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Écrire l’image dans l’espace – transgression des formes poétiques au début du XXème siècle

100%

Kukuryk A.

Quêtes littéraires

2015

issue 5

99-108

The aim of this article is to present the connections between literature and art, as well as a graphic and artistic sing. The main subject of the study is the problem of typography, pictography, calligraphy and the visualisation as a sign created from the merging of a verbal code and a drawing representation. The dialogue of two sisters, due to which poetry has become a verbal painting /pictura loquens/, exhibits the variety of artistic creations based on the selected French literature of the early 20th century. The new tendencies which provoked the writers and painters, they could define the plasticity of words and pictures, as well as discover similarities of these two layers. The study attempts to discuss the co-existence and co-implication of the verbal codes and pictorial codes.

Miłosz a amerykańska awangarda: od Pounda do Ashbery’ego

71%

Marcinkiewicz P.

Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

2011

issue 25

121-141

Miłosz was an avant-garde poet who systematically realized his program of rejuvenating mid-twentieth-century Polish poetry: he chose the most appropriate methods and strategies to cure the maladies of Romantic and nationalistic discourses, whose extension seemed urgent in the post-war reality. Although finally he became very critical of avant-garde poetics, such as Ezra Pound’s, his initial, restoring impulse came from the Poundian source: the need to “make it new.” Miłosz’s poetry of the 1970s developed Pound’s formal inventions, particularly the “ideogrammatic method,” generating meanings by contrasting the poem’s fragments. Although the Polish poet often commented critically on the achievements of the American avant-garde of the mid-twentieth century, in fact he admired their artistic freedom. However, he realized that he himself could not contradict the “poetics of salvation” he had been following for years. The world presented in Miłosz’s late poems is not obvious. Its most astonishing feature is the perspective from which the narrator addresses the reader: the almost mystical space, timeless and unspeakable, where the dead meet the living, has nothing to do with a picture of the world based on mimesis. Miłosz’s “second space” has a lot in common with the “real reality” designed by the surrealists, which John Ashbery evokes in his recent poems. Both poets reach a similar mystical point, where the word touches on the mystery.

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1 Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

1 Quêtes littéraires

1 Kukuryk A.

1 Marcinkiewicz P.

1 2015

1 2012

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Écrire l’image dans l’espace – transgression des formes poétiques au début du XXème siècle

Miłosz a amerykańska awangarda: od Pounda do Ashbery’ego