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Awangardowy wnuk Leśmiana

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Stankowska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2009
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issue 16
71-94
EN
The sketch discusses the “relations and interdependencies of impossibilities” connecting the discursive poetry of Bieńkowski with the lyrical poetics of Leśmian. This formula, coined by the author of Sprawy wyobraźni, perfectly expresses these kind of references that exceed just a simple juxtaposition of similarities in subject matters or poetical figures. In terms of this plane, there seem to be are more differences between the two poems than conceivable similarities. However, within the plane of creative philosophy, the awareness of the language status in modern poetry, the abiding concept of reality and the attitude towards civilizational and social transformations, the similarities are particularly striking. The avant-garde poet does not shun from employing early modernist individualistic, idealistic, regressive and aesthetic (formalistic) tendencies so characteristic for Leśmian. If Przyboś, as Łapiński put it, “rehabilitated” Leśmian’s programme, Bieńkowski makes the Przyboś’ programme back again more like Leśmian-like, creating a programme not so much avant-garde in character but rather a one that relates to decadent aspirations of modernism in its narrowest sense. Not surprisingly then, he makes the lyrics of the author of Łąka his particular tertium comparationis of the phenomena in Polish postwar poetry, linguistic poetry in particular. This way, unusual power of modernity of Leśmian poetry is testified and well proven.
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DLACZEGO TADEUSZ RÓŻEWICZ PRZETŁUMACZYŁ PIERŚCIEŃ DRAGUTINA TADIJANOVICIA? (O AUTORZE NIEPOKOJU JAKO TŁUMACZU LIRYKI SERBSKIEJ I CHORWACKIEJ)

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Stankowska A.
Porównania
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2018
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vol. 22
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issue 1
169-184
EN
The question asked in the title of the paper may be considered as clearly probabilistic and leading only to trivial answers such as: because he was aware of the importance of the work of the author of “Ring” for the Croatian lyric poetry; because in 1958 he took part in the 3rd Yugoslavian Festival of Poetry in Rijeka and, probably, met the Croatian poet there; because that particular poem seemed to him especially beautiful and important. This matter, today unsolved – since both of the poets are deceased – may be, however, a rhetorical introduction to the attempt to read Tadijanović’s poem as not-his-own, in fact, yet included as a quotation, part of contemplations made by Różewicz on the human condition in the 20th century. It is appropriate therefore to consider whether Tadijanović’s vision included in “Ring” reflects to certain extent the way in which Różewicz grappled with the experience of co-participation in death and historical catastrophe. That is the lead I try to follow in the paper. Hence I look at the way in which Różewicz places Tadijanović in his own poetical diction. I ponder how this poem can be illuminated with original texts written by Różewicz. Finally, I consider whether the translatological decision of the author of “Anxiety” is in any way connected with his fascination with the classical lyric poetry of Leopold Staff.
PL
Pytanie postawione w tytule referatu uznać można za jawnie probalistyczne i prowadzące jedynie do odpowiedzi banalnych w rodzaju: bo miał świadomość wagi twórczości autora Pierścienia dla liryki chorwackiej, bo w 1958 roku uczestniczył w III Festiwalu Poezji Jugosłowiańskiej w Rijece i spotkał tam być może chorwackiego poetę, bo ten właśnie wiersz wydał mu się szczególnie piękny i ważny. Tę niewyjaśnialną dziś już, gdy obaj poeci nie żyją, kwestię uczynić można jednak także retorycznym wprowadzeniem do próby przeczytania wiersza Tadijanovicia jako niewłasnej wprawdzie, ale włączonej na zasadzie cytatu części prowadzonych przez Różewicza rozważań nad kondycją człowieka XX wieku. Wypada wówczas zastanowić się, czy zawarta w Pierścieniu wizja Tadijanovicia odpowiada w pewnej mierze sposobowi, w jakim Różewicz borykał się z doświadczeniem współuczestnictwa w śmierci i historycznej katastrofie. Tym tropem staram się w referacie podążać. Przyglądam się przeto sposobowi, w jaki Różewicz osadza Tadijanovicia we własnej dykcji poetyckiej. Zastanawiam się, w jaki sposób wiersz ten oświetlić można oryginalnymi tekstami Różewicza. Rozważam, wreszcie, czy translatologiczna decyzja autora Niepokoju ma jakiś związek z jego fascynacją klasycystyczną liryką Leopolda Staffa.
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Pośmiertne życie rewolucji. O Dzienniku węgierskim Wiktora Woroszylskiego z perspektywy „nieustającej w swym ruchu historii”

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Stankowska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2016
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issue 29
179-193
EN
The article is devoted to the Hungarian revolution in 1956, witnessed and described by Wiktor Woroszylski in his Hungarian diary . His report from the fighting Budapest is as important as the comments added in 1976, 1981, 1986, and 1989, the milestones of the Polish way to freedom, described by one of its participants. In the comments, Woroszylski creates a vision of “history incessant in its movement”, marked by hope and disappointment. The author points out to similarities and relationships between freedom uprisings in various Soviet-dominated countries of Central Europe.
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Od rewizji do apostazji i między publicystycznością a literackością. O wierszach polskiej „odwilży”

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Stankowska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2016
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issue 29
247-259
EN
The text is a book review of an Wiersze polskiej „odwilży” (1953-1957)  (Kielce 2010). This is the first monograph of this subject, and it has a great documentary value. The author based his well-researched study on detailed archival queries in contemporary press, magazines, and leaflets. The author compared the found texts with their authors’ published poetry books, traced the relations between content, censorship interventions in reprints, and subsequent authorial modifications, which were often aimed at universalization of a poem initially written as an urgent public statement. The author meticulously reconstructed the communicational problems of thaw poems and collections.
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Lingwizm jako antropomorfizm. Wokół poetyckiej historiozofii Zbigniewa Bieńkowskiego

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Stankowska A.
Przestrzenie Teorii
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2013
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issue 19
41-56
EN
The sketch presents the reconstruction of Zbigniew Bieńkowski’s theory of linguistic poetry. This author who is classified by critics and researchers as a member of linguistic poetry movement is by no means uncritical of its various perspectives and accomplishments. This complicated approach is reflected in the dispute that Bieńkowski was engaged in with Karpowicz and the poets of the New Wave in his critical sketches. He unfairly accuses them of being too minimalistic and of paying too much attention to linguistic experiments. He claims that distrust of language and its communicative functions in New Wavers’ programs overshadowed the broad philosophical and ideological functions of word games. Instead he proposed his own poetological project “Trzy poematy” [“Three poems”], where avant-garde traditions mingled with symbolist ones and called for breaking the numbness of language for broader, idealistic purposes. Referring to Vico’s historiosophy, Bieńkowski wishes to treat linguistic poetry both as a tool (a trick) and space for intervention, whose final purpose is to rebuild the anthropogenic locus amoenus in language.
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Litwa i tożsamość. Miłosz i Miłosz o potrzebie „określonego miejsca na ziemi”

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Stankowska A.
Porównania
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2013
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vol. 12
43-53
EN
The draft concerns the problem of identity questioned by history and the modern philosophical view, as well as an attempt to confirm it and rebuild it in accordance with the idea of two poets and essayists of the last century: Czesław Miłosz and his older cousin, a French lyric poet – Oskar Władysław Miłosz. Both the author of Confession de Lumuel, and the author of The Land of Ulro build a parallel between a philosophical plan of the loss of identity and a historical breakdown of “private motherland”. Both authors present the first loss as the result of expulsion of traditional metaphysical concepts and mythological imagination from the discourses of the 20th century. The other one, confirmed in their own biographies by the fate of the emigrants, “the travelers of the world”, is perceived as the analogue of the primary, expressed in a philosophical manner, alienation of a human being in time and space. Both the French symbolist and the Polish poet make an attempt to subject their eradication, eo ipso questioned identity, to therapy, referring to “private motherland” – Niewiaża valley. The first one confirms his “suddenly found »lithuanianism«” with action. The other one elaborates on the myth of “mystical Lithuania” in his poems and essays. 
PL
Szkic poświęcony jest problematyce tożsamości, zakwestionowanej przez historię i nowoczesną myśl filozoficzną oraz próbom jej potwierdzania i odbudowywania w myśli dwu poetów i eseistów ubiegłego stulecia: Czesława Miłosza i jego starszego kuzyna, francuskiego liryka – Oskara Władysława Miłosza. Zarówno autor Confession de Lumuel, jak i twórca Ziemi Ulro budują paralelę między filozoficznym planem utraty tożsamości i historycznym rozpadem„ojczyzny prywatnej”. Obaj twórcy pierwszą stratę przedstawiają jako wynik wyparcia z dwudziestowiecznych dyskursów tradycyjnych pojęć metafizycznych i wyobraźni mitycznej. Drugą, poświadczaną w ich konkretnych biografiach losem emigracyjnych wygnańców, „podróżnych świata”, postrzegają jako analogon owej pierwotnej, filozoficznie ujmowanej alienacji człowieka w czasie i przestrzeni. Zarówno francuski symbolista, jak i polski poeta próbują poddać swe wykorzenienie, eo ipso zakwestionowaną tożsamość, terapii, odwołując się do wspólnej obu„ojczyzny prywatnej” – doliny Niewiaży. Pierwszy swą „nagle odnalezioną »litewskość«” potwierdza czynem. Drugi rozwija w pisanych przez siebie wierszach i eseistycznych komentarzach mit „mistycznej Litwy”.
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Poezja jako doswiadczenie wewnetrzne. Aleksander Wat o „epifanii naturalnego” (na marginesie „Mojego wieku”)

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Stankowska A.
Pamiętnik Literacki
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2013
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vol. 104
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issue 2
23–51
EN
The article is devoted to one of the most important threads of the theory of poetry formulated by Aleksander Wat in the time of his evolving creative biography: from his futurist debut, through the period of leftist involvement and the poet’s lyrical silence until developing a new diction which he himself referred to as the “epiphany of the natural.” Remarks on the necessity of preserving this par excellence poetic way of “a man’s fulfilment” recorded in My Century: The odyssey of a Polish intellectual arrange into a story about the lyric as about internal experience preserving the deep, dark, exposed to decadent “decay” mental source of a free subject. In his conversations with Milosz, Wat reconstructs the birth of this poetological conception as parallel to the trauma of Soviet prisons and concurrent to “disenchantment” with the communism. The theory of the “epiphany of the natural” presented by Wat as a radical shift of accent from the aesthetic and the social to the anthropological gains its complete fulfilment no later than when the poet succeedes in rejecting the late immensely strong antinomies of social and subjective reality: futurist freedom of word being a thing and hidden intimist depth of song which is existence. Due to that in Wat’s optic lyric allows not only for sheltering from history but also, in return, becomes a space of contemplative and active being.
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Czesław Miłosz i Osip Mandelsztam, o słowie i kulturze. Spotkania i rozejścia

100%
Stankowska A.
Porównania
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2012
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vol. 10
57-70
EN
The aim of the article is an attempt to explain the reasons of the ambivalent attitude of Czesław Miłosz towards the lyric poetry of Osip Mandelshtam, which, on the one hand, was manifested through admiration for the Russian Acmeist on multiple occasions and, on the other hand, was marked with puzzling silence in the case of the most shocking works of the author of “Word and culture”. Finally, there was the iconoclastic comment on “The Stalin Ode”. The main object of these deliberations are potentially poetological – and not revisionist – sources of the ambivalence. Mandelshtam remains close to Miłosz mostly as an Acmeist, emphasizing the cultural functions of a poetic word. The promoter of the creative attitude that includes a harmonious balance between the attention to things and a word, considered as the place where one can meet everything that is sensual, existential and historical, as well as spiritual, universal and metaphysical. He becomes more distant as the author of “Rozmowa o Dantem” [“Conversation about Dante”] in which the theory of crystallographic rhythm is expanded with a strong emphasis on the autonomy and autotelic properties of the poetic forms. Another equally important reason of the separation of Miłosz and Mandelshtam is a motive of progressive degradation, loss, lack of speech, which is taken over by history and remains unuttered by the lips of a dying person. This motive is very visible in the late works of the author of “Voronezh Notebooks”.
PL
Tematem szkicu jest próba wyjaśnienia przyczyn niejednoznacznego stosunku Czesława Miłosza do liryki Osipa Mandelsztama, znaczonego, z jednej strony, wielokrotnie wyrażanym podziwem dla rosyjskiego akmeisty, z drugiej, zastanawiającym milczeniem o najbardziej wstrząsającej części twórczości autora Słowa i kultury i w końcu obrazoburczym Komentarzem do „Ody dla Stalina”. Przedmiotem rozważań stają się tutaj możliwe poetologiczne, a nie „lustracyjne” źródła tej ambiwalencji. Mandelsztam pozostaje Miłoszowi bliski przede wszystkim jako akmeista, kładący nacisk na kulturowe funkcje słowa poetyckiego. Promotor postawy twórczej, która zakłada zachowanie harmonijnej równowagi miedzy uwagą dla rzeczy i dla słowa, postrzeganego jako miejsce spotkania tego, co sensualne, egzystencjalne i historyczne, z tym, co duchowe, uniwersalne i metafizyczne. Dalszy staje się natomiast jako autor Rozmowy o Dantem, w której rozbudowana zostaje teoria krystalograficznego rytmu, silnie akcentująca uwagę autonomii i autoteliczności formy poetyckiej. Nie mniej ważnym powodem rozejścia się Miłosza z Mandelsztamem staje się silnie obecny w późnej twórczości autora Zeszystów woroneskich motyw pogłębiana się procesu degradacji, utraty, nieobecności mowy, która zawłaszczona zostaje przez historię i zamiera na ustach ginącego podmiotu.
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O sztuce „nieczystej”, różnie rozumianych obrazach i konkurencyjnych modelach ich interpretacji

100%
Stankowska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2017
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issue 30
29-54
EN
The paper is devoted to the chosen aspects of varied models of defining the image and research practices created by the contemporary art studies – Visual Culture Studies,  anthropologically oriented Bildwissenschaft  and the French pictorial semiology. What they all have in common is interdisciplinarity that constitutes a response to the „impurity” of art, trespassing its own borders, being autocritical and exposing not only the artistic, but also political, religious, existential and biological status of the image.
PL
The paper is devoted to the chosen aspects of varied models of defining the image and research practices created by the contemporary art studies – Visual Culture Studies,  anthropologically oriented Bildwissenschaft  and the French pictorial semiology. What they all have in common is interdisciplinarity that constitutes a response to the „impurity” of art, trespassing its own borders, being autocritical and exposing not only the artistic, but also political, religious, existential and biological status of the image.
10
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Ikonoklazm odwrócony. Tadeusz Różewicz w poszukiwaniu form „wewnętrznego obrazu”

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Stankowska A.
Przestrzenie Teorii
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2014
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issue 21
109-133
EN
Tadeusz Różewicz often noted down phrases which could be interpreted as iconoclastic in his poems and poetry-related sketches. This article presents the reasons for the poet’s dislike of an image that is identified with a metaphor, which he expressed particularly strongly immediately after the war. It also describes the continuation of historical iconoclasm which was characteristic of the twentieth century, and on the level of which the notion of God’s “unrepresentability” was replaced by the issue of the unspeakableness and inconceivability of trauma. The efforts that Różewicz made to rethink the status of an image are presented against such a background. According to the poet, an image should satisfy the primeval desire for presence, which was ascribed to it once again after the Holocaust, like a painting from before the era of art. Therefore, Różewicz develops the theory of an “inner image” which one should pursue rather than create. An “inner image” is not a “fanfare played to celebrate life”, which inspires awe and can only be described in terms of aesthetic conventions, but a kind of manifestation of the hidden, wounded lyrical “I” and, most importantly, of its authentic experience. The “truth” of the image and metaphor that are “possible after Auschwitz” became bound up with what is somatic, and not conceptual, with what is tangible, and not imaginable, and with what is metonymic, not metaphorical. This truth is also largely (but not necessarily solely) connected with the human condition and existence rather than with God’s fullness.
11
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„Polonistyka w kontakcie”, czyli o przekraczaniu dyskursywnych granic

100%
Stankowska A.
Porównania
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2019
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vol. 25
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issue 2
343-351
PL
Recenzja
12
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Język „młodzieńczego Weltschmerzu”. O skutkach i korektach „gnostyckiego doświadczenia egzystencji”

100%
Stankowska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2012
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issue 20
167-185
EN
The article is about the ro numerous researchers, and the direct stimulus for the present author was an extensive and well-informed study by Zbigniew Kaźmierczyk, Dzieło demiurga [Demiurge’s Work], where the critic interprets one of Miłosz’s juvenile collection Trzy zimy [Three Winters] as a record of gnostic experience of existence. Kaźmierczyk, who is a convinced proponent, and competent practitioner of the gnostic key to interpreta­tion of Miłosz’s poetry, presents a highly coherent of Miłosz’s second book of poetry, read through complicated gnostic metaphors, which prevents the critic from a definite description of Miłosz as a gnosticist. The poet is rather describes as only (or so much as) a consciously selec­tive user of imagery typical for gnosticism. Incisive analyses of topics in Trzy zimy, which fill chapter after chapter of Dzieło demiurga, convinc­ingly argue that Miłosz’s juvenile foray into the world of dualistic images was not ephemeric or accidental, but rather had lasting and important consequences. Simultaneously, because of their purity and specific inwardness, they provoke a discussion of the role of this imagery, and the related convictions, in Miłosz’s post-war work, when he wrote Rescue; this issue is presented extensively in the article. The absorbing and fascinating description, fascinating in itself, of Miłosz’s juvenile imagination, presented by the author of Dzieło demiurga, is presented as a perfect background for discussion of further Manichean themes in Miłosz’s poetry. In a wider context, the article presents also the basic anthropological problems in Miłosz’s work, problems that arise from his juvenile experience of Weltschmerz, and which he radically overcame in his later years.
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Wstęp

100%
Stankowska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2016
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issue 29
7-11
14
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W PODWÓJNYM ZWIERCIADLE. WOKÓŁ KSIĄŻKI LITEWSKIE KONTEKSTY CZESŁAWA MIŁOSZA

100%
Stankowska A.
Porównania
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2017
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vol. 20
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issue 1
237-246
15
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„Podróż ku sobie w podróże od siebie”. O poezji i sztuce Ewy Kuryluk

100%
Stankowska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2018
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issue 32
221-249
EN
The paper is devoted to Ewa Kuryluk’s poetry and art. The author describes intermingling dimensions of the poet’s artistic identity – existential, hermeneutical and aesthetical – presenting three major tensions present in her work. The first one is between the apocalypse and utopia. The second one may be described by the phrase from one of her poems, establishing the first rule of hermeneutics, according to which she tries to understand herself and the world. The poet defines existence and understanding as a “journey towards oneself and from oneself”. The idea of the third tension may be defined as a spread between the shade/contour and the reflection/picture. The author focuses on presenting the parallels between Kuryluk’s artistic work and her early poems.
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Od redakcji

51%
Stankowska A., Jaworski M., Śniedziewski P.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2012
|
issue 20
7-9
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