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MIĘDZY POSTMODERNIZMEM A KLASYCYZMEM, CZYLI O FUZJI MŁODOŚCI I STAROŚCI W TEORII KULTURY. REWIZJA KANONU W SZTUCE "HӦLDERLIN" ALFONSA VALLEJO W ŚWIETLE TEORII LĘKU PRZED WPŁYWEM

100%

Szejko N.

Conversatoria Litteraria

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2017

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vol. 11

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issue XI

321-332

PL

In one of his plays entitled Hölderlin Alfonso Vallejo establishes direct and indirectconnections with life and poetry of romantic poet Friedrich Hölderlin. We analyse traces one author in writings of another using the theory of anxiety of influence by Harold Bloom. The process of self-understanding and comprehension of the art leads, according to Bloom, through a number of stages: clinamen, tessera, kenosis, demonisation, askesis and apophrades. We try to detect techniques used by Vallejo in his artistic pattern and determine what are aesthetic and formal consequences of his endeavor.

2

„Wohl ist das Herz wach, doch mir zürnt, mich / Hemmt die erstaunende Nacht nun immer“. Die Darstellung von Schmerz und Verzweiflung in Hölderlins Ode "Chiron"

89%

De Felip E.

Studia Germanica Gedanensia

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2021

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vol. 44

99-115

EN

In Holderlin’s ‘tragic ode’ Chiron, the pain of the incurably wounded centaur serves to express both personal and general suffering. The article explores Chiron’s ‘inner world’ line by line, thereby analysing Holderlin’s poetic method. It focuses on the arc of suspense and development, reflecting the author’s concept of ‘the tragic’. His poetics is rooted in separation and reunification, the progressive integration of the opposites, and the essential role of semantic openness.

DE

In Hölderlins ‚tragischer Ode‘ Chiron drückt sich im Schmerz des unheilbar verwundeten Kentauren ein persönliches wie auch ein allgemeines Leiden aus. Vers für Vers ergründet der Aufsatz Chirons ‚Innenwelt‘ und analysiert dabei Hölderlins intensitätsbasierte poetische Verfahrensweise. Der Fokus liegt auf dem Spannungs- und Entwicklungsbogen, der Hölderlins Konzept des ‚Tragischen‘ widerspiegelt. Seine Poetik kreist um Trennung und Vereinigung, um die progressive Integration von Gegensätzlichem und um die Notwendigkeit von semantischen Leerstellen.

3

German Romantic Tradition in John Ashbery’s "Where Shall I Wander"

75%

Marcinkiewicz P., Pietrek D.

Anglica Wratislaviensia

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2019

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issue 57

75-88

EN

In popular critical and readerly reception, the New York School of poetry was shaped mostly by what Marjorie Perloff calls the tradition of indeterminacy. This was started by Arthur Rimbaud and, a few decades later, developed by Dadaists and Surrealists. Therefore, the tradition of French modernism seems to have been vital for John Ashbery, Frank O’Hara, James Schuler, and Barbara Guest, and the poets themselves appeared to confirm this fact. They often visited France privately and as scholars, and lived there for extended periods of time. In the case of John Ashbery, his year-long Fulbright fellowship was prolonged to a decade. Moreover, the New York School poets contributed to the propagation of French literature, being translators, critics and editors of French authors. However, as John Ashbery’s late works prove, literary genealogies are far more complex. German Romantic tradition always exerted an important influence on John Ashbery, and it inspired the New York experimenter to contribute two major poems to the twenty-first century American literature: “Where Shall I Wander” and “Hölderlin Marginalia”.

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1 Anglica Wratislaviensia

1 Conversatoria Litteraria

1 Studia Germanica Gedanensia

1 De Felip E.

1 Marcinkiewicz P.

1 Pietrek D.

1 Szejko N.

1 2021

1 2019

1 2017

MIĘDZY POSTMODERNIZMEM A KLASYCYZMEM, CZYLI O FUZJI MŁODOŚCI I STAROŚCI W TEORII KULTURY. REWIZJA KANONU W SZTUCE "HӦLDERLIN" ALFONSA VALLEJO W ŚWIETLE TEORII LĘKU PRZED WPŁYWEM

„Wohl ist das Herz wach, doch mir zürnt, mich / Hemmt die erstaunende Nacht nun immer“. Die Darstellung von Schmerz und Verzweiflung in Hölderlins Ode "Chiron"

German Romantic Tradition in John Ashbery’s "Where Shall I Wander"