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1

Briefe für die Seele. Der Brief als Therapeutikum am Beispiel der Briefe Friedrich Schlegels an Christine von Stransky

100%

Porzer T.

Studia Germanica Gedanensia

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2021

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vol. 44

126-138

EN

The paper analyses the therapeutic functionalisation of the correspondence between Friedrich Schlegel and Christine von Stransky. Through the medium of the letter, intimate feelings, worries and needs are exchanged based on a bond understood as ‘soul-kinship’. The article explains how Schlegel overcomes the worries and problems troubling himself by giving them a verbal expression in the communication with his correspondent.

DE

Der vorliegende Beitrag untersucht die therapeutische Funktionalisierung des Briefwechsels zwischen Friedrich Schlegel und Christine von Stransky. Im Medium Brief werden auf Grundlage einer als ‚Seelenverwandtschaft‘ verstandenen Verbundenheit intime Empfindungen sowie Sorgen und Nöte ausgetauscht. Im Artikel wird erläutert, wie Schlegel die ihn bedrängenden Sorgen und Probleme bewältigt, indem er ihnen in der Mitteilung an seine Briefpartnerin eine sprachliche Form gibt.

2

Romantická ironie jako protihráčka entuziasmu u Borgese a Cortázara

99%

Kazmar V.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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vol. 32

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issue 65

59-69

EN

The study offers an interpretation of Borges and Cortázar in the light of romantic irony, in particular Friedriech Schlegel’s concept from the Athenaeum fragment 37 where irony is defined as an art of controlled enthusiasm. This is something that can be found in Borges, at the level of language, in the figure of litotes, in his penchant for brevity and a relative disdain for novels. In Cortázar, the taming of enthusiasm manifests itself more openly, as a contrast of two alternating modes of speech. Thus, Borges and Cortázar embody two answers to the question of enthusiasm.

3

„Poetyka poetycka” Friedricha Schlegla

98%

Hamerski W.

Forum Poetyki

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2016

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issue 3

6-17

EN

The creation of a “poetical poetics” was one of the personal postulates of Friedrich Schlegel that never achieved full execution. The Romantic thinker’s fragmentary thought, sparkling with paradoxes, does not easily submit to synthesis. The purpose of this article is to present the poetological reflections of the author of Fragments as a constellation of concepts interconnected non-systematically, which in a historical sense represent an indirect response to the normative poetics of classicism. The theoretical reflection of the Jena Romantics, in accordance with the spirit of “progressive poetry,” adopted a provocatively open form. Thoughts concerning literature itself (the ideal of the mixture-novel), like the language of description of that same literature (the ideal of a “pure poetics”), instead of striving to reach conclusions, manifest their own inconclusiveness. In defense of an open poetics, remaining in constant motion, stands “the freest of all licenses”, irony, which not only forms the subject of many of Schlegel’s fragments, but also functions as the very principle of their construction.

PL

Stworzenie „poetyckiej poetyki” było jednym z licznych postulatów Friedricha Schlegla, które nigdy nie doczekały się realizacji. Myśl romantyka, fragmentaryczna i skrząca się od paradoksów, nie poddaje się łatwej syntezie. Celem artykułu jest zaprezentowanie refleksji poetologicznej autora Fragmentów jako konstelacji niesystemowo powiązanych pojęć, które w ujęciu historycznym stanowią pośrednią replikę na poetykę normatywną klasycyzmu. Refleksja teoretyczna jenajczyków, zgodnie z duchem „poezji progresywnej”, przyjmowała formę prowokacyjnie niedomkniętą. Myśli dotyczące samej literatury (ideał powieści-mieszaniny), jak i języka opisu tejże literatury (ideał „czystej poetyki”), zamiast dążyć do konkluzji, manifestują swoją niekonkluzywność. Na straży poetyki otwartej, pozostającej w nieustannym ruchu, stoi „najbardziej wolna ze wszystkich licencji”, czyli ironia, będąca nie tylko tematem wielu fragmentów Schlegla, ale i samą zasadą ich konstrukcji.

4

Nieoczywiste ironie romantyczne. Rec.: Wojciech Hamerski, Ironie romantyczne. Warszawa 2018. „Studia Romantyczne”

85%

Trybuś K.

Pamiętnik Literacki

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2020

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vol. 111

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issue 3

211-216

PL

Autor recenzujący książkę Wojciecha Hamerskiego „Ironie romantyczne” koncentruje uwagę na dokładnym przedstawieniu jej problematyki, a przede wszystkim na analizie zasadności wyodrębnienia omawianych w niej odmian ironii charakterystycznych dla literatury polskiego romantyzmu. Wskazuje na nieoczywistość obszarów ironicznych odnajdywanych przez Hamerskiego w twórczości Mickiewicza, Kraszewskiego, Lenartowicza. W tej nieoczywistości dopatruje się najważniejszych walorów recenzowanego studium. Rekonstrukcji podlega też w jego recenzji cała konstrukcja teoretyczna książki, nawiązująca do refleksji estetycznej Friedricha Schlegla.

EN

The author, reviewing Wojciech Hamerski’s book “Ironie romantyczne” (“Romantic Ironies”), focuses his attention on a detailed presentation of the book’s issues, though primarily on an analysis of validation of setting the varieties of ironies peculiar to the literature of Polish Romanticism apart. The reviewer points at unobtrusiveness of ironic spaces discovered by Hamerski in Mickiewicz’s, Kraszewski’s, and Lenartowicz’s creativity. In such unobtrusiveness he discerns the highest value of the study in question. The review also reconstructs the theoretical structure of the book that refers to Friedrich Schlegel’s aesthetic reflection.

5

„Moment elegijny” Victora Hugo

74%

Siwiec M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

103-123

EN

This article attempts to define the place of elegiac modality in the literary output of Victor Hugo. The starting point for the discussion and at the same time appropriate interpretative tool is the definition of elegy derived from the writings of German theoreticians of Romanticism: Friedrich Schiller and Friedrich Schlegel. The thing is question is the elegiac attitude based on exposing of what is ideal and lost at the same time. The above, indeed, constitutes an answer to the questions of the experience of crisis so inherent to Romanticism. Analyses of the early poetical volumes written by the author show a particular evolution of Hugo’s conception of poetry. Politically committed The Odes, being anti-elegiac by assumption, are discussed, as well as purely poetical Eastern poems overtly promoting limitless freedom which characterizes the creative imagination. The interpretation of individual poems from these volumes proves, however, that one can discern a certain elegiac tone in them, though the tone is never dominant. The volume that distinctively enhances the elegy (thus far discredited by Hugo and from then on permanently occurring in his works) turns out to be Autumn Leaves - a collection of poems of contemplative, melancholic, visionary and self-reflective character.

6

Die Rezeption des Cherubinischen Wandersmannes von Angelus Silesius n der deutschen Romantik: Rahel und Karl August Varnhagen von Ense

70%

Hammer M.

Orbis Linguarum

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2018

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issue 52

161-176

EN

The reception of Cherubinischer Wandersmann (The Cherubinic pilgrim) of Angelus Silesius in the German Romanticism: Rahel and Karl August Varnhagen von Ense The article discusses the reception of The Cherubinic Pilgrim in the German Romantic movement, in particular that of Rahel and Karl August Varnhagen. The signs of that reception can be found in their published correspondence, diary, and commentary notes. The focus lies on one of the most popular sa lonnières in Germany, Rahel Varnhagen, also known as Rahel Levin or Rahel Robert. The knowledge about the work of Silesius is probably the fruit of the reception of Friedrich Schlegel, who spreads the Baroque poetry among his acquaintances. However, Rahel’s answer to the mystic work is different from the one of Schlegel. While he openly publishes his thoughts on that matter and refers to the catholic topics, she seems to read and reflect on the poetry until her death in 1833. She leaves her comments under the selected epigrams of Silesius, later published by her husband, which exhibit a personal and fragmentary character of the reception, revealing a free treatment of the texts, fondness of the poetic skill of the author, intertextual connections to other works of literature, sometimes distant or polemical thoughts on theological and philosophical topics, which were relevant for the Romantic movement.

7

Trzy zwiędłe liście, trzy smutne wiersze (Garczyński, Lenartowicz, Asnyk)

61%

Hamerski W.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

125-145

EN

This text provides an interpretation of three poems, written by nineteenth century poets, that share a common theme of Autumn, with a particular attention given to the motif of a withered leaf. The author is interested how the poems in question match the elegiac convention of autumn lyric poetry and, at the same time, how each in its own way tries to overcome this convention. In Odpowiedź na list written by Stefan Garczyński, the acceptance of passing is concurrently met with defiance, expressed in a language of paradoxical metaphor. Teofil Lenartowicz in his Liście zwiędłe breaches the formal elegiac tone with the application of underlying vitalistic overtones included in the poem. Adam Asnyk’s Zwiędły listek, through a superposition of metonymies, achieves the effect of multilayered mediation and erasure of the trace of experience. The reading and understanding of the three poems, composed in Romanticism and post-Romanticism periods, make it possible to observe, fragmentarily of course, the multiplicity of different poetic attitudes that accompany the process of re-enchantment of the world.

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2 Poznańskie Studia Polonistyczne. Seria Literacka

1 Forum Poetyki

1 Orbis Linguarum

1 Pamiętnik Literacki

1 Studia Germanica Gedanensia

1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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1 Hammer M.

1 Kazmar V.

1 Porzer T.

1 Siwiec M.

1 Trybuś K.

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