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'TO LET ME FINALLY SAY...' A PORTRAIT OF A POEM WITH CZESLAW MILOSZ IN THE BACKGROUND ('Zebym wreszcie powiedziec mogl...' Portret jednego wiersza z Czeslawem Miloszem w tle)

100%
Michalowski P.
Pamiętnik Literacki
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2011
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vol. 102
|
issue 2
113-128
EN
The article is an attempt at interpretation Czeslaw Milosz's poem IT (TO) from the collection under the same title published in the year 2000. The poem is a multifaceted riddle and its ambiguity can be seen at many levels of the text's structure and in its theme. The poem's modality also proves vague since the subject of its metapoetic reflection can be both the poet's prior accomplishment and his creative intentions, thus the presence of genre relationship with the elegy, manifesto, and poetic testament. The poem is rhetorically complicated and abundant in the course of argumantation, hence it seems not to be a confession but a sophisticated play of the poet who accepts changing roles and putting on various masks. The pronoun used in the poem's title indicates the object of comment (thought, feeling, fear), the name of which is either intentionally passed over in silence or does not exist; yet, an effort to characterise 'it,' made as an array of comparisons, is either a supplementary periphrasis or a catachresis of the Inexpressible.
2

SLOWACKI'S 'BENIOWSKI' AND TUWIM'S 'POLISH FLOWERS' AND THE CONVENTIONS OF FILM EDITING (Beniowski i Kwiaty polskie - Reguly montazu filmowego)

100%
Michalowski P.
Ruch Literacki
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2009
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vol. 50
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issue 6(297)
463-477
EN
This article discusses the way in which the narrative technique of Juliusz Slowacki's 'Beniowski' and Julian Tuwim's 'Polish Flowers' appears similar to film editing with its staple devices like close-ups, long shots, cuts and crosscuts, montage and sequencing techniques. While acknowledging the limits of comparability of literature and film, it is possible to see in Slowacki's digressive poem an anticipation of film techniques. The latter poem, on the other hand, exhibits the author's programmatic inspiration by the cinema. The methods of handling time shifts and movement between scenes, signalling levels of importance of various narrative subjects and indicating the modality of a represented action are hardly different. So for example the device of withdrawal of the camera eye from the scene, at times even beyond the frame of the fictional world is common both to the digressive poem and the autothematic film. Finally, the different kinds of shifts between scenes/digressions can, in a way, be the equivalent of the metaphoric and metonymic mode.
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