Search results

1

Kilka słów o współczesnych podręcznikach do romantyzmu. Refleksje na marginesie książki "Romantik-Handbuch"

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Stanisz M.

Świat Tekstów. Rocznik Słupski

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2010

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issue 8

303-327

EN

The following article is a voice in a discussion on the subject of perspectives of a modern synthesis of Romantic literature in Europe. The methodological part presents theoretical pre-sumptions of this scholarly project. Also, in this part there are postulates of a systemic, and at the same time, a multi-perspective depiction of history of European literature. Thanks to this, it would be possible to encompass various aspects of a philosophy of life, literature and cul-ture of the era, and also, to integrate inside and outside literary point of view, a map of prob-lems with temporal approach, a general view with interpretations focused on particular works. Furthermore, an attention has been drawn to a necessity of o comparative approach, which would register the history of individual national literature into a general trend of trans-formations of literature in Europe. In the second part of the discourse, a German textbook entitled Romantik-Handbuch (the joint work edited by Helmut Schanze, Stuttgart 2003), has been subjected to a detailed analysis. This text presents a rich intellectual panorama of this trend in Germany and includes the most up-to-date status of knowledge on the era. Next to the history of literature of Ger-man Romanticism shown against a background of transformations of culture of that time, the second part presents the main features of the Romantic philosophy of life, convinced of the collapse of a “common world”, its splitting on finality and infinity, the “ideal” and everyday life, but also insistently making an attempt to reconcile an individual with the world, art with science, literature with life. The unique conception of the discourse, presents the Romantic humanities in the context of the present day, emphasises the historic contexts of the era, pre-sents the key works of German Romanticism and the significance of genres and literary con-ventions popular at that time. It also describes the accomplishments of representatives of this trend in other fields of art and the various branches of science. Undeniable competence of authors and multi-directionality of the given lecture, deter-mine considerable values of the discussed work. The reading-matter of Romantik-Handbuch may serve as a perfect starting point for the reflexion on the formula of the modern historical and literary syntheses.

2

Ciało i duch w pismach Andrzeja Towiańskiego

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Stanisz M.

Colloquia Litteraria

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2013

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vol. 15

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issue 2

7-27

PL

Body and spirit in Towiański’s writings Relationship between the body and the soul is one of the crucial issues that romantic anthropology, whose representatives included Andrzej Towiański, is concerned with. The founder of Koło Sprawy Bożej was convinced, just like other romanticists, that material world was subordinate to spiritual reality, as well as that the spirit unquestionably preceded over the body. Towiański underscored the key role that the body should play in one’s striving to achieve Christian perfection, which he believed to be a state of full maturity of a human being. According to Towiański, the body can only serve a man appropriately, when it is subject to the will of the spirit. Thus, the body should be appreciated and seen as a means to spiritual improvement and the entrance gate to a higher reality. On the one hand, this improvement should be achieved through offering a ‘three-fold Christian sacrifice’, recognising God’s intention in suffering that is being experienced and observing strict ethics in marital life, and on the other hand appreciation of bodily needs: cultural entertainment, proper fun and fitness.

3

Body and Spirit in the Writings of Andrzej Towiański

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Stanisz M.

Colloquia Litteraria

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2017

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issue 2

203-222

EN

Relationship between the body and the soul is one of the crucial issues that romantic anthropology, whose representatives included Andrzej Towiański, is concerned with. The founder of Koło Sprawy Bożej was convinced, just like other romanticists, that material world was subordinate to spiritual reality, as well as that the spirit unquestionably preceded over the body. Towiański underscored the key role that the body should play in one’s striving to achieve Christian perfection, which he believed to be a state of full maturity of a human being. According to Towiański, the body can only serve a man appropriately, when it is subject to the will of the spirit. Thus, the body should be appreciated and seen as a means to spiritual improvement and the entrance gate to a higher reality. On the one hand, this improvement should be achieved through offering a ‘three-fold Christian sacrifice’, recognising God’s intention in suffering that is being experienced and observing strict ethics in marital life, and on the other hand appreciation of bodily needs: cultural entertainment, proper fun and fitness.

4

NORWIDOWSKA KONCEPCJA ORYGINALNOŚCI LITERACKIEJ W ŚWIETLE DZIEJÓW POETYKI

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Stanisz M.

Colloquia Litteraria

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2016

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vol. 20

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issue 1

175-194

PL

Norwid’s concept of Literary Originality in the Light of the History of Poetics The article presents Norwid’s concept of literary originality with reference to selected terms from the European theory of poetry. Norwid’s reflections about writing function predominantly within the confines of his philosophical concepts, which were mostly inspired by the philosophy of Plato and Christian thought and were related to his vision of God, the world, man, and artist. One can discover, however, a rich set of terms coming from traditional poetics in the works of the author of Quidam. Norwid’s thinking about originality is firmly rooted in tradition and links diverse inspirations and threads in a distinctive way. As such it shows telling paradoxes by containing unequivocal objection to imitating nature and exemplary works. At the same time, it underscores Norwid’s reliance on the old masters, advocates for the freedom and authenticity of artists, and highlights the role of the form in the creative process. While not dismissing the contradictory categories of ‘obscurity’ and fragmentariness, Norwid also pays attention to the value of artistic perfection. His concepts do not form a closed system of aesthetic views. Instead, they constitute an elastic catalogue of indications whose employment requires combined work of the imagination, intellect, and emotions as well as the alertness of one’s conscience and spiritual energy. Norwid believed that the primary duty of art was expressing the truth about the world.

5

NORWID’S CONCEPT OF LITERARY ORIGINALITY FROM THE PERSPECTIVE OF THE HISTORY OF POETICS

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Stanisz M.

Colloquia Litteraria

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2018

|

issue 4

EN

Norwid’s concept of Literary Originality in the Light of the History of Poetics The article presents Norwid’s concept of literary originality with reference to selected terms from the European theory of poetry. Norwid’s reflections about writing function predominantly within the confines of his philosophical concepts, which were mostly inspired by the philosophy of Plato and Christian thought and were related to his vision of God, the world, man, and artist. One can discover, however, a rich set of terms coming from traditional poetics in the works of the author of Quidam. Norwid’s thinking about originality is firmly rooted in tradition and links diverse inspirations and threads in a distinctive way. As such it shows telling paradoxes by containing unequivocal objection to imitating nature and exemplary works. At the same time, it underscores Norwid’s reliance on the old masters, advocates for the freedom and authenticity of artists, and highlights the role of the form in the creative process. While not dismissing the contradictory categories of ‘obscurity’ and fragmentariness, Norwid also pays attention to the value of artistic perfection. His concepts do not form a closed system of aesthetic views. Instead, they constitute an elastic catalogue of indications whose employment requires combined work of the imagination, intellect, and emotions as well as the alertness of one’s conscience and spiritual energy. Norwid believed that the primary duty of art was expressing the truth about the world.

6

Romantyczne sonety o wolności artystycznej

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Stanisz M.

Tematy i Konteksty

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2023

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vol. 18

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issue 13

231-246

EN

In the presented article, I demonstrate how the idea of artistic freedom was expressed in romantic sonnets and how their authors referred in them to the principles of poetic art. I argue that the expression of artistic freedom at that time included such motifs and metaphors as: the motif of freeing oneself from the limitations of the sonnet form, images of breaking the existing literary conventions, motifs of flying into the sky and climbing to the top. The awareness of creative freedom was also triggered by images of sublime nature and the motifs of reading. In my discourse, I focus mainly on Polish romantic sonnets, but I also refer to sonnets written in other European countries.

PL

W przedstawionym artykule ukazuję, w jaki sposób w romantycznych sonetach wyrażano ideę wolności artystycznej i jak odnoszono się w nich do reguł sztuki poetyckiej. Dowodzę, że wyrazem wolności artystycznej były takie motywy i metafory, jak: motyw przełamywania ograniczeń sonetowej formy, obrazy wyzwolenia z ograniczeń konwencjami literackimi, motywy lotu ku niebu oraz wędrówki na szczyt. Świadomość wolności twórczej wyzwalały również obrazy wzniosłej przyrody, a także motywy lektury. W swoich rozważaniach skupiam się na polskich sonetach romantycznych, ale sięgam również do sonetów powstałych wówczas w innych krajach europejskich.

7

On the scientific gift for Professor Stefan Sawicki, with general remarks on modern Norwid Studies

100%

Stanisz M.

Studia Norwidiana

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2018

|

vol. 36 English Version

277-300

PL

Artykuł jest recenzją monografii zbiorowej pt. Strona Norwida. Studia i szkice ofiarowane Profesorowi Stefanowi Sawickiemu (pod red. P. Chlebowskiego, W. Torunia, E. Żwirkowskiej, E. Chlebowskiej, Lublin 2008). Omówienie zawartości 28 zamieszczonych tu artykułów naukowych stanowi punkt wyjścia do naszkicowania panoramy współczesnej norwidologii oraz określenia wkładu prof. Stefana Sawickiego w rozwój tej dyscypliny

EN

The article presents a review of the collective monograph Strona Norwida. Studia I szkice ofiarowane Profesorowi Stefanowi Sawickiemu (edited by P. Chlebowski, W. Toruń, E. Żwirkowska and E. Chlebowska, Lublin 2008). The discussion of the contents of all 28 scientific articles published in the volume is the starting point for sketching a panorama of contemporary Norwid Studies and determining the contribution of Professor Stefan Sawicki to the development of this discipline.

8

Kraina Południa? Włochy Cypriana Norwida w perspektywie geopoetyki

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Stanisz M.

Studia Norwidiana

|

2017

|

vol. 35

73-93

PL

Tematem artykułu jest refleksja nad Norwidowskim dyskursem o Italii w kontekście jego narracji o Europie. Symboliczne usytuowanie Włoch na Norwidowskiej mapie wyobrażonej było wypadkową kilku perspektyw: opozycji Północ-Południe, osi Wschód-Zachód, kategorii centrum i peryferii, wiązało się także z uniwersalizującym spojrzeniem z perspektywy globalnej oraz temporalnej. Każda z tych perspektyw prowadziła ku innym zagadnieniom (antropologicznym, kulturowym, politycznym, ekonomicznym, cywilizacyjnym, estetycznym). We wczesnym okresie twórczości Norwida pozycję Italii wyznaczała głównie przynależność do przestrzeni Południa (akcent padał wówczas na jej właściwości klimatyczne, kulturowe i estetyczne). Z biegiem czasu pozycja Włoch coraz silniej zaznaczała się na osi Wschód-Zachód (związanej głównie z zagadnieniami cywilizacji i polityki). W wielu utworach Norwida Włochy stanowiły symboliczny środek świata (z obrazem Rzymu jako centrum chrześcijaństwa). Zdarzało się i tak, że były elementem pejzażu uniwersalnego. Ewolucję twórczości Norwida można zinterpretować jako nieustanne przezwyciężanie hegemonii jednej osi czy jednej perspektywy, a co za tym idzie, jako próbę wpisania obrazu Włoch w skomplikowany układ współrzędnych wyznaczających jego symboliczną mapę wyobrażoną.

EN

This article offers a reflection on Norwid’s discourse about Italy in the context of his narrative about Europe. The symbolic position of Italy on Norwid’s imagined map was a resultant of several perspectives: the North-South opposition, the East-West axis, the categories of centre and peripheries, and it was linked to the universal view from a global and temporal perspective. Each of these perspectives led to other issues (anthropological, cultural, political, economic, civilizational, aesthetic). In the early period of Norwid’s work, Italy’s position was mainly defined by its belonging to the South (at that time its climatic, cultural and aesthetic qualities were stressed). Over time, Italy’s position was increasingly marked on the East-West axis (related mainly to civilizational and political issues). In many of Norwid’s works, Italy was the symbolic centre of the world (with a picture of Rome as the centre of Christianity). Sometimes it was even part of a universal landscape. The evolution of Norwid’s work can be interpreted as the continuous overcoming of the hegemony of one axis or perspective, and consequently, as an attempt to inscribe the image of Italy onto an intricate system of coordinates representing his symbolic imagined map.

9

Uniwersum arcydzieł. Dyskurs krytycznoliteracki w listach Norwida

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Stanisz M.

Studia Norwidiana

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2014

|

vol. 32

41-60

EN

Cyprian Norwid’s correspondence is an important element of his critical reflection. From the critical remarks contained in it the image of literature appears as a collection of masterpieces situated in the space of eternal truths and universal values based on the highest intellectual, moral and esthetic standards. According to Norwid a critic’s role consists mainly in searching for outstanding works and recording crucial literary facts. In his assessment of contemporary literary life, however, Norwid used the above rules in an inconsistent way: vast areas of Polish literature of those times (among them being the 19th century novel) remained outside his critical judgments, and his opinions resulted not only from his absolutist strategy of “tracking down masterpieces”, but also from accidental reading practice of a “usual” reader entangled in everyday life.

10

Uniwersum arcydzieł. Dyskurs krytycznoliteracki w listach Norwida

100%

Stanisz M.

Studia Norwidiana

|

2014

|

vol. 32

41-60

EN

Cyprian Norwid’s correspondence is an important element of his critical reflection. From the critical remarks contained in it the image of literature appears as a collection of masterpieces situated in the space of eternal truths and universal values based on the highest intellectual, moral and esthetic standards. According to Norwid a critic’s role consists mainly in searching for outstanding works and recording crucial literary facts. In his assessment of contemporary literary life, however, Norwid used the above rules in an inconsistent way: vast areas of Polish literature of those times (among them being the 19th century novel) remained outside his critical judgments, and his opinions resulted not only from his absolutist strategy of “tracking down masterpieces”, but also from accidental reading practice of a “usual” reader entangled in everyday life.

11

„Imaginarium” polskie: Norwidowska lektura Anhellego

100%

Stanisz M.

Studia Norwidiana

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2019

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vol. 37

91-115

PL

Celem artykułu jest odpowiedź na pytanie, jak Cyprian Norwid rozumiał poemat Juliusza Słowackiego pt. Anhelli (1838). Norwidowska interpretacja Anhellego, którą przedstawił w swoich wykładach O Juliuszu Słowackim (1961) znacznie różniła się od poprzednich. Przed Norwidem krytycy Anhellego podziwiali jego warstwę estetyczną i doceniali wątki dokumentalne, choć nie potrafili zaakceptować jego skrajnie pesymistycznego przekazu. Natomiast Norwid zinterpretował poemat jako alegoryczne odzwierciedlenie tego, co Charles Taylor nazwałby polskim imaginarium społecznym. Podkreślając rolę metaforycznego znaczenia najważniejszych motywów w świecie przedstawionym utworu (zwłaszcza motywu Sybiru jako „bieguna ujemnego” polskiej cywilizacji, a także kreacji bohaterów jako reprezentantów określonych postaw ideowych), Norwid zinterpretował wiersz Słowackiego jako alegorię głębokiego kryzysu polskiej świadomości zbiorowej oraz obraz rozpadu społeczności narodowej. W ten sposób refleksja Norwida na temat Anhellego umożliwiła mu dokonanie krytycznej oceny charakterystycznych cech dziewiętnastowiecznej kultury polskiej i mentalności ówczesnych emigrantów.

EN

The aim of the article is to answer the question how Cyprian Norwid understood Juliusz Słowacki’s poem entitled Anhelli (1838). Norwid’s interpretation of Anhelli, which was put forward in his lectures O Juliuszu Słowackim (1961), was significantly different from the previous ones. Before Norwid, the critics of Anhelli admired its aesthetic layer and appreciated the documentary motifs, but could not make sense of its extremely pessimistic message. Norwid, however, interpreted Anhelli as an allegorical reflection of what Charles Taylor would have called the Polish social imaginary. Emphasising the role of the metaphorical meaning of a few motifs in the world presented (especially the one of Siberia as the „negative pole” of the Polish civilisation and the picture of characters as supporters of particular ethical views), Norwid interpreted Słowacki’s poem as an allegory of a grave crisis of the Polish collective consciousness as well as a picture of the decay of the national community. In this way, Norwid’s reflection on Anhelli gave him the opportunity to criticise the qualities of the 19th-century Polish culture and the mentality of the then emigrants.

12

Polska Norwida

100%

Stanisz M.

Studia Norwidiana

|

2022

|

vol. 40

5-35

EN

The article reconstructs Cyprian Norwid’s vision of Poland and Polishness as one of crucial themes in his works since it constantly recurs in his reflections. Analysis covers Norwid’s statements regarding the territory of Poland, its position in Europe, form of government as well as social, cultural and ethnic structure. These questions are situated in the context of the poet’s biography, ideas and postulates. In this light, he is revealed to be an insightful and bold republican thinker, open to diversity, intellectually modern, and deeply attached to tradition. A true patriot, he sought to reconcile various political options in the spirit of universalism rooted in religious values.

PL

Artykuł prezentuje wizję Polski i polskości Cypriana Norwida jako jeden z wielkich tematów Norwida, powracający w jego refleksji nieustająco. Autor analizuje wypowiedzi Norwida dotyczące terytorium Polski, jej pozycji na mapie Europy, ustroju, struktury społecznej, kulturowej i etnicznej. Uwagi na ten temat sytuuje w kontekście doświadczenia biograficznego poety. W świetle tych wizji i postulatów Cyprian Norwid jawi się jako przenikliwy, odważny i otwarty na różnorodność myśliciel, republikanin nowocześnie myślący i głęboko przywiązany do tradycji, patriota poszukujący porozumienia między przedstawicielami różnych opcji, także jako uniwersalista głęboko zakorzeniony w wartościach religijnych.

13

Polish “imaginarium”: Norwid’s reading of Anhelli

100%

Stanisz M.

Studia Norwidiana

|

2019

|

vol. 37 English Version

97-121

EN

The aim of the article is to answer the question how Cyprian Norwid understood Juliusz Słowacki’s poem entitled Anhelli (1838). Norwid’s interpretation of Anhelli, which was put forward in his lectures O Juliuszu Słowackim (1961), was significantly different from the previous ones. Before Norwid, the critics of Anhelli admired its aesthetic layer and appreciated the documentary motifs, but could not make sense of its extremely pessimistic message. Norwid, however, interpreted Anhelli as an allegorical reflection of what Charles Taylor would have called the Polish social imaginary. Emphasising the role of the metaphorical meaning of a few motifs in the world presented (especially the one of Siberia as the „negative pole” of the Polish civilisation and the picture of characters as supporters of particular ethical views), Norwid interpreted Słowacki’s poem as an allegory of a grave crisis of the Polish collective consciousness as well as a picture of the decay of the national community. In this way, Norwid’s reflection on Anhelli gave him the opportunity to criticise the qualities of the 19th-century Polish culture and the mentality of the then emigrants.

14

Southern country? Cyprian Norwid’s Italy from the perspective of geopoetics

100%

Stanisz M.

Studia Norwidiana

|

2017

|

vol. 35 English Version

79-101

PL

Tematem artykułu jest refleksja nad Norwidowskim dyskursem o Italii w kontekście jego narracji o Europie. Symboliczne usytuowanie Włoch na Norwidowskiej mapie wyobrażonej było wypadkową kilku perspektyw: opozycji Północ-Południe, osi Wschód-Zachód, kategorii centrum i peryferii, wiązało się także z uniwersalizującym spojrzeniem z perspektywy globalnej oraz temporalnej. Każda z tych perspektyw prowadziła ku innym zagadnieniom (antropologicznym, kulturowym, politycznym, ekonomicznym, cywilizacyjnym, estetycznym). We wczesnym okresie twórczości Norwida pozycję Italii wyznaczała głównie przynależność do przestrzeni Południa (akcent padał wówczas na jej właściwości klimatyczne, kulturowe i estetyczne). Z biegiem czasu pozycja Włoch coraz silniej zaznaczała się na osi Wschód Zachód (związanej głównie z zagadnieniami cywilizacji i polityki). W wielu utworach Norwida Włochy stanowiły symboliczny środek świata (z obrazem Rzymu jako centrum chrześcijaństwa). Zdarzało się i tak, że były elementem pejzażu uniwersalnego. Ewolucję twórczości Norwida można zinterpretować jako nieustanne przezwyciężanie hegemonii jednej osi czy jednej perspektywy, a co za tym idzie, jako próbę wpisania obrazu Włoch w skomplikowany układ współrzędnych wyznaczających jego symboliczną mapę wyobrażoną.

EN

This article offers a reflection on Norwid’s discourse about Italy in the context of his narrative about Europe. The symbolic position of Italy on Norwid’s imagined map was a resultant of several perspectives: the North-South opposition, the East-West axis, the categories of centre and peripheries, and it was linked to the universal view from a global and temporal perspective. Each of these perspectives led to other issues (anthropological, cultural, political, economic, civilizational, aesthetic). In the early period of Norwid’s work, Italy’s position was mainly defined by its belonging to the South (at that time its climatic, cultural and aesthetic qualities were stressed). Over time, Italy’s position was increasingly marked on the East-West axis (related mainly to civilizational and political issues). In many of Norwid’s works, Italy was the symbolic centre of the world (with a picture of Rome as the centre of Christianity). Sometimes it was even part of a universal landscape. The evolution of Norwid’s work can be interpreted as the continuous overcoming of the hegemony of one axis or perspective, and consequently, as an attempt to inscribe the image of Italy onto an intricate system of coordinates representing his symbolic imagined map.

15

Southern country? Cyprian Norwid’s Italy from the perspective of geopoetics

100%

Stanisz M.

Studia Norwidiana

|

2017

|

vol. 35 English Version

79-101

EN

This article offers a reflection on Norwid’s discourse about Italy in the context of his narrative about Europe. The symbolic position of Italy on Norwid’s imagined map was a resultant of several perspectives: the North-South opposition, the East-West axis, the categories of centre and peripheries, and it was linked to the universal view from a global and temporal perspective. Each of these perspectives led to other issues (anthropological, cultural, political, economic, civilizational, aesthetic). In the early period of Norwid’s work, Italy’s position was mainly defined by its belonging to the South (at that time its climatic, cultural and aesthetic qualities were stressed). Over time, Italy’s position was increasingly marked on the East-West axis (related mainly to civilizational and political issues). In many of Norwid’s works, Italy was the symbolic centre of the world (with a picture of Rome as the centre of Christianity). Sometimes it was even part of a universal landscape. The evolution of Norwid’s work can be interpreted as the continuous overcoming of the hegemony of one axis or perspective, and consequently, as an attempt to inscribe the image of Italy onto an intricate system of coordinates representing his symbolic imagined map.

16

O naukowym darze dla Profesora Stefana Sawickiego, z przyłączeniem uwag ogólnych nad współczesną szkołą norwidologiczną

100%

Stanisz M.

Studia Norwidiana

|

2018

|

vol. 36

261-282

PL

Artykuł jest recenzją monografii zbiorowej pt. Strona Norwida. Studia i szkice ofiarowane Profesorowi Stefanowi Sawickiemu (pod red. P. Chlebowskiego, W. Torunia, E. Żwirkowskiej, E. Chlebowskiej, Lublin 2008). Omówienie zawartości 28 zamieszczonych tu artykułów naukowych stanowi punkt wyjścia do naszkicowania panoramy współczesnej norwidologii oraz określenia wkładu prof. Stefana Sawickiego w rozwój tej dyscypliny.

EN

The article presents a review of the collective monograph Strona Norwida. Studia I szkice ofiarowane Profesorowi Stefanowi Sawickiemu (edited by P. Chlebowski, W. Toruń, E. Żwirkowska and E. Chlebowska, Lublin 2008). The discussion of the contents of all 28 scientific articles published in the volume is the starting point for sketching a panorama of contemporary Norwid Studies and determining the contribution of Professor Stefan Sawicki to the development of this discipline.

17

On the scientific gift for Professor Stefan Sawicki, with general remarks on modern Norwid Studies

100%

Stanisz M.

Studia Norwidiana

|

2018

|

vol. 36 English Version

277-300

EN

The article presents a review of the collective monograph Strona Norwida. Studia I szkice ofiarowane Profesorowi Stefanowi Sawickiemu (edited by P. Chlebowski, W. Toruń, E. Żwirkowska and E. Chlebowska, Lublin 2008). The discussion of the contents of all 28 scientific articles published in the volume is the starting point for sketching a panorama of contemporary Norwid Studies and determining the contribution of Professor Stefan Sawicki to the development of this discipline.

18

Literatura w kręgu unijnych zbliżeń. W 450. rocznicę Unii Lubelskiej

63%

Stanisz M., Trościński G.

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2019

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vol. 14

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issue 9

17-34

EN

The paper is an introduction to the discussion devoted to literary evidence of “unification initiatives” (unions, alliances, international agreements and other unification projects) as witnessed in the history of Europe over many centuries. Artistic writings have long presented the dialogue between union partners, taking place both in public (international or national) as well as private space. Among these phenomena, particularly noteworthy are unification visions, cultural osmosis, evidence of individual participation in unification processes, acts of building the collective awareness, ways of interpreting both shared and alien cultural or religious symbols, literary expressions of the relations between “I” and “You”, strategies used in constructing the linguistic image of the shared world and alien worlds. The paper attempts to systematize specific issues related to these problems and is an introduction to the discussion carried out in the latest issue of „Tematy i Konteksty”.

19

Poetyka (w) przyszłości

63%

Stanisz M., Uliasz S.

Tematy i Konteksty

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2013

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vol. 8

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issue 3

11-19

EN

The given article is an introduction to the discussion devoted to poetics as a literary discipline as well as a subject of university and school teaching. It includes an attempt to order the issues connected with the philosophical foundations of the discipline, its competences and opportunities for development, its limits and constraints, its status among other literary disciplines and its functional dimension. Moreover, the authors of the article underline the ability of poetics to cover the continuously growing spectrum of literary and non-literary phenomena and to express an individual reading experience. The authors also take a look at the range of terms and categories of which poetics makes use. The given deliberations are to invite to reflection on the state of poetics in the contemporary literary studies.

PL

Artykuł stanowi wprowadzenie do dyskusji poświęconej stanowi poetyki jako dyscypliny literaturoznawczej, a także jako przedmiotu dydaktyki akademickiej i szkolnej. Zawiera próbę uporządkowania zagadnień związanych z filozoficznymi podstawami tej dyscypliny, jej kompetencjami i możliwościami rozwoju, jej granicami i ograniczeniami, jej statusem w obrębie innych dyscyplin literaturoznawczych oraz jej wymiarem funkcjonalnym. Autorzy artykułu zwracają ponadto uwagę na zdolność poetyki do ogarniania stale rosnącego spektrum zjawisk literackich i pozaliterackich oraz wyrażania indywidualnego doświadczenia lekturowego, przyglądają się także repertuarowi pojęć i kategorii, którymi się posługuje. Przedstawione tu rozważania są wstępem do refleksji nad stanem poetyki we współczesnym literaturoznawstwie. Dyskusja na ten temat została zaprezentowana w czasopiśmie "Tematy i Konteksty" 2013, nr 3 (8).

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Listy Józefa Czapskiego do Stanisława Lorentza

63%

Kowalczykowa A., Stanisz M.

Tematy i Konteksty

|

2017

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vol. 12

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issue 7

510-516

EN

In this text six Józef Czapski’s letters to Stanisław Lorentz are published from years 1958-1960 and 1978. These letters concern donating Czapski’s drawings and paintings to the National Museum. One of them includes the painter’s reflections on the subject of his drawing and its importance for him.

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Kilka słów o współczesnych podręcznikach do romantyzmu. Refleksje na marginesie książki "Romantik-Handbuch"

Ciało i duch w pismach Andrzeja Towiańskiego

Body and Spirit in the Writings of Andrzej Towiański

NORWIDOWSKA KONCEPCJA ORYGINALNOŚCI LITERACKIEJ W ŚWIETLE DZIEJÓW POETYKI

NORWID’S CONCEPT OF LITERARY ORIGINALITY FROM THE PERSPECTIVE OF THE HISTORY OF POETICS

Romantyczne sonety o wolności artystycznej

On the scientific gift for Professor Stefan Sawicki, with general remarks on modern Norwid Studies

Kraina Południa? Włochy Cypriana Norwida w perspektywie geopoetyki

Uniwersum arcydzieł. Dyskurs krytycznoliteracki w listach Norwida

Uniwersum arcydzieł. Dyskurs krytycznoliteracki w listach Norwida

„Imaginarium” polskie: Norwidowska lektura Anhellego

Polska Norwida

Polish “imaginarium”: Norwid’s reading of Anhelli

Southern country? Cyprian Norwid’s Italy from the perspective of geopoetics

Southern country? Cyprian Norwid’s Italy from the perspective of geopoetics

O naukowym darze dla Profesora Stefana Sawickiego, z przyłączeniem uwag ogólnych nad współczesną szkołą norwidologiczną

On the scientific gift for Professor Stefan Sawicki, with general remarks on modern Norwid Studies

Literatura w kręgu unijnych zbliżeń. W 450. rocznicę Unii Lubelskiej

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Listy Józefa Czapskiego do Stanisława Lorentza