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„C Z Ł O W I E K A (TERAZ), O MUZO, WYPOWIEDZ”1 . PRÓBA ROZPOZNANIA ARTYSTYCZNEGO KSZTAŁTU DRAMATU NORWIDA KLEOPATRA I CEZAR

100%
Trzcionka J.
Colloquia Litteraria
|
2012
|
vol. 13
|
issue 2
103-117
PL
An Attempt to identify the artistic form of Norwid’s drama ‘Cleopatra and Ceasar’ The article concentrates on the analysis of lyrical excerpts form Norwid’s Cleopatra and Caesar while taking into account the title hero’s utterance and the form of the world created in the drama. The author creates a research methodology which allows her to define precisely the lyrical structure of Norwid’s historical drama
2
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Norwid and Edmund Chojecki – the Traveller

75%
Gadamska-Serafin R.
Studia Norwidiana
|
2020
|
vol. 38 English Version
177-216
EN
The writer Edmund Chojecki (Charles Edmond) was one of Norwid’s most significant acquaintances, already in the Warsaw period, and later in Paris. Their friendship started in Warsaw in the 1840s and lasted a lifetime (or at least until the 1870s), although its preserved epistolary traces are scarce. This article focuses on Chojecki’s reports from his travels and their inspiring influence on Norwid: Edmund’s trip with Count Branicki to the Crimea (Wspomnienia z podróży po Krymie, Warszawa 1845), journey to the North Seas with Prince Napoleon (Voyage dans les mers du Nord, Paris 1857), Chojecki’s sojourn in Egypt at the turn of 1851, and finally his involvement in preparing the Egyptian exhibition (as the commissioner general) at the 1867 World Exhibition in Paris (L’Égypte à l’Exposition universelle de 1867, Paris 1867). The most important outcome of this is Norwid’s drama Kleopatra i Cezar and his collection of Egyptian drawings in the album Orbis (I).
3
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Norwid i Edmund Chojecki-podróżnik

65%
Gadamska-Serafin R.
Studia Norwidiana
|
2020
|
vol. 38
183-226
EN
One of Norwid’s most significant acquaintances, already in the Warsaw period, and later in Paris, was the writer Edmund Chojecki (Charles Edmond). Their friendship started in Warsaw in the 1840s and lasted for a lifetime (at least until the 1870s), although its preserved epistolary traces are scarce. This sketch focuses on Chojecki’s travelling reports and their inspiring influence on Norwid: Edmund’s trip with Count Branicki to the Crimea (Wspomnienia z podróży po Krymie, Warszawa 1845), a journey to the North Seas with Prince Napoleon (Voyage dans les mers du Nord, Paris 1857), Chojecki’s sojourn in Egypt at the turn of 1851, and finally his involvement in the setting up of the Egyptian exhibition (as the commissioner general) at the 1867 World Exhibition in Paris (L’Égypte à l’Exposition universelle de 1867, Paris 1867). The most important outcome of this inspiration is Norwid’s drama Kleopatra i Cezar and his collection of Egyptian drawings in the album Orbis (I).
PL
Jedną z ważniejszych osób w gronie znajomych Norwida, już w latach warszawskich, a później paryskich, był pisarz Edmund Chojecki (Charles Edmond). Ich przyjaźń zawiązała się w Warszawie w latach czterdziestych XIX wieku i trwała przez całe życie (przynajmniej do lat siedemdziesiątych), choć jej zachowane ślady epistolarne są nieliczne. Przedmiotem szkicu są relacje podróżnicze Chojeckiego i ich inspirujący wpływ na Norwida: wycieczka Edmunda z hr. Branickim na Krym (Wspomnienia z podróży po Krymie, Warszawa 1845), podróż do mórz północnych z ks. Napoleonem (Voyage dans les mers du Nord, Paris 1857), pobyt Chojeckiego w Egipcie na przełomie lat 1850/1851 i wreszcie jego udział w organizacji ekspozycji egipskiej (w charakterze komisarza generalnego) na Wystawie Światowej w Paryżu w roku 1867 (L’Égypte à l’Exposition universelle de 1867, Paris 1867). Najważniejszym owocem tej inspiracji jest dramat Kleopatra i Cezar Norwida oraz jego zbiór rysunków egipskich w Albumie Orbis (I).
4
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Historia Norwida – historia romantyków (wybrane zagadnienia)

62%
Kuczera-Chachulska B.
Studia Norwidiana
|
2011
|
vol. 29
21-32
EN
In Norwid's works continuation is seen of the Romantic predilection for details, for concrete facts, but the poet moves them from the space of the outer world to the dimension of man's inner reality. The first generation Romantics approach history, for example, through a detail of the landscape. For Norwid history is a context for revealing the inner man (Kleopatra i Cezar). It also happens that history, like in Promethidion, appears in its entanglement in relations with art, beauty and work. In such a configuration the key character of conscience is revealed as a category in a special way connected with the flow of time, with history.
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