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1

Spod znaku Kordiana, Anhellego, Lilli Wenedy. Człowiek Herberta, antropologie Słowackiego

100%

Samsel K.

Przegląd Humanistyczny

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2020

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vol. 64(1 (468))

7-18

PL

The aim of the study is to show the program volume of Zbigniew Herbert, Mr Cogito from 1974, as a collection in which the poet transforms into as much a resonator as a revisor of the basic Polish romantic aesthetic and ethical representations – in Mr Cogito he always identified with the writing of Juliusz Słowacki. The anthropology of Kordian, Lilla Weneda and Anhelli not only influences the activities of Herbertian Mr Cogito, but also shapes his post-heroic genealogy and, speaking the language of Karl Dedecius, “orientation in the postmetaphysical world”. Herbert (as has been shown) thinks about Słowacki in a deep and complex way, focusing his interest on the anthropological potential of the romantic poet’s heroes and Herbert’s own construction and deconstruction game with the mythology produced by Słowacki (venenedism, anhellism, heroism and anti-heroism in Kordian).

2

Zjawisko muzycznych idées fixes w twórczości kompozytorskiej Eugeniusza Morawskiego: w poszukiwaniu genezy i interpretacji

94%

Łapeta O.

Muzyka

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2019

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vol. 64

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issue 3

69-89

EN

The article deals with compositions by Eugeniusz Morawski in which the composer uses one of his constantly recurring ideas, or idées fixes. The first of those ideas appears in a letter sent to his closest friend, the Lithuanian painter and composer Mikalojus Konstantinas Čiurlionis, in which Morawski describes a funeral march with the tolling of bells that are used harmonically as a plagal cadence in first inversion with the third of the triad in the bass. This bell motif was used by Morawski in almost all of his most important works, such as the symphonic poems based on verse by Edgar Allan Poe, Nevermore and Ulalume, the two ballets Świtezianka (‘The nymph of Lake Świteź’) and Miłość (‘Love’) and the incidental music to Juliusz Słowacki’s play Lilla Weneda. In all these works, this motif occurs at moments symbolising death and oppression. Sometimes it is even more sinister, because Morawski used it as an accompaniment to themes symbolising hope. The second idée fixe might be called the theme of a woman’s death. It first appears in Nevermore, where it serves as a second theme, played by cor anglais in E minor. It illustrates the protagonist’s deceased beloved, Lenore. This theme appears for a second time at the very beginning of The Nymph of Lake Świteź, where it functions as a kind of motto, anticipating the death of the main female character, Sagna. It is used with an identical purpose in the incidental music for Lilla Weneda. Both themes recur constantly in five important compositions by Morawski, written between around 1911 and 1930. They seem to have had very significant meaning for the composer, although he never wrote about them. They may have represented autobiographical, intimate and obsessive symbols, so the term idée fixe is more than appropriate.

PL

Przedmiotem refleksji w niniejszym studium są dwie myśli muzyczne, obsesyjnie powracające w wielu dziełach Eugeniusza Morawskiego, będące wręcz emblematem jego stylu kompozytorskiego. Pierwszą z nich jest motyw dzwonów (poematy symgoniczne oparte na utworach Edgara Allana Poego, Nevermore i Ulalume, balety Świtezianka i Miłość, muzyka do sztuki Juliusza Słowackiego Lilla Weneda), drugą zaś – temat kojarzony w dziełach programowych kompozytora ze śmiercią kobiety (Nevermore i Świtezianka). Obie myśli powracają stale w poematach symfonicznych, baletach i muzyce scenicznej Morawskiego, uzasadniając tym samym określenie ich mianem idée fixe.

3

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

83%

Chlebowski P.

Studia Norwidiana

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2014

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vol. 32

131-146

EN

The article tries to revise the views that are established in the study of Norwid, the ones concerning the introduction to the poem Quidam, which was written in the form of a letter. Up till now – almost univocally – researchers have stated that this fragment of the poem is the poet’s real letter written to Zygmunt Krasiński. The present interpretation starts from the facts and editors’ findings, and finally it analyzes the text, taking into consideration the broad literary context, similar forms in works by Słowacki and Krasiński (the immediate addressee of this expression).

4

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

83%

Chlebowski P.

Studia Norwidiana

|

2014

|

vol. 32

131-146

EN

The article tries to revise the views that are established in the study of Norwid, the ones concerning the introduction to the poem Quidam, which was written in the form of a letter. Up till now – almost univocally – researchers have stated that this fragment of the poem is the poet’s real letter written to Zygmunt Krasiński. The present interpretation starts from the facts and editors’ findings, and finally it analyzes the text, taking into consideration the broad literary context, similar forms in works by Słowacki and Krasiński (the immediate addressee of this expression).

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2 Studia Norwidiana

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Spod znaku Kordiana, Anhellego, Lilli Wenedy. Człowiek Herberta, antropologie Słowackiego

Zjawisko muzycznych idées fixes w twórczości kompozytorskiej Eugeniusza Morawskiego: w poszukiwaniu genezy i interpretacji

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.