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1

'A SCHEMlNG SENIOR NIHILIST': STANISLAW RÓZEWICZ'S LATE PHASE

100%
Kunz T.
Ruch Literacki
|
2007
|
vol. 48
|
issue 3(282)
317-333
EN
This is an attempt at describing and analyzing Stanislaw Rózewicz's late phase, which was heralded by the publication of his volume of poems 'Plaskorzezba' (Bas-Relief) in 1991. The first part of the article contains a review of the reception history of Rózewicz's poetry written since the early nineties. The review traces the emergence of a dominant style of critical appreciation of that phase of the poet's career and documents the critics' reliance on a handful of popular interpretative formulas. The second part of the article concerns itself with the ways in which Rózewicz addresses the issue of the social functioning of his poetry. It appears that in his poems the very term 'late phase' is subject to a radical and ironic scrutiny. In a similar way he treats the categories of decorum, good taste, gravity and mature wisdom that are believed to be appropriate for an Elder Poet. He pits against all those conventional expectations the experience of inner strife, lack of fulfilment, and progressive devaluation of words appropriated by the machinery of mass communication.
2

SILENCES IN THE POETRY OF CZESLAW MILOSZ AND TADEUSZ RÓZEWICZ

80%
Glen A.
Ruch Literacki
|
2007
|
vol. 48
|
issue 4-5
473-487
EN
This article draws on some of Martin Heidegger's ideas to examine the functioning of the mode of self-imposed silence ('falling silent') in the poems of Tadeusz Rózewicz. Crucial to this inquiry is the question about the meaning of Rózewicz's gesture of stopping and giving up writing. It may represent his deliberate choice of 'the space of non-naming', the relinquishing of words in the face of mystery, or falling silent after reaching an extremity beyond which it is impossible to move. The article also presents some strategies of deconstructing the subject employed by Rózewicz. In the context of the preceding discussion they appear as a deliberate activity opening up the perception of being.
3

TYMOTEUSZ KARPOWICZ'S PARALLAXES (Paralaksy Tymoteusza Karpowicza)

80%
Malczynski B.
Teksty Drugie (Second Texts)
|
2009
|
issue 3(117)
85-102
EN
This article primarily focuses on the category of 'parallax' itself, its meaning/significance and how it is entangled in Karpowicz's obsession of structuring and putting in an order his own and other authors' texts. The author endeavoured to explain what 'parallax' is in the literary sense and how this notion is potentially referable to Tymoteusz Karpowicz's poetic project as expressed in his 'Sloje zadrzewne' volume. To put it in most general terms, the Karpowicz parallax poem is, primarily, a poem strictly related to its 'pattern'-text as placed on the left-hand-side of the double-page and usually taken from one of the earlier-date volumes by this poet. But it is, simultaneously, a text that is 'divergent' from such a textual 'norm' or 'basis' in a not-quite-expectable manner; a poem 'shifted aside' against its starting point, not overlapping with the latter, not completely adequate. The author tried to point out to the crucial points of semantic contact between these two poetic realities and, in parallel, to points of semantic deviations, taking into his consideration a selected exemplary parallactic triad in the form of non-accidental arrangement of three pieces of verse (the sequence being: 'lampa dowolna' and its two parallaxes, i.e.: 'swietojanskie noce' and 'wyklad pindara nad brzegiem mare tenebrarum').
4

TWO SPACES: THE POETRY OF JAN TWARDOWSKI AND JANUSZ STANISLAW PASIERB

80%
Kudyba W.
Ruch Literacki
|
2008
|
vol. 49
|
issue 1(286)
59-67
EN
The poems of Jan Twardowski and Janusz Stanislaw Pasierb are a record of two different ways of seeing the world. Father Jan Twardowski's verse offers the reader the secure comfort of a safe haven. The colours, the sensory impressions, the natural world and its metaphorical extensions appear solid and familiar: jointly they create a climate of kindness and trust. Father Pasierb's poetic world could hardly have been more different. His imagination is highly sensitive to all kinds of threats and forebodings; consequently, the spaces it inhabits are dark, coarse and sharp, chilly or searing in turn. While Jan Twardowski's world seems to mirror the well-ordered universe of St. Thomas Aquinas with echoes of Franciscan and Salesian intimations of God, nature and man, Janusz Pasierb's poetry draws on Christian existentialist like St. Augustine, Pascal, Kierkegaard, as well as Karl Barth's theology of crisis and the dramatic theology of Hans Urs von Balthasar.
5

PHENOMENOLOGY OF PHOTOGRAPHY. POETIC PERCEPTION IN ANNA KAMIENSKA'S AND TYMOTEUSZ KARPOWICZ'S VERSE

70%
Zalewski C.
Ruch Literacki
|
2007
|
vol. 48
|
issue 6(285)
537-546
EN
This article concentrates on the nature of visual perception which informs those of Anna Kamienska's and Tymoteusz Karpowicz's poems that are ekphrases of photographic images. Both writers seem to rely on the phenomenological 'Anschauung' (sensuous perception) which proceeds in three dialectical phases. The first phase produces a complete reconstruction of the object of perception, the second phase negates it, and the third achieves a new synthesis, which in a way reconciles the previous two outcomes. In effect, each poems conceived in this way becomes a record of a visual epiphany. Yet the epiphanies experienced by either poet are strikingly different. For Kamienska a photo of her dead mother stimulates the contemplation of a gratuitous gift, free from any connotations of trade (like Jean-Luc Marion's donation). For Karpowicz a photograph of this kind would usually produce a hypnotic vision in which the person from the picture turns into the poet's uncanny alter-ego.
6

NOT JUST CARAVAGGIO: ZBIGNIEW HERBERT'S 'THOMAS' AND DENISE LEVERTOV'S 'ST THOMAS DIDYMUS' (Nie tylko Caravaggio.'Tomasz' Zbigniewa Herberta a 'Sw. Tomasz Didymus' Denise Levertov

61%
Garbol T.
Ruch Literacki
|
2009
|
vol. 50
|
issue 3(294)
247-254
EN
This article is an interpretation of Zbigniew Herbert's poem 'Thomas'. It is generally assumed that the writing of the poem was inspired by Caravaggio's painting 'The Incredulity of St Thomas'. However, as the author of this article claims, an equally important inspiration for that poem is to be found in Denise Levertov's 'St Thomas Didymus', a poem translated into Polish by Czeslaw Milosz. In the context of the latter source, Herbert's verse can be read as a poetic vision of the doubting Thomas and an affirmation of man's attempts to question and verify religious truths. For Herbert such questioning is of great significance, both on the level of poetic art and as a source of poetic inspiration.
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