Search results

1

„Pomiędzy świtem a nocy zniknięciem”. Próba nowej lektury Norwidowskiego poematu „Quidam”

100%

Chlebowski P.

Pamiętnik Literacki

|

2014

|

vol. 105

|

issue 2

107-125

PL

Artykuł stanowi próbę dotarcia do historiozoficznej formuły Norwidowskiego poematu "Quidam". Odmiennie niż w badaniach dotychczasowych starano się pokazać chrześcijański przełom w dziejach nie jako redukcję i odchodzenie starych kultur (rzymskiej, greckiej, egipskiej, żydowskiej), lecz wzajemne ich dopełnianie się i dojrzewanie, które swą doskonałość odnajduje w procesie aksjologicznego i autentycznego łączenia przeciwieństw oraz różnic. Tragiczny los bohaterów utworu (większość z nich ginie) w ewangelicznej i eschatologicznej perspektywie odsłania swój właściwy sens i wymiar: w obliczu „ostatecznego” każdy z nich staje się kimś w pełni autentycznym, doznając przy tym olśnienia prawdą, której się zupełnie nie spodziewał, a którą co najwyżej przeczuwał – jak główny bohater, syn Aleksandra z Epiru.

EN

The article is an attempt at reaching the historiosophic formula of Norwid’s poem "Quidam". Unlike in the research to date, the author endeavors to prove the Christian breakthrough in history not to be a reduction and departure of old cultures (Roman, Greek, Egyptian, Jewish) but their mutual complementation and maturation, which finds its perfection in the process of axiological and authentic merging of contrasts and contradictions. The tragic life of the protagonists (majority of them perish) in evangelical and eschatological perspective reveals its true sense and dimension: facing “the ultimate,” each becomes someone fully authentic, and at the same time dazzled by the experience of the truth which was not expected though merely predicted, as done by the main hero, a son of Alexander of Epirus.

2

„Wszystkość nadciąga...” O Gomulickiego edycji kompletnej „Pism” Norwida – kilka uwag

100%

Chlebowski P.

Białostockie Studia Literaturoznawcze

|

2019

|

issue 14

251-273

EN

The article attempts to present in a synthetic way (also in the axiological aspect) the editorial work of Juliusz Wiktor Gomulicki. The editions of Norwid’s ouvre prepared by Gomulicki, especially the first complete edition of the poet’s writings, were published mainly in the years 1944–1989. Undoubtedly, Gomulicki’s greatest editorial success was the full coverage of Norwid’s writings. However, there were also some flaws, such as the excessive “biographisation” of his editorial commentaries, erroneous readings and peculiar, in the literary sense, interpretations. Furthermore, Gomulicki marginalised Norwid’s activity in the area of plastic arts (cf. his lithograph Solo). Also his genological classifications and categorisations, which had a great influence on the layout and form of the corpus of Norwid’s writings, raise some serious doubts. Finally, it is also impossible to recognize the critical and scientific character of this publishing endeavour, which Gomulicki willingly and constantly stressed.

3

Śmierć na Placu Przedajnym. Uwag kilka o pieśni XXIV poematu "Quidam". Profesorowi Stefanowi Sawickiemu z wdzięcznością

100%

Chlebowski P.

Colloquia Litteraria

|

2007

|

vol. 2

|

issue 1/2

41-62

4

„Listka jednego, ni ząbeczka w liściu”. Norwid – poza romantyzmem

100%

Chlebowski P.

Studia Norwidiana

|

2021

|

vol. 39

127-168

EN

The article polemicizes with those findings in the history of literature that situate Norwid’s output within the Romantic movement, especially conclusions drawn by Zofia Stefanowska, Zofia Trojanowiczowaand Edward Kasperski, but also certain ideas developed by Rev. Antoni Dunajski, who argues that the poet’s historiosophic reflection is rooted in Hegelian dialectics (or German philosophy in general), seasoned with the Christian tradition and readings from the Bible. The authoremphasizes certain properties of Norwid’s poetics: an original concept of the protagonist, a personalist concept of history, irony, and the development of both the lyrical subject and the virtual lyrical audience, which all decidedly confirm that the poet functioned outside the said literary and ideological movement. These claims are also informed by the idea that even though Norwid operated beyond the Romantic convention, he would not embrace some other, existing trend (e.g. positivism or Parnassianism), or already represent one from the future (e.g. modernism). Instead, as a pre-modernist and precursor of contemporary lyricism, or a symbolist, he foreshadowed future literary movements. Accordingly, the article claims that Norwid’s work constitutes a separate and original phenomenon, at least in Polish literature.

PL

Artykuł stanowi polemikę z dotychczasowymi ustaleniami historycznoliterackimi, które sytuują dzieło Norwida w ramach nurtu romantycznego: zwłaszcza z koncepcjami Zofii Stefanowskiej, Zofii Trojanowiczowej czy Edwarda Kasperskiego, ale także z pomysłami ks. Antoniego Dunajskiego, wyprowadzającymi historiozoficzną refleksję poety z dialektycznej myśli Hegla (albo ogólnie: tzw. filozofii niemieckiej), przyprawionej chrześcijańską tradycją i lekturą Biblii. Artykuł zwracał uwagę na niektóre cechy i właściwości poetyki Norwida, jak: oryginalna koncepcja bohatera, personalistyczna koncepcja dziejów, ironia czy ukształtowanie podmiotu lirycznego oraz wirtualnego odbiorcy lirycznego, które w sposób zdecydowany zaświadczają o funkcjonowaniu poety poza wskazanym nurtem literackim oraz ideowym epoki. Zarazem tym ustaleniom przyświeca myśl, że twórca Vade-mecum poruszając się poza romantycznymi konwencjami niekoniecznie musiał wpisywać się w jakiś inny, już istniejący nurt (jak np. pozytywizm, parnasizm), czy też taki, który dopiero zaistnieje w przyszłości (np. modernizm): jego dzieło stanowiłoby wówczas zapowiedź owego nurtu (jako premodernista, jako prekursor współczesnej liryki, jako symbolista etc.). Autorowi artykułu przyświeca zatem refleksja o odrębności, fenomenie Norwida i jego oryginalnej spuścizny przynajmniej na tle literatury polskiej.

5

The trial of Quidam in the light of Roman law

100%

Chlebowski P.

Studia Norwidiana

|

2018

|

vol. 36 English Version

59-77

PL

Artykuł stanowi próbę analitycznego przybliżenia sceny sądu nad trzema chrześcijanami, rozgrywającą się na Kapitolu, przed Jowiszowym templum w Norwidowym poemacie Quidam. Ten monumentalny fresk, rozpisany na wiele mniejszych sekwencji, wyraźnie odróżnia się swoim charakterem od dominujących w tekście ujęć kameralnych, zawężonych do niewielkich przestrzeni, niewielkich grup osób. Analiza skupia się tu przede wszystkim na rekonstrukcji przebiegu procesu z punktu widzenia rzymskiego prawa. Ostatecznie prowadzi do rozpoznania historycznej świadomości prawnej Norwida, który, konstruując jedną z zasadniczych wizji swojego utworu, sięgał po wiedzę i literaturę przedmiotu połowy XIX wieku, dotyczącą stanu i znaczenia prawa rzymskiego.

EN

The article is an attempt to analytically portray the scene of the trial of three Christians, taking place on the Capitol Hill, in front of the temple of Jupiter in Norwid’s poem Quidam. This monumental fresco, divided into many smaller sequences, clearly distinguishes itself from intimate shots prevalent in the text, narrowed to small spaces, small groups of people. The analysis focuses here primarily on the reconstruction of the trial from the perspective of Roman law. Ultimately, this leads to the recognition of historical legal awareness of Norwid, who, upon constructing one of the fundamental visions of his work, drew on the knowledge and literature of the mid-19th-century concerning the role and significance of Roman law.

6

Dlaczego ocala?

100%

Chlebowski P.

Studia Norwidiana

|

2011

|

vol. 29

243-258

PL

The review concerns Beata Wołoszyn's book Norwid ocala. Heroizm, śmierć i zmartwychwstanie w twórczości postromantyka (Norwid Saves. Heroism, Death and Resurrection in the Post-Romantic's Works) (Krakow 2008), devoted to the Thanatotic imagination of the author of Vade-mecum. The subject – central to Norwid's works – comprehensively discussed and analyzed by the Author, has not been depraved of approaches and issues that were missing from earlier studies. Generally the argument is presented in a solid and logical way, although there are also controversial, or even doubtful suggestions, as e.g. defining Norwid as a “post-Romantic”, or interpreting the images of heroic death or heroic attitudes present in the poet's works in the categories of martyrology.

7

The eagle from Rzecz o wolności słowa

100%

Chlebowski P.

Studia Norwidiana

|

2019

|

vol. 37 English Version

199-214

EN

The article attempts at explaining the motif of the eagle which appears in the final Song XIV in the poem Rzecz o wolności słowa. Previous scholars have unambiguously associated this symbolic vision with the apocalypse and with the figure of St John. The reading of Volney’s Travels through Syria and Egypt, supported by the source description of Palmyra’s ruins from Robert Wood’s The Ruines of Palmyra, otherwise Tedmor, in the Desert (1753), points rather to an archaeological source of Norwid’s imagery – the image of the ruins of the Palmyrene Temple of the Sun (Baal).

8

Rzecz o wolności słowa jako problem genologiczny

100%

Chlebowski P.

Studia Norwidiana

|

1993

|

vol. 11

53-75

EN

Norwid’s long poem Rzecz o wolności słowa is genologically a complex structure, with a truly enormous range of possibilities. This means that the piece is rich in constructional forms and also that no single genological concept can be assigned to it; the work eludes unequivocal identification. Rzecz o wolności słowa is neither a poetic treatise, a learned poem, an epic, a romantic poem, nor a humanistic poem, etc., even though many elements of each of the above can be found in it. The poem shows Norwid demolishing all kinds of petrified schemata of literary genre. Does it follow that all attempts to uniquely classify Norwid’s piece are doomed to failure? By no means. But the question has to be considered in terms of genological forms or tendencies rather than specific genres, all of them designed to constitute a coherent artistic whole. Its backbone is, I think, the binary principle. Rzecz o wolności słowa is dominated by two interwoven elements, those appropriate to the treatise and the epic. The former is co nnected with such features as discursiveness, rhetoric, persuasion, plotlessness, conceptual style, objectivity and, in terms of composition, the theory of the word. The latter is connected with thematic openness, totality of represented reality, subjectivity of some parts (especially Ch. XIV), Frequent use of the excursus and the fragment, presence of narrative and historiosophical elements, and with the history of the word. Constant tension between the two major tendencies creates novel artistic qualities. The incessant friction and mutual interpenetration of epic structure and treatise structure give Rzecz o wolności słowa its poetic force.

9

Odzyskane autografy norwidowskie Biblioteki Narodowej w Warszawie

100%

Chlebowski P.

Studia Norwidiana

|

1993

|

vol. 11

111-123

10

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

100%

Chlebowski P.

Studia Norwidiana

|

2014

|

vol. 32

131-146

EN

The article tries to revise the views that are established in the study of Norwid, the ones concerning the introduction to the poem Quidam, which was written in the form of a letter. Up till now – almost univocally – researchers have stated that this fragment of the poem is the poet’s real letter written to Zygmunt Krasiński. The present interpretation starts from the facts and editors’ findings, and finally it analyzes the text, taking into consideration the broad literary context, similar forms in works by Słowacki and Krasiński (the immediate addressee of this expression).

11

Proces Quidama w świetle rzymskiego prawa

100%

Chlebowski P.

Studia Norwidiana

|

2018

|

vol. 36

55-72

PL

Artykuł stanowi próbę analitycznego przybliżenia sceny sądu nad trzema chrześcijanami, rozgrywającą się na Kapitolu, przed Jowiszowym templum w Norwidowym poemacie Quidam. Ten monumentalny fresk, rozpisany na wiele mniejszych sekwencji, wyraźnie odróżnia się swoim charakterem od dominujących w tekście ujęć kameralnych, zawężonych do niewielkich przestrzeni, niewielkich grup osób. Analiza skupia się tu przede wszystkim na rekonstrukcji przebiegu procesu z punktu widzenia rzymskiego prawa. Ostatecznie prowadzi do rozpoznania historycznej świadomości prawnej Norwida, który, konstruując jedną z zasadniczych wizji swojego utworu, sięgał po wiedzę i literaturę przedmiotu połowy XIX wieku, dotyczącą stanu i znaczenia prawa rzymskiego.

EN

The article is an attempt to analytically portray the scene of the trial of three Christians, taking place on the Capitol Hill, in front of the temple of Jupiter in Norwid’s poem Quidam. This monumental fresco, divided into many smaller sequences, clearly distinguishes itself from intimate shots prevalent in the text, narrowed to small spaces, small groups of people. The analysis focuses here primarily on the reconstruction of the trial from the perspective of Roman law. Ultimately, this leads to the recognition of historical legal awareness of Norwid, who, upon constructing one of the fundamental visions of his work, drew on the knowledge and literature of the mid-19th-century concerning the role and significance of Roman law.

12

Korespondencja sztuk, czyli monotonia pagórków

100%

Chlebowski P.

Studia Norwidiana

|

2012

|

vol. 30

229-244

EN

The article is concerned with a discussion and assessment of Ilona Woronow's book Romantyczna idea korespondencji sztuk. Stendhal, Hoffmann, Baudelaire, Norwid (The Romantic Idea of Correspondence of Arts. Stendhal, Hoffmann, Baudelaire, Norwid) (Kraków 2008) devoted to one of the most important ideas in the epoch. The author tries to define the theoretical and critical basis of the whole phenomenon in the perspective of four important figures of literary life of that time. She focuses first of all on the semantic dimension of the problem – she tries to show and solve the intricacies and ambiguities of Romantics judgments and opinions. However, she pays almost no attention to the aesthetic or axiological aspect of the concept of “correspondence of arts”, which leads to narrowing the whole research perspective. This unconscious limitation also leads to a great degree to a lack of clarity of the argumentation. In the book only the chapter devoted to Stendhal is redeemed, as well as some parts treating about Norwid (a good reading of the poem Nie myśl, nie pisz – podmaluj (Do not think, do not write – just paint) is noteworthy). The whole has a fragmentary nature, which presses heavily on it, and the multitude of quotations devoid of their context and of penetrating commentaries, the numerous digressions and unexpected turns of the narrative lead the reader towards some “semantic forest”, and not to a clear conclusion: in fact, there is no clearly distinguished point of departure and no clearly determined aim. This is why the reader who was promised a view from the tallest mountain is disappointed, as he is only given the monotony of hills.

13

Rzecz o wolności słowa jak o problem genologiczny

100%

Chlebowski P.

Studia Norwidiana

|

1993

|

vol. 11

53-75

PL

Norwid’s long poem Rzecz o wolności słowa is genologically a complex structure, with a truly enormous range of possibilities. This means that the piece is rich in constructional forms and also that no single genological concept can be assigned to it; the work eludes unequivocal identification. Rzecz o wolności słowa is neither a poetic treatise, a learned poem, an epic, a romantic poem, nor a humanistic poem, etc., even though many elements of each of the above can be found in it. The poem shows Norwid demolishing all kinds of petrified schemata of literary genre. Does it follow that all attempts to uniquely classify Norwid’s piece are doomed to failure? By no means. But the question has to be considered in terms of genological forms or tendencies rather than specific genres, all of them designed to constitute a coherent artistic whole. Its backbone is, I think, the binary principle. Rzecz o wolności słowa is dominated by two interwoven elements, those appropriate to the treatise and the epic. The former is co nnected with such features as discursiveness, rhetoric, persuasion, plotlessness, conceptual style, objectivity and, in terms of composition, the theory of the word. The latter is connected with thematic openness, totality of represented reality, subjectivity of some parts (especially Ch. XIV), Frequent use of the excursus and the fragment, presence of narrative and historiosophical elements, and with the history of the word. Constant tension between the two major tendencies creates novel artistic qualities. The incessant friction and mutual interpenetration of epic structure and treatise structure give Rzecz o wolności słowa its poetic force.

14

Czy Norwid jest autorem sonetu Samotność?

100%

Chlebowski P.

Studia Norwidiana

|

2022

|

vol. 40

117-130

EN

The article discusses Juliusz W. Gomulicki’s attribution of the sonnet Loneliness as a poem by Norwid, which led the editor to include it among the poet’s lyrical works. In this piece, however, neither the specific development of the theme of loneliness, nor elements of style, argumentation and construction seem to confirm this.

PL

Artykuł dotyczy weryfikacji przyjętego przez Juliusza W. Gomulickiego jako wiersz Norwida sonetu Samotność i umieszczonego przez tegoż edytora w kanonie lirycznym poety. Ani sposób ujęcia problematyki samotności, ani elementy stylu, ani przebiegu myśli oraz jej konstrukcji nie potwierdzają wskazanej przez edytora Pism wszystkich atrybucji.

15

Quidam wobec poetyki żywych obrazów. Przyczynek do genologii poematu

100%

Chlebowski P.

Studia Norwidiana

|

2013

|

vol. 31

117-135

EN

The article points to a genological clue that has not yet been noticed in studies of Quidam. The clue – situating the pictorial art of description on the side of tableaux vivants – leads genological findings in a direction that is different from the one that has been followed up till now: it allows one to see the structure of the work in a different perspective, first of all connected with the idea of a synthesis of arts, with a strong visual and theatrical emphasis. The author, pointing to a connection between Quidam and the poetics of tableaux vivants, not only wants to broaden the genological spectrum by adding new, unknown areas, but also tries to understand its enigmatic plot structure, within which there are two contradictory factors: power and atrophy, synthesis and analysis, fragmentation of the plot and concentration on one event, reduction and excess.

16

„To jest najgłupsza, najhaniebniejsza historia pod słońcem!”

100%

Chlebowski P.

Studia Norwidiana

|

2015

|

vol. 33

219-268

EN

The article describes Antoni Berezowski’s assassination attempt on Tsar Alexander II on 6th June 1867 (Berezowski was a Polish émigré and former insurgent). In Norwid’s writings the event is just an episode, however, it has not been fairly thoroughly discussed: both with respect to the data and facts that here and there appear in commentaries to the poet’s writings, and with respect to the very historical fact that caused commotion in the Polish émigré circles in Paris; but also with respect to the event’s context and its political repercussions in Europe and in Poland. The present text tries – since it is based on authentic materials and documents – to fairly thoroughly describe the whole affair and verify Norwid’s judgments and opinions formulated for the moment, without a proper political and historical analysis. It also shows the figure of Berezowski, an unusual émigré and patriot who paid a terrible price for the unsuccessful attempt.

17

Dlaczego ocala?

100%

Chlebowski P.

Studia Norwidiana

|

2011

|

vol. 29

243-258

PL

The review concerns Beata Wołoszyn's book Norwid ocala. Heroizm, śmierć i zmartwychwstanie w twórczości postromantyka (Norwid Saves. Heroism, Death and Resurrection in the Post-Romantic's Works) (Krakow 2008), devoted to the Thanatotic imagination of the author of Vade-mecum. The subject – central to Norwid's works – comprehensively discussed and analyzed by the Author, has not been depraved of approaches and issues that were missing from earlier studies. Generally the argument is presented in a solid and logical way, although there are also controversial, or even doubtful suggestions, as e.g. defining Norwid as a “post-Romantic”, or interpreting the images of heroic death or heroic attitudes present in the poet's works in the categories of martyrology.

18

„To jest najgłupsza, najhaniebniejsza historia pod słońcem!”

100%

Chlebowski P.

Studia Norwidiana

|

2015

|

vol. 33

219-268

EN

The article describes Antoni Berezowski’s assassination attempt on Tsar Alexander II on 6th June 1867 (Berezowski was a Polish émigré and former insurgent). In Norwid’s writings the event is just an episode, however, it has not been fairly thoroughly discussed: both with respect to the data and facts that here and there appear in commentaries to the poet’s writings, and with respect to the very historical fact that caused commotion in the Polish émigré circles in Paris; but also with respect to the event’s context and its political repercussions in Europe and in Poland. The present text tries – since it is based on authentic materials and documents – to fairly thoroughly describe the whole affair and verify Norwid’s judgments and opinions formulated for the moment, without a proper political and historical analysis. It also shows the figure of Berezowski, an unusual émigré and patriot who paid a terrible price for the unsuccessful attempt.

19

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

100%

Chlebowski P.

Studia Norwidiana

|

2014

|

vol. 32

131-146

EN

The article tries to revise the views that are established in the study of Norwid, the ones concerning the introduction to the poem Quidam, which was written in the form of a letter. Up till now – almost univocally – researchers have stated that this fragment of the poem is the poet’s real letter written to Zygmunt Krasiński. The present interpretation starts from the facts and editors’ findings, and finally it analyzes the text, taking into consideration the broad literary context, similar forms in works by Słowacki and Krasiński (the immediate addressee of this expression).

20

Korespondencja sztuk, czyli monotonia pagórków

100%

Chlebowski P.

Studia Norwidiana

|

2012

|

vol. 30

229-244

EN

The article is concerned with a discussion and assessment of Ilona Woronow’s book “Romantyczna idea korespondencji sztuk. Stendhal, Hoffmann, Baudelaire, Norwid” (The Romantic Idea of Correspondence of Arts. Stendhal, Hoffmann, Baudelaire, Norwid) (Kraków 2008) devoted to one of the most important ideas in the epoch. The author tries to define the theoretical and critical basis of the whole phenomenon in the perspective of four important figures of literary life of that time. She focuses first of all on the semantic dimension of the problem – she tries to show and solve the intricacies and ambiguities of Romantics judgments and opinions. However, she pays almost no attention to the aesthetic or axiological aspect of the concept of “correspondence of arts”, which leads to narrowing the whole research perspective. This unconscious limitation also leads to a great degree to a lack of clarity of the argumentation. In the book only the chapter devoted to Stendhal is redeemed, as well as some parts treating about Norwid (a good reading of the poem “Nie myśl, nie pisz – podmaluj” (Do not think, do not write – just paint) is noteworthy). The whole has a fragmentary nature, which presses heavily on it, and the multitude of quotations devoid of their context and of penetrating commentaries, the numerous digressions and unexpected turns of the narrative lead the reader towards some “semantic forest”, and not to a clear conclusion: in fact, there is no clearly distinguished point of departure and no clearly determined aim. This is why the reader who was promised a view from the tallest mountain is disappointed, as he is only given the monotony of hills.

Refine search results

„Pomiędzy świtem a nocy zniknięciem”. Próba nowej lektury Norwidowskiego poematu „Quidam”

„Wszystkość nadciąga...” O Gomulickiego edycji kompletnej „Pism” Norwida – kilka uwag

Śmierć na Placu Przedajnym. Uwag kilka o pieśni XXIV poematu "Quidam". Profesorowi Stefanowi Sawickiemu z wdzięcznością

„Listka jednego, ni ząbeczka w liściu”. Norwid – poza romantyzmem

The trial of Quidam in the light of Roman law

Dlaczego ocala?

The eagle from Rzecz o wolności słowa

Rzecz o wolności słowa jako problem genologiczny

Odzyskane autografy norwidowskie Biblioteki Narodowej w Warszawie

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

Proces Quidama w świetle rzymskiego prawa

Korespondencja sztuk, czyli monotonia pagórków

Rzecz o wolności słowa jak o problem genologiczny

Czy Norwid jest autorem sonetu Samotność?

Quidam wobec poetyki żywych obrazów. Przyczynek do genologii poematu

„To jest najgłupsza, najhaniebniejsza historia pod słońcem!”

Dlaczego ocala?

„To jest najgłupsza, najhaniebniejsza historia pod słońcem!”

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

Korespondencja sztuk, czyli monotonia pagórków