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Święta Genowefa i fauny. Marmur Jana Kasprowicza – poemat o trwałości prawd i naturze ludzkiej

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IglińskiJan Kasprowicz; St. Genevieve; faun; justice; social harmony G.
Prace Literaturoznawcze
|
2020
|
issue 8
23-32
EN
This work explores an analysis and interpretation of the prose poem Marmur [Marble] by JanKasprowicz, from the volume O bohaterskim koniu i walącym się domu [On the brave horse and thecrumbling house] (1906). The analysis focuses on the experiences of the main character (who is alsothe narrator) who first experiences a chance meeting with a pensioner, a supporter of social harmony,and then has a vision of fauns playing around the figure of St Genevieve. The article proposes twointerpretations. First: man, irrespective of his views, usually surrenders to his inbred nature, biology,which is represented by the playing fauns. The second interpretation indicates the fauns’ behaviouras a separate solution that invades between the conservative attitudes of the pensioner and the supportof the main character for social transformations. It represents an affirmation of a full and joyfullife as well as acceptance of variability as a permanent component of history and human fate.
2

Fauniczna gra przeciwieństw. Inspiracje böcklinowskie w wierszu Wieczór wiosenny Zofii Gordziałkowskiej

86%
Igliński G.
Prace Literaturoznawcze
|
2018
|
issue 6
137-148
EN
This paper presents an analysis and interpretation of Zofia Gordziałkowska’s poem The SpringEvening [Wieczór wiosenny] from her volume Böcklin in poetry [Böcklin w poezji] (1911). It aimsto describe one of Gordziałkowska’s methods of utilising the works of arts which were the inspirationfor her works. As almost all the texts in the volume were created because of the paintingsby the Swiss artist Arnold Böcklin, popular at the turn of the 19th and 20th centuries, his works providea fundamental context for those considerations.The conducted analyses indicate that, in some of her works, the poetess clearly does not faithfullyreproduce all the details of the described paintings but offers her own development of the themepresented by Böcklin.
3

Ancient Forest Idols on Polish Soil. Based on the Poem Ja jestem satyr [I am a Satyr] by Wacław Rolicz-Lieder and the Painting Hołd sztuce i muzie [Homage to Art and Muse] by Jacek Malczewski

86%
Igliński G.
Prace Literaturoznawcze
|
2019
|
issue 7
105-122
EN
The works analysed in this paper – Wacław Rolicz-Lieder’s poem Ja jestem satyr [I am a Satyr](from the volume Nowe wiersze [New poems, 1903] and Jacek Malczewski’s painting Hołdsztuce i muzie [Homage to Art and Muse, 1910] – relate to the theme of art. They cover a subjectof key importance to the Young Poland movement, simultaneously using the motif of a forest idol(faun, satyr) fashionable at the turn of the 20th century. The difference between these two works isnot limited to the nature of artistic expression (poetic vision – the painter’s vision). In the poem byRolicz, it is narrowed to the individual (the individual’s experiences) – basically, it is the confessionof an individual finding satisfaction in the image of what is native. In the painting by Malczewski,the perspective seems wider and more universal. The former reveals what could be the source ofinspiration for an artist, while the latter presents what art can aspire to. Regardless of this directionof influence, both works contain the suggestion that art is conditioned by culture and that it has theright to bear the mark of “homeliness”.
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