Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 10

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Rozszerzający się kosmos Norwida

100%
Tański P.
Studia Norwidiana
|
2018
|
vol. 36
283-287
PL
Omówienie dotyczy książki Anity Jarzyny „Pójście za Norwidem” (w polskiej poezji współczesnej), opublikowanej w Lublinie, w 2013 r. Jest to praca sumienna, ukazująca dobry warsztat filologiczny jej Autorki, wzbogacająca naszą wiedzę o liryce. Studium powstało pod kierunkiem wybitnego znawcy polskiej sztuki wiersza, prof. Piotra Śliwińskiego, jako praca magisterska, obroniona w 2008 r. Publikacja jest bardzo ważna, chociaż nierówna, ale spowodowane jest to ówczesnym małym doświadczeniem Badaczki. Autor omówienia zna, oczywiście, kolejne prace Anity Jarzyny, udowadniają one, zdaniem recenzenta tomu o Norwidzie, że mamy do czynienia ze świetną komentatorką polskiej poezji.
EN
The article discusses Anita Jarzyna’s book “Pójście za Norwidem”(w polskiej poezji współczesnej), published in Lublin in 2013. It is a diligent work, showing good philological skills of its author andexpanding our knowledge about lyric poetry. The study was created under the direction of an outstanding expert in Polish poetry, Prof. Piotr Śliwiński, as an MA thesis, defended in 2008. The publication is very important, although erratic, but it is attributable to the researcher’s little experience at that time. Of course, the author of the review knows the subsequent works of Anita Jarzyna, which, according to the reviewer, prove that we are dealing with a great commentator of Polish poetry.
2
Publication available in full text mode
Content available

Wstęp. Antropologia rocka – antropologia codziennych dźwięków

100%
Tański P.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2021
|
vol. 114
|
issue 2
10-15
EN
Rock is an important part of culture. Song studies, a subdiscipline of sound studies and an interesting context in contemporary humanities, have sought to enter the Polish discourse of cultural science for some time now. The anthropology of rock is a topic still in need of studying. Polish research in this respect is rather modest compared to other parts of the world, particularly the English speaking countries, where reflection on rock has been popular for many years. In Poland, its origins date back to 2009 when the first nationwide conference ‘Unisono na pomieszane języki’ [Language mix in unison], organised by Radosław Marcinkiewicz, took place in Tułowice near Opole. Eleven editions of the conference have been held so far – since the third session under the motto ‘Unisono w wielogłosie’ [Polyphony in unison]. Six volumes of the conference materials have been published (2010–2014, 2019). Their significance results not only from the fact that they are the first series of such studies in Poland but also that they have laid the foundations for Polish rock music studies. A few years earlier, in 2003, A po co nam rock? Między duszą a ciałem [What do we need rock for? Between soul and body], edited by Wojciech Burszta and Marcin Rychlewski, came out as the first multi-authored monograph on the topic. This shows that rock anthropology research is a relatively young discipline in Poland – not even 18 years old yet. In this issue we will focus on studies by Polish researchers. Ten years before the release of A po co nam rock?, Wojciech Siwak published his pioneering work, Estetyka rocka [The aesthetics of rock] (1993). The last decade (2009–2019) has seen a real flood of works on rock culture.
3
Publication available in full text mode
Content available

Antropologia słowa Nicka Cave’a na jego debiutanckiej płycie z zespołem The Bad Seeds From Her to Eternity (1984)

100%
Tański P.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2021
|
vol. 114
|
issue 2
31-47
EN
This article tries to interpret the lyrics from From Her to Eternity (1984), a debut studio album by Nick Cave and the Bad Seeds, including a cover of a song originally written by Leonard Cohen. As an example of a rock song lyrics study, it follows the receptive trace while reflecting on the beginnings of the creative path of this outstanding songwriter, rock music composer and vocalist endowed with a captivating voice. Nick Cave’s first musical incarnation was the Boys Next Door (1976–1980, the band changed its name several times and for a longer time was known as Concrete Vulture), later followed by the Birthday Party (1980–1983), Nick Cave and the Bad Seeds (1984–), and Grinderman (2006–2011). Originating from Warracknabeal, Australia, Nicholas E. Cave is considered to be one of the best rock culture artists, confirming his class as with every new album. His last two productions, Idiot Prayer: Nick Cave Alone at Alexandra Palace (2020) and Carnage (2021, a studio album recorded in a duo with the outstanding multi-instrumentalist Warren Ellis), are beautiful, moving, and extraordinary works. The former is a concert film and a live album featuring Cave performing solo on piano, and it serves as the final film in a trilogy of this Brighton-based singer and composer, along with the phenomenal 20,000 Days on Earth (2014) and One More Time with Feeling (2016). Nick Cave is an artist who writes about loneliness, pain, and yearning for love, as clearly evidenced by From Her to Eternity, a moving study of the anthropology of love.
4
Publication available in full text mode
Content available

„Hee Haw”. Performanse śpiewu i tekstów songów Nicka Cave’a z formacją The Birthday Party na płycie The Birthday Party (1980)

100%
Tański P.
Forum Poetyki
|
2022
|
issue 27
44-57
EN
This article attempts to interpret the performative aspects of Nick Cave’s singing and song lyrics written in collaboration with the guitarist Rowland Stuart Howard (1959–2009), Mick Harvey, Vincent Eugene Craddock (also known as Gene Vincent) and William Douchette (also known as Bill Davis). I focus specifically on the album The Birthday Party (1980) which Nick Cave recorded together with his band The Birthday Party. This analysis, representative of rock song lyrics studies, is a receptive trace and a reflection on the beginnings of this outstanding songwriter, rock musician, and singer’s career. I argue that the Australian singer, beginning with the first recordings with the band The Boys Next Door (Door, Door from 1979), writes about love, pain, and loneliness, and show how each new album by the author of Into My Arms records the experience of longing. The Birthday Party, therefore, is no different; it expresses regret and sadness – the feelings of the author/singer, the narrating/singing “I,” the lyrical and the musical persona or, in other words, the singing and performing subject. Cave’s signing is a metaphor for the habitus of punk song miniatures, which are lyrical and vocal expressions of rebellion, filled with irony, while the main principle of the poetics of these works is the grotesque.
PL
W artykule podjęto próbę interpretacji aspektów performatywnych śpiewu i tekstów piosenek Nicka Cave’a oraz autorstwa gitarzysty Rowlanda Stuarta Howarda (1959–2009), a także Micka Harveya, Vincenta Eugene’a Craddocka (znanego jako Gene Vincent) i Billa Davisa (właściwie: William Douchette) z albumu śpiewającego pianisty z grupą The Birthday Party The Birthday Party (1980). Studium, wpisując się w nurt rock song lyrics studies, jest recepcyjnym śladem i refleksją nad początkami drogi twórczej wybitnego autora tekstów piosenek oraz kompozytora muzyki rockowej i wokalisty, obdarzonego interesującym głosem. Teza prezentowanej pracy jest następująca: pochodzący z Australii wokalista od pierwszych nagrań z zespołem The Boys Next Door (płyta Door, Door z roku 1979) pisze utwory o miłości, bólu i samotności, a przede wszystkim każdy kolejny krążek autora Into My Arms to zapis doświadczenia tęsknoty, nie inaczej jest zatem i w przypadku omawianego tutaj albumu, który wyraża żal i smutek – uczucia autora/piosenkarza, „ja” opowiadającego/śpiewającego, persony tekstowo-muzycznej, czy inaczej mówiąc – piosenkowego podmiotu performatywnego. Śpiew Nicka Cave’a można określić jako metaforę habitusu punkowych miniatur piosenkowych, będących tekstowymi i głosowymi ekspresjami buntu, w których dominuje ironia, konstytutywną zasadą poetyki tych utworów zaś jest groteska.
5

Norwid’s expanding cosmos

100%
Tański P.
Studia Norwidiana
|
2018
|
vol. 36 English Version
300-305
EN
The article discusses Anita Jarzyna’s book “Pójście za Norwidem” (w polskiej poezji współczesnej), published in Lublin in 2013. It is a diligent work, showing good philological skills of its author and expanding our knowledge about lyric poetry. The study was created under the supervision of an outstanding expert in Polish poetry, Prof. Piotr Śliwiński, as an MA thesis, defended in 2008. The publication is very important, although erratic, but it is attributable to the researcher’s little experience at that time. Of course, the author of the review knows the subsequent works of Anita Jarzyna, which, according to the reviewer, prove that we are dealing with a great commentator of Polish poetry.
6
Publication available in full text mode
Content available

Book review: Cyberterroryzm zagrożeniem XXI wieku. Perspektywa politologiczna i prawna [Cyberterrorism – a Threat to 21st Century. Political Science’s and Legal Perspective]. Scientific monograph edited by Andrzej Podraza, Paweł Potakowski and Krzysztof Wiak, Wydawnictwo DIFIN SA, Warszawa 2013

100%
Tański P.
Reality of Politics
|
2013
|
issue 4
363-365
7
Publication available in full text mode
Content available

Norwid’s expanding cosmos

100%
Tański P.
Studia Norwidiana
|
2018
|
vol. 36 English Version
300-305
PL
Omówienie dotyczy książki Anity Jarzyny „Pójście za Norwidem” (w polskiej poezji współczesnej), opublikowanej w Lublinie, w 2013 r. Jest to praca sumienna, ukazująca dobry warsztat filologiczny jej Autorki, wzbogacająca naszą wiedzę o liryce. Studium powstało pod kierunkiem wybitnego znawcy polskiej sztuki wiersza, prof. Piotra Śliwińskiego, jako praca magisterska, obroniona w 2008 r. Publikacja jest bardzo ważna, chociaż nierówna, ale spowodowane jest to ówczesnym małym doświadczeniem Badaczki. Autor omówienia zna, oczywiście, kolejne prace Anity Jarzyny, udowadniają one, zdaniem recenzenta tomu o Norwidzie, że mamy do czynienia ze świetną komentatorką polskiej poezji.
EN
The article discusses Anita Jarzyna’s book “Pójście za Norwidem” (w polskiej poezji współczesnej), published in Lublin in 2013. It is a diligent work, showing good philological skills of its author and expanding our knowledge about lyric poetry. The study was created under the supervision of an outstanding expert in Polish poetry, Prof. Piotr Śliwiński, as an MA thesis, defended in 2008. The publication is very important, although erratic, but it is attributable to the researcher’s little experience at that time. Of course, the author of the review knows the subsequent works of Anita Jarzyna, which, according to the reviewer, prove that we are dealing with a great commentator of Polish poetry.
8
Publication available in full text mode
Content available

Dyskursy, performanse tekstowe i narracje transmedialne polskich piosenek rockowych

100%
Tański P.
Tematy i Konteksty
|
2018
|
vol. 13
|
issue 8
522-540
EN
There are a few reasons why a song, in its broad sense, is not the main focus of the present study, but its variety – a particular attention is devoted to the genre of the so-called rock music. Firstly, in my opinion, this work of art currently seems to be the most interesting, resonating, as well as artistically and aesthetically valuable. Secondly, the qualitative and quantitative intensity of the genre is priceless. Thirdly and finally, the influence of this very sort of musical activity on the 20th century is commonly known not only through a powerful impact of various counterculture areas in which rock music found its own reason for existence, but mostly owing to being what it is – a performative artistic output in which different areas of art – music, lyrics, visuals and others – correspond with one another. Awarding the Nobel Prize in Literature in 2016 to Bob Dylan has marked a significant moment in cultural history – the musician gained recognition among the honourable Academy and, by the same token, the song – Dylan’s most commonly used artistic medium has raised cultural awareness, reaching out to a wider public. But did it really have to reach out to listeners? Is it not true that a song has been a soundtrack to our lives being constantly present in them? Maybe the decision which the Academy has made was only a formality – lyrics are very important and it is only up to us what meaning we assign to them. This paper aims to interpret selected lyrics of Polish rock songs, considering them as a significant part of the history of the Polish literature.
9
Publication available in full text mode
Content available

Czas Anny Frajlich

100%
Tański P.
Tematy i Konteksty
|
2019
|
vol. 14
|
issue 9
759-765
EN
Anna Frajlich has finally received a decent collection of critical studies concerning her diverse work. Born in 1942, a poet and prose writer, who has been living in the United States for years, should have received such a recognition a long time ago, as she is an intriguing artist and an important personality in the cultural life of Polish refugees. It was fortunate, therefore, that in 2018 th volume „Here I am / inhabit my own life.” Studies and sketches about the work of Anna Frajlich, edited by Wojciech Ligęza and Jolanta Pasterska was published in Kraków .The studies and sketches on the artistry of the author of Indian Summer were collected on 433 pages, the volume contains 31 papers, the collection is well composed. We have received a volume of excellent value that reads well, satisfying the hunger of intellectual curiosity and emotional greed for the voice of the American emigrant’s interpreters. That very important work perfectly fits in the literature on the subject of emigre literature, or in general – on the subject of Polish literature of the twentieth century and after 2000, bringing much needed studies on the writings of Anna Frajlich who is here and lives in our memory.
10
Publication available in full text mode
Content available

Pathlight. Spring 2015; Pathlight. Summer 2015; Pathlight. Autumn 2015; Pathlight. Winter 2015, Wydawnictwo Adam Marszałek, Toruń 2020

100%
Tański P.
Kultura i Edukacja
|
2023
|
issue 4(142)
167-170
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.