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1

Стихотворение Чеслава Милоша Campo di Fiori в контексте современной русской поэзии: разные формы диалога

100%

Rybalczenko T.

Acta Polono-Ruthenica

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2011

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vol. Tom 1 Nr XVI

199-216

EN

In the article, Milosz’s poem Campo di Fiori and Brodsky’s cycle The Roman Elegies arecompared in the aspect of the interpretation of the role of culture and poetic word in the existentialself-identification of the person and the poet. Through the analysis of Rome’s image in the lyricplot, the author of the article compares the worldview of the poets and their conception of the roleof poetry in history and in being. The second part of the article interprets the direct dialogue ofcontemporary Russian poets (Alexei Makushinskii, Gleb Shulpyakov, Ivan Barkov) with Milosz,that offered new variants of the Polish poet’s lyric collision.

2

Między Wschodem a Zachodem. Polska Josifa Brodskiego

100%

Tarkowska J.

Acta Polono-Ruthenica

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2006

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vol. Tom 1 Nr XI

229-238

EN

The article aims at a discussion of Iosip Brodsky’s literary, artistic as well as personal connections with Poland and Poles. The poet’s admiration for Polish language and especially his fascination with the literature of the Renaissance period (Kochanowski, Sęp-Szarzyński, Rej and others) and modern poetry (Miłosz, Herbert, Szymborska and others) have been one of the main focuses of the article. The author highlights that fact that thanks to the presence of Polish motifs the poetry of Iosip Brodsky, in the times of important events in the history of Poland, had a special appeal for Polish readers. Brodsky’s eminent friends associated with the Solidarity movement, such as Barańczak, Drawicz and Woroszylski, pointed to its intertextual and, at times, documentary character. The article offers also an insight into Brodsky’s friendship with Miłosz, the friendship which greatly contributed to the Russian poet’s fascination with Polish culture.

3

Following Brodsky. Andrey Zvyagintsev’s Apocrypha

88%

Waligórska-Olejniczak B.

Studia Rossica Posnaniensia

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2021

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vol. 46

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issue 1

235-251

EN

The article presents the study of the short film Apocrypha by Andrei Zvyagintsev. The text is aimed at the interpretation of the movie in the context of the problem of memory, which is emphasised in the selected work in the explicit and implicit visual associations with the figure and poetry of Iosif Brodsky. The recognition of these characteristic elements in the structure of Zvyagintsev’s film has the influence on the perception of its meaning, leading the culturally aware recipient towards discovering its broad interpretative potential in view of the Russian literary tradition. The study is conducted using the comparative method of analysis. The core theory which constitutes the methodological foundation of the study is Astrid Erll’s concept of cultural memory expounded as intertextuality, i.e. the continuous building up of layers of texts, which are mediated, as well as her idea of transcultural memory, defined in the first instance as a process of fluctuation between the individual and collective level of remembering. Attention is turned to the motifs, which are characteristic both for Brodsky’s and Zvyagintsev’s poetics, such as the aquatic symbolism, temporal and topographical relationships, chromatography of cold colours etc. The application of the selected methodology in the presented discussion allows for exposing the dynamics of the changing nature of culture, which becomes the container of the social and territorial fluctuations of memory.

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„В некоторых стихиях опознаешь себя” - метафизическая интерпретация материального образа воды в эссе Иосифа Брод¬ского „Набережная неисцелимых”

75%

Nigiel A.

Kultury Wschodniosłowiańskie - Oblicza i Dialog

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2016

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issue 6

151-162

EN

Describing the poetry of Venclova, Brodsky states that „every major poet has an idiosyncratic inner landscape against which his voice sounds in his mind or, if you prefer, subconsciously”[1]. We cannot but look at it as a potentially auto-referential remark. For Brodsky, definitely a major poet, such a place is Venice, yet it is surprising that his chief essay on that place does not capture many scholars’ attention. At the same time, there are relatively few studies that focus exclusively on the poetic images in Brodsky’s works as the material realization the poet’s reverie. That seems to be a huge negligence given that the metaphysical concern so characteristic of the poet is at its peak in this literary piece. The present study focuses on the images of water in Brodsky’s essay as being the chief substance of his cosmic reverie. The methodology derives from Bachelard’s phenomenological method, the aim of which is to communicate with the imagining consciousness of the poet who creates original images specific to him- or herself. While the poet’s experiences are not taken into account in uch an approach, the cosmology they recreate in poetry is and should be. The main aspects of Brodsky’s cosmic reverie communicated through water are that of the inherent connection between the poet and the universe he creates (а „diffuse ontology”), the existential conflict between human life and absolute Time that is a typical motif in Brodsky’s literary work, as well as the transcendental quality of poetry. All the abovementioned supports Bachelard’s intuition and encourages further study of the poet’s work in this context.

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2 Acta Polono-Ruthenica

1 Kultury Wschodniosłowiańskie - Oblicza i Dialog

1 Studia Rossica Posnaniensia

1 Nigiel A.

1 Rybalczenko T.

1 Tarkowska J.

1 Waligórska-Olejniczak B.

1 2021

1 2016

1 2011

1 2006

Стихотворение Чеслава Милоша Campo di Fiori в контексте современной русской поэзии: разные формы диалога

Między Wschodem a Zachodem. Polska Josifa Brodskiego

Following Brodsky. Andrey Zvyagintsev’s Apocrypha

„В некоторых стихиях опознаешь себя” - метафизическая интерпретация материального образа воды в эссе Иосифа Брод¬ского „Набережная неисцелимых”