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Miejsca zapisane i przemilczane w poezji Ireny Dowgielewicz

100%
Szott M.
In Gremium. Studia nad Historią, Kulturą i Polityką
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2018
|
vol. 12
245-257
PL
Irena Dowgielewicz (ur . 1917 r . w Kijowie) należy do najstarszego pokolenia lubuskich poetów . Jej twórczość rozpatrywana bywa z różnych perspektyw . Dostrzec w niej można tematykę kobiecą, a także sakralną . W swoim artykule koncentruję się przede wszystkim na obrazowaniu miejsca przez lubuską poetkę . Interesuje mnie zarówno topografia, którą autorka Krajobrazu z topolą odczytuje bezpośrednio, jak i rewers miejsca (Kresy Wschodnie, Warszawa), czyli jego ukryty wymiar („Więc milczymy . Stare miasta dźwigamy”) . Innym aspektem poruszanym w artykule jest też afektywny wymiar topografii, który traktuję jako ekspresję emocji ujawnianych wobec miejsca .
EN
Irena Dowgielewicz (born in 1917 in Kyev) belongs to the oldest generation of Lubusz poets . Her literary work is looked upon from different perspectives, as it contains both female and sacral themes . In my article, I attempt to focus on her portraying places . I am interested in topography, which the author of “The Poplar Landscape” understands literally, but also as reversing the place (Eastern borderlands, Warsaw) and referring to its hidden meaning (“So we keep quiet bearing old cities”) . Another aspect I touch upon in the present article is the affective level of topography, which I see as the expression of emotions toward a place .
2
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„Geografia otwarta”. Obraz wyśnionego miejsca w wierszach Wojciecha Śmigielskiego

100%
Szott M.
In Gremium. Studia nad Historią, Kulturą i Polityką
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2016
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vol. 10
219-228
EN
The open geography of Wojciech Śmigielski is the geography not requiring maps, deprived of the Lubusz context, though growing out of and nominally adjacent to it. The place is depicted in different ways in the texts of Lubusz poets. Some of them emphasise its naturalness, others impose on it imaginative nets of the remote areas they had to leave in the past, still for others these are the historical or sociological aspects that appear important. Śmigielski decided to introduce another way of constructing the space. He chose a universal and, at the same time, unreal styling. The poems from “The Breath” show the attempt to make the place meaningful through including fairy-tale and dream-like motifs. The text shows the way it translates into a representation of space in the works of the poet. Is Droniki – a village Śmigielski lived in – a mirror image of the real Droniki? In this article, I also check whether the psychoanalytic tools can be used to analyse this poetry.
3
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Rzeczy niemieckie w poezji Joanny Ziembińskiej-Kurek i Marka Lobo Wojciechowskiego

100%
Szott M.
In Gremium. Studia nad Historią, Kulturą i Polityką
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2015
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vol. 9
201-210
EN
The poetry of the Polish-German border, which is Lubusz, often shows the role of things in the chain of historical events. The double origin of these lands is the starting point for considering the category of inanimate matter for the Lubusz writers. Concentrating on subjects of German provenance is visible especially in the poetry of Joanna Ziembińska-Kurek and Marek Lobo Wojciechowski. Each of these authors is biographically associated with a different place; and so Ziembińska – with Sulęcin (GER Zielenzig), Wojciechowski – with Gorzów Wielkopolski (GER Landsberg). In this article there is recalled the classification by Joanna Szydłowska (the researcher has proposed eight categories, according to which the meaning of things in post-Yalta Occident can be considered). The circle of issues associated with the circulation of objects and change of their owners will prove to be the most important for this article. It is the axis linking the world of the objects in the poetry of these authors .
4
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„Nie idziesz przez pustkę”. Fenomenologiczne doświadczenie świata w wierszach Czesława Sobkowiaka

100%
Szott M.
Świat Tekstów. Rocznik Słupski
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2015
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issue 13
71-82
EN
Summary One of the most recognizable poets of Lubusz Land, Czesław Sobkowiak, is possessed of remarkable sensitivity when it comes to perceptions of nature. His search for the essence and truth of existence places his work in the area of phenomenological influences. Since the poet’s focus is firmly on natural environment, that variety of phenomenology could be called as ecophenomenology. That sensitivity can be described by means of the following defining terms: the essence of the quotidian can be reached via illumination; change of perspective is a technique for achieving epiphany; one is included in the mystery of existence by light; reality is perceived in motion; the perspective from which to write is geocentric; and, humanity and nature are in a chiasmatic relation to each other.
5
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Fotografia jako medium poetyckiego doświadczenia miasta w wierszach Joanny Ziembińskiej-Kurek

100%
Szott M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2014
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vol. 2
89-100
EN
Writings of Joanna Ziembińska-Kurek revolve around the theme of space. The Lubusz poet tries to recognize and understand the past of the place, thus discovering her own self. The photography is a medium in two ways: firstly, it is a bridge between the old and the current image of the place, secondly it strengthens the man’s relationship with the city. The poet reflects on the fate of the man and its significance in the context of the transformation of space. The first part of the article shows the literary image of Zielenzig before 1945. Its description in Ziembińska-Kurek’s texts is inspired by black-and-white photographs. The second part explores the contemporary Sulęcin. A conventional dividing line is year 1945 – the end of World War II and the resulting shift of the Polish border to the West. What means of poetical expression does Ziembińska use to familiarize old German places? How does she translate photographs into literature? – the article answers these and other questions.
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