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1

Reytan. Lekcja ciemności, która wraca echem żywym

100%

Ostasz G.

Tematy i Konteksty

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2015

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issue 5(10)

402-407

EN

The plot of Rymkiewicz’s Reytan. Upadek Polski (Warsaw 2012) about the close of the 18th century in Poland is full of digressions on our times. This tale-essay written by a learned philologist and poet is about history which is being revived here and now. Tadeusz Reytan’s mosaic biography is presented by a detective narration which is not free from doubts deliberately raised by the author, who revives various documents and iconographic materials, above all Matejko’s painting-allegory Upadek Polski. Their significances have an effect on our history; they are the source of our anxieties which we fail to dispose of. The author-polymath has acquired in the internal world of this plot the status of the major element. He is prone to putting forward hypotheses and spins a fragmentary, unformed and open tale. He reveals his own thinking about the past and its echoes in the present. Our today and the 18th century yesterday create a marriage that is impossible to separate. They worry us and evoke the shape of tomorrow. ‘From St. Petersburg to Smolensk an icy wind is still blowing’.

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Danse moriendi. O muzyczno-tanatologicznych aspektach późnej twórczości lirycznej Jarosława Marka Rymkiewicza

99%

Dembińska-Pawelec J.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

230-245

EN

The sketch shows relations of the late poetry of Jarosław Marek Rymkiewicz with a music and the topic of death. Poet articulates a belief that transverbal property of music deepens and extends the ability of poetry to express the thanatological matters. Rymkiewicz describes life as a constant tending to death. This tending is shown in his poems as a danse moriendi, dance in a rhythm of waltz or ländler. Through the music it connects with the cosmic rhythm of nature, the wheel of every existence. Rymkiewicz convinces also that lyrical poetry related with music can defy nothingness. Thanks to oniristic poetic creation poems-songs and poems-ariettes preserve, as in a fairy tale, the continuity of life.

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– „...kupa gruzów, kupa trupów, wielkie szambo, wielka dziura wypełniona czarną krwią”. Powstańcze fantazje w Kinderszenen Jarosława Marka Rymkiewicza

71%

Jazienicki Z.

Przegląd Humanistyczny

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2017

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vol. 61(2 (457))

49-59

PL

The article focuses on the memory practices activated in Jarosław Marek Rymkiewicz’s Kinderszenen, an essay devoted to the Warsaw Uprising. The text refers to Klaus Theweleit’s Male Fantasies analyzing the language of male soldiers, and examines the work of the same linguistic logic which determines the way in which the events in the capital are presented. The Nazification of memory involves here the demonstration of obscenity of the uprising and recognizing it as constitutive to the national identity. The purpose of the text is to capture the relationship between shaping collective memory and creating “genogenic” imaginarium integrating the Polish community.

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

1 Przegląd Humanistyczny

1 Tematy i Konteksty

1 Dembińska-Pawelec J.

1 Jazienicki Z.

1 Ostasz G.

1 2017

1 2015

1 2012

Reytan. Lekcja ciemności, która wraca echem żywym

Danse moriendi. O muzyczno-tanatologicznych aspektach późnej twórczości lirycznej Jarosława Marka Rymkiewicza

– „...kupa gruzów, kupa trupów, wielkie szambo, wielka dziura wypełniona czarną krwią”. Powstańcze fantazje w Kinderszenen Jarosława Marka Rymkiewicza