
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2021
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vol. XXIII/2
147-162
EN
This paper presents the image of Caucasian rivers in the poetry of Tadeusz Łada-Zabłocki (1811–1847), a tsarist exile to the Caucasus. Zabłocki’s poetic vision of the rivers that flow through the Caucasus Mountains (the Alazani, the Kura, the Samur, the Kodori, the Aragvi and the Terek) is clearly ambivalent. Unlike his domestic, Belarusian rivers – a symbol for familiarity and idyllic harmony with nature – they are perceived as rapid, wild and dangerous entities. Yet, they stand for both the dominion of death and the unbridled power of life.
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Golgotha and the Galilee Lake in the contemporary Israeli Poetry – on the example of the selected poems of Hezy Leskly and Amir Or

100%
Tarnowska B.
Acta Neophilologica
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2012
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issue XIV/2
231-244
EN
The article presents the motifs of Golgotha and the Galilee Lake in the modern Israeli poetry on the example of the selected poems of Hezy Leskly and Amir Or. Contrary to Christian tradition, Jesus is shown here as a man, an enlightened master who “can’t be called Jewish or Christian” and a brother rather than God. The description of the places of the Revelation of Jesus’s divinity is – in the poetry of Leskly and Or – a point of departure for the elucidation of the religious, metaphysical and aesthetic issues, most notably on the notions of truth and beauty in art. For Leskly, who was not a believer of any religion, Golgotha is an equivalent of the metaphysical emptiness and the lack of the eschatological hope. Whereas Leskly is interested mainly in the ontological status of the word that becomes – as in the Bible – a separate being-body and the exploration of his own “ego”, as well in an aesthetic dimension of the work of art, Or is absorbed mainly in a super-personal reality in which the unity of the opposites and the lack of dualism become synonyms for the harmony of being. In the light of the poet’s beliefs, Jesus becomes an exponent of the faith in an immanent unity of the universe.
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„NAD MORZEM MIASTO BIAŁO-BŁĘKITNE”… OBRAZ TEL AWIWU W POEZJI POLSKO- -ŻYDOWSKIEJ LAT MIĘDZYWOJENNYCH

100%
Tarnowska B.
Acta Neophilologica
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2013
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vol. XV/1
333-346
EN
The subject of the paper is the image of Tel Aviv that emerges from the poetry of the poets of the Jewish origin but writing in Polish, in the 20’s and the 30’s of the 20th century, especially from the poems of Anda Eker and Maurycy Szymel. In the Palestinian poems of the young poet Anda Eker who was traveling a few times to Erec Israel, Tel Aviv, showing many Arcadian traits, seems to be the symbol of freedom and safety for the Jews from all over the world. Yet, the poem The Jewish state of Maurycy Szymel, depicts that city – a symbol of the future Jewish state and simultaneously the modern Babylon – in the context of the Biblical extermination. The contestation of the urban utopia that appears in this poems, reflects characteristic for the Jewish Diaspora diversity of attitudes towards the Zionist idea.
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