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BIALOSZEWSKI AT THE MUSEUM (Bialoszewski w muzeum)

100%

Sliwa A.

Pamiętnik Literacki

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2011

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vol. 102

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issue 3

217-233

EN

The article addresses a little known and to date almost not investigated issue of perception of the works of art in Bialoszewski's prose. The poet's notes from his visit to the Museum of Fine Arts in Budapest treasured at the Museum of Literature, Section of Manuscripts, and his correspondence with Jadwiga Stanczakowa made way to reveal some interesting aspects of Bialoszewski's visit to Hungary's capital city, including the circumstances of the recurring visits to the museum. A careful analysis of the notes shows that Bialoszewski treated the museum collection quite selectively. The Budapest notes also certify that some characteristic linguistic structures and formulas used later on in Rozkurz (Loss) were noted down before his arrival in Warsaw, completely independent of Leszek Solinski.

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Opisac filmikowanie. „Eulalia” jako ekfraza filmiku „Napad na stacji”)

80%

Tomczyk I.

Pamiętnik Literacki

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2013

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vol. 104

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issue 1

45–82

EN

The text attempts at an interpretation of Miron Bialoszewski’s prose Eulalia. The title heroine is a doll, a mannequin, which Bialoszewski’s friend Adriana Buraczewska made of paper mass and colourfull pieces of cloth. Eulalia appears in Bialoszewski’s few movies, i.e. short silent films produced in Bialoszewski’s flat in Warsaw district of Zoliborz. The story in question is the only one in Ada and Roman Klewin’s creativity, which the poet exclusively devoted to filming. Starting from the meaning of the heroine (“Eulalia” is the one who is distinguished as having the values of a speaker), the author tries to prove that the piece is an ekphrasis of a silent movie. Exploring the rich ekphrasis-researching tools, the author choose the approach proposed by Jan Elsner. It allows for an examination of the relationship between the word and the picture as well as adds the problems of movie and look into its considerations.

3

HAIKU? SENRYU? MIRONU? MIRON BIALOSZEWSKI'S POETRY AND ORIENTAL GENRES (Haiku? Senryu? Mironu? Poezja Mirona Bialoszewskiego wobec gatunkow orientalnych)

80%

Sniecikowska B.

Pamiętnik Literacki

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2011

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vol. 102

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issue 3

77-111

EN

The article analyses Miron Bialoszewki's late poetry (1976-1983) in the context of Oriental genres: lyrical haiku and satirical senryu. The author begins with the problems of zen poetry, then proceeds to discuss numerous but largely unfound proposals to link Bialoszewski's poetic output with haiku. Scrutinizing Bialoszewski's miniatures, Beata Sniecikowska takes into considerations the lucid sensual arrangements, the attitude of the lyrical 'I,' irony, gnomicity, and linguistic, graphic, and instrumentational conceptism. The points of reference of the analyses are Japanese haiku and senryu as well as haiku by Jack Kerouac - a figure also connected with Zen Buddhism. Sniecikowska concludes that in Bialoszewski's late literary creativity one finds a set of poems of close-to-haiku modality, however less rigorous and perceptibly deriving from avant-garde tradition. The researcher facetiously refers to them as 'mironu.'

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3 Pamiętnik Literacki

1 Sliwa A.

1 Sniecikowska B.

1 Tomczyk I.

1 2013

2 2011

BIALOSZEWSKI AT THE MUSEUM (Bialoszewski w muzeum)

Opisac filmikowanie. „Eulalia” jako ekfraza filmiku „Napad na stacji”)

HAIKU? SENRYU? MIRONU? MIRON BIALOSZEWSKI'S POETRY AND ORIENTAL GENRES (Haiku? Senryu? Mironu? Poezja Mirona Bialoszewskiego wobec gatunkow orientalnych)