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1

Postawa surrealistyczna, czyli w stronę "nowej, krytycznej hermeneutyki"

100%

Kornhauser J.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 24

55-69

EN

The aim of this article is to discuss the crucial difference between the notions of ‘avant-garde’ (from Lyotard’s or Danto’s essays) and Perloff’s or Bolecki’s ‘modernism’ and to suggest a new, exclusive rather than inclusive, approach to literary studies, based on the experimental theory and poetics of Surrealism. This so-called “surrealist attitude” could be applied in the literary and cultural studies as a twofold paradigm: on the one hand, it focuses on the verbal or textual aspect of the avant-garde experiments (utilizing Bürger’s or Barthes’ theories), on the other hand, it gives an opportunity to acknowledge their anthropological or sociological character marked by Baudrillard, Danto, Foster, or Krajewski. In this perspective, the substantial process of abandonment of reality (Lyotard), which stands for the dominant element of the avant-garde aesthetics, could be connected with the crisis of represetation and with the binary nature of the objects (simultaneously, the textual/internal and contextual/exteral forms).

2

Text-obydlí – unikát ve spektru české poezie?

87%

Polách Balonová M.

Bohemistyka

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2021

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issue 2

EN

The The study Text-obydlí – unikát ve sprektru české poezie (The text-dwelling – rarity in spectrum of czech poetry) deals with Miloslav Topinka’s second poetry collection, whose first edition (1970) was destroyed and its re-edition was not published util 1991. In his second collection the poet uses experimental procedures (construction of text as a living space, words transformation into rats etc.) that make the collection Krysí hnízdo a unique work that stands out from general tendencies of Czech poetry of the 20th and 21st centuries.study Text-obydlí – unikát ve sprektru české poezie (The text-dwelling – rarity in spectrum of czech poetry) deals with Miloslav Topinka’s second poetry collection, whose first edition (1970) was destroyed and its re-edition was not published util 1991. In his second collection the poet uses experimental procedures (construction of text as a living space, words transformation into rats etc.) that make the collection Krysí hnízdo a unique work that stands out from general tendencies of Czech poetry of the 20th and 21st centuries.

CS

Studie Text-obydlí – unikát ve spektru české poezie se zabývá druhou sbírkou Miloslava Topinky, jejíž první vydání v letech 1970 bylo zničeno a reedice se sbírka dočkala až roku 1991. Ve své druhotině již básník naplno využívá experimentální postupy (vystavění textu jako obytného prostoru, proměna slov v krysy aj.), díky čemuž se sbírka Krysí hnízdo stává jedinečnou a vymyká se obecným tendencím české poezie 20. století a 21. století.

3

Muzyczne wyzwolenie z języka? Filozoficzne aspekty muzycznych inspiracji w poezji Mirona Białoszewskiego

87%

Bochyńska A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

200-211

EN

Miron Bialoszewski is known for his untypical and idiosyncratic language of his poetry, as well as prose and drama that he has created. However, it is possible to find many connections between those linguistic experiments and the strategies used by polish avant-garde poets during the interwar years. It makes the works of Bialoszewski both innovative and dependent on the history of literature. Through the analysis of his specif-ic language and the content of his poetry, as well as the comparison to the works and statements of the polish avant-garde representatives, author of this paper tries to recre-ate the philosophical backgroud of Bialoszewski's poems and explain how is the concept of music present in them. The article is divided into two main parts. The first main prob-lem is a question about the philosophical condition of the language that we can encoun-ter in this poetry — are we free in using our language or maybe we are limited by the word? The negative response to the first question leads to the necessity of possible solu-tions. Here music appears. It seems to be for Bialoszewski as the possibility of escaping from the limitations of the language. At the same time, music in his poetry is a new way of describing the world and a form of expressing ones thoughts.

4

Z ducha muzyki? Czternaście wariacji o Mieście: partyturze i innych „wierszach nadsłownych” Mariana Grześczaka

75%

Bogalecki P.

Przestrzenie Teorii

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2018

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issue 29

87-125

EN

The article covers wiersze-nadsłowne [“supra-verbal” poems] by Marian Grześczak written in the period of 1959–1963, which was one of the first specimens of concrete poetry in Poland. The main part comprises an elaborate analysis of a work titled Miasto: partytura [City: score] (previously called: Miasto, parodia [City, parody]). The text becomes a springboard for the presentation of original literary theoretical ideas concerning the links between the literary text and musical notation, and in doing so refers to the findings of authors such as G. Agamben and J. Derrida, as well as G. Deleuze and F. Guattari, but predominantly to Grześczak’s own commentaries, as one of the first Polish commentators of the international concrete poetry movement. The article also mentions sixteen unpublished poems, which were found in an archive of visual poems by Grześczak, whose analysis provides a basis for rejecting the notion pervading relevant literature of the “sporadic” and “insignificant” character of the poet’s concrete works. Thus, the article is an attempt at literary historical revision and a contribution to the re-interpretation of the history of concrete and experimental poetry in Poland.

5

Mluvím, a tedy jsem

73%

Langerová M.

Slovo a smysl - Word & Sense

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2016

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vol. 13

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issue 26

13-25

EN

In 1960s Czechoslovakia, experimental poetry became an important part of the conceptual turnaround in art. The language in this poetry had its own weight as an object, which, however, lost its function and participated the programs of its own self-destruction. The language of poetry interceded in various fields — the creation of art, new music, sciences. From the end of the 1950s, the poems (‘written by voice’) of Ladislav Novák arose analogously to visual poetry. These unique magnetic tape records were, in the course of the 1960s, put into the international context of vocal poets — Henri Chopin, Ilse and Pierre Garnier, Bernard Heidsieck, Franz Mon, Gerhard Rühm, and so on. This phonetic poetry became part of the search for a universal language of experimental poetry, yet, at the same time opened a new conception of the relationship between poetry and music.

6

Povaha písma, jeho meze a nosiče : výpisky a poznámky k historickým aspektům mediální dimenze psaní a literární komunikace

44%

Glanc T.

Česká literatura (Czech Literature)

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2015

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vol. 63

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issue 6

835-859

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

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1 Poznańskie Studia Polonistyczne. Seria Literacka

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1 Slovo a smysl - Word & Sense

1 Česká literatura (Czech Literature)

1 Bochyńska A.

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1 Kornhauser J.

1 Langerová M.

1 Polách Balonová M.

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