Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 9

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  RÓZEWICZ TADEUSZ
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Angry Apollo and Defiant Marsyas

100%
Burkot S.
Ruch Literacki
|
2005
|
vol. 46
|
issue 4-5
423-435
EN
This essay explores the relations between Julian Przybos and Tadeusz Rózewicz, two Polish poets who belonged to two different generations. When they first met after World War II, their generational experience could not have been more different. Przybos rejoiced at Poland's regained independence as a result of a military victory in which he had a personal stake (he had joined the ranks as a volunteer). Meanwhile Rózewicz was shattered by the horrors of the war. He, too, served as a volunteer in the partisan formations of the Home Army, but his view of the war, articulated in his work, is marked by a radical disillusionment. The war, he believes, destroys all ethical and aesthetic values. Przybos took the younger poet, who had just made his debut, under his wing, but his genuine admiration for Rózewicz''s poems in the volume 'Anxiety' (1947) slowly turned sour. His dislike found vent in harsh critique and eventually scurrilous lampoons, of which the most remarkable was 'The Ode to the Turpists' published in 1962. Rózewicz's obsessive displays of ugliness, his lack of faith in poetic excellence, and his proclamations of 'the death of poetry' proved too much for the elder poet. Their parting was final.
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

MANN AND RÓZEWICZ - A COMPARATIVE PARALLEL (Rozewicz i Mann - paralela komparatystyczna)

80%
Dabrowski M.
Przegląd Filozoficzno-Literacki
|
2009
|
vol. 8
|
issue 3(24)
43-54
EN
The article provides a comparative analysis of Thomas Mann's 'Death in Venice' and Tadeusz Rózewicz's story 'Death in Old Decorations'. The author argues that Rózewicz's story is a subtle and, in a way, 'negative' response to Mann's work, although it contains no direct allusions to it. A close reading of the text allows one to appreciate Rózewicz's subtle play with his great predecessor. The author's interpretative idea is based on the use of the Eros/Thanatos construction common for both texts, though differently functionalized in modernism and in postmodernism.
4

PROLEGOMENA TO THE RÓZEWICZ'S BODY AND THE END OF EKPHRASIS

80%
Mrugalski M.
Przegląd Humanistyczny
|
2005
|
vol. 49
|
issue 4(391)
25-43
EN
Classical ekphrasis, represented here by Philostratos' 'Imagines' works thanks to an unusual combination of rationality and highly developed sensuality: method combines with charm to seduce the reader. Rózewicz puts the components together differently, obtaining another genre. One can come closer to it thanks to Freud's school of dream explanation and Walter Benjamin's concept of dialectic image. Rózewicz's images are controlled by negative dialectics. It does not attempt to get back presence, but it tries to regain a thing without losing its loss.
5

Some remarks on a poetic dialogue between Tadeusz Rózewicz and Adam Czerniawski

80%
Rabizo-Birek M.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
206-217
EN
The article presents a few motifs related to the poetic dialogue between Tadeusz Rózewicz and Adam Czerniawski. The reflection concerns, among other things, the issue of references - i.e. mutual poetic portraits; how Czerniawski's translations affected the meaning-modifying corrections made by Rózewicz in his lyric 'Drzwi' (Door); and, the dialogicality of autothematic issues embarked on by the two poets, related to the essence of poetry and the ethos of poet. The following poems are subject to analysis: Rózewicz's 'Francis Bacon czyli Diego Velázquez na fotelu dentystycznym' (Francis Bacon or Diego Velázquez in a dentist's chair) ***; 'Drzwi' (Door); ***; 'na poczatku jest slowo' (at the beginning there is word); 'na obrzezach poezji' (in the peripheries of poetry); and, Czerniawski's 'Tak to jest specjalista' (Yes that's an expert), and 'Tajemnica poezji' (The secret of poetry). Adam Czerniawski has translated Rózewicz's poems and plays into English. A poet and critic, he is a friend of Rózewicz's.
6

Rózewicz, the nihilist

80%
Januszkiewicz M.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
42-57
EN
Almost from the very outset of Tadeusz Rózewicz's artistic itinerary, his work has been accompanied with a dispute related to the problem of nihilism. At least up until 1990s, it was assuming the form of an alternative: a nihilist, or, a moralist? In the first part of the present sketch, the author attempts at tracing the dispute's history, making references to selected convictions formulated as part of it. The second and third parts will embark on attempted transferral of the problem into an entirely different ground. From the thus delineated perspective, the problem of nihilism will be approached in a new context, which, as it may be reasonably believed, will force us not only to significantly revaluate our existing critical views but, in the first place, to assume a new methodological position that would give grounds for such a 'shift' or 'revaluation'. However, the author's intent is not to announce the dispute's end, for the dispute will probably go on. What the author refers to instead is the dispute's being closed, exhausted. Hence, he tries to show that the 'moralist vs. nihilist' alternative is not only erroneous and exhausted but it also leads to certain serious misunderstandings related to how we comprehend the notion of 'nihilism' today.
7

ELDER BROTHERS. RÓZEWICZ VIS-A-VIS 'THE ANXIETY OF INFLUENCE' (Starsi bracia. Rózewicz wobec 'Leku przed wplywem')

80%
Potkanski J.
Przegląd Filozoficzno-Literacki
|
2009
|
vol. 8
|
issue 3(24)
55-72
EN
The article shows in practice how to use the instruments of analysis developed by Harold Bloom in his 'The Anxiety of Influence'. The author provides an interpretation of 'Appendix' - a series of poems where Rózewicz 'rewrites', as it were, Leopold Staff's texts - construing it as an instance of a typically Bloomian situation, wherein a young poet reinterprets his poetical master's work. Having demonstrated that 'Appendix' exhibits all the six revisionary ratios discussed by Bloom, the author argues that Staff is not the 'precursor' (i.e. the one who influences Rózewicz's work) and goes on to claim that it is more important for Rózewicz to identify with his brother than with the Old Poet. After exposing the process of identification and analysing various relations in the Janusz - Tadeusz - Staff triangle, the author arrives at the conclusion that, in Rózewicz's writing, the mechanism of replacing a genuine precursor by someone who only masquerades as one is the rule rather than the exception, which is confirmed by the case of substituting Milosz for the character Janusz.
8

'Our monuments are ambiguous ...', Tadeusz Rózewicz's epitaphs

80%
Marciniak H.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
22-41
EN
This essay attempts at interpreting selected poems and essays by Tadeusz Rózewicz, in the context of funereal/commemorative issues. These include both occasional texts devoted to the memory of individual persons as well as pieces considering the problem of Death in a universal perspective. Having assumed that the issue of Death - a death of God, man, and poetry, and reciprocal associations thereof - is one of the major threads in the poet's oeuvre, the authoress attempts at reconstructing the reply Rózewicz gives to the question of how is it possible for poetry - 'dead, as it is, ... mortal, as it is', and deprived of a metaphysical foundation - to save or preserve the memory of a dead person. She tries to prove that Rózewicz's funereal output polemicises with a consolational model of mournful or memorial poetry and its traditional topics.
9

THE DRAMATURGY OF PARADOX: THE DRAMAS OF TADEUSZ RÓZEWICZ AND JON FOSSE FROM THE PERSPECTIVE OF THE AESTHETICS OF INTIMACY

61%
Lech M.
Ruch Literacki
|
2008
|
vol. 49
|
issue 3(288)
339-352
EN
The article addresses the question of the evolution of the aesthetics of intimacy in contemporary drama. The idea of intimate drama had its origins in German naturalism and reached its mature embodiment in the 'subjective' drama of the Scandinavian modernists. Contemporary drama, too, has to grapple with the problem of finding a dramatic expression to intrasubjectivity. In the later 20th century the general tendency to revive the theatre of the voice and various attempts to restore the oral dimension of the dramatic performance created fresh incentives to break out of the framework of 'subjective' drama. The process of drama opening up to the outside world and clearing the ranks of dramatis personae of the old cast of alienated characters, imprisoned in their separate intrasubjective worlds, makes the problem of intimacy again extremely important. On the evidence of an assortment of modern as well as most recent texts it can be tackled in quite diverse ways. This article examines the handling of intimacy in a some selected texts of Tadeusz Rózewicz and Jon Fosse. What links the Polish and the Norwegian author is the fact that for either the writing of dramas is rooted in poetry. Likewise, either of them is keenly interested in ways of expressing tensions between the inner and the outer world. Analyzed side by side, the texts of the two writers usually reveal clear differences of approach to the problem of the intimate drama and the related issues of what has been called here the dramaturgy of paradox and the dramaturgy of the state in-between. At some points, however, the two approaches are remarkably similar.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.