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Eugène Savitzkaya : une quête formelle pour savourer la vie

100%
Teklik J.
Studia Romanica Posnaniensia
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2013
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vol. 40
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issue 4
67-75
EN
Savitzkaya, hardly known to French public, delights contemporary readers with his style, displaying both peculiar and variegated characteristics. Although he dispenses with the matters of genre, his latest texts (Célébration d’un mariage improbable et illimité, 2002, Exquise Louise, 2003, Fou trop poli, 2005) are still thought to represent the novel. His peculiarity lies in that he contrasts a daily routine with brilliantly worked form, nevertheless well suited to depict it. His predilection for language is pervasive in his style, showing strong preference for details (still, it stands in a stark contrast to the practice of the Nouveaux Romanciers of the 20th century). Savitzkaya asserts himself with the aid of conciseness, draws to a large extent upon surprising stylistic devices, juggles with words, even if paying careful attention to their precision. Finally, he acts as a genuine poet, reviving fragrances and colors of childhood. All in all, the whole of his work is designed to bring his readers to take pleasure in living.
2

(‘Harmonia lyrica’ w potrydenckiej twórczości polskich poetów metafizycznych – problem trwałości tradycji i nowatorstwa

51%
Fischer J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2011
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vol. 21
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issue 1
59-80
EN
This article concentrates on question, which was the essence of the Old Polish poetry, in the beginning of the seventeenth century. Especially: what was the source of this poetry and which were the relations between this new model of poetry and literary tradition. Very interesting are also the connections between rhyming and rhythmic schemes, used by Grabowiecki, Grochowski and Twardowski, and music. The main attitude of this group of Polish metaphisical poets was to attain musical effects in poetry – real lyric harmony (harmonia lyrica). they created new poetry: very innovative, but as well grounding in tradition.
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