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1

„wymienię wzrok na dotyk”. Poetyka oglądu w twórczości Tadeusza Różewicza

100%

Cieślak R.

Przestrzenie Teorii

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2014

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issue 21

23-38

EN

The author poses the question of the importance of a sensory experience in Tadeusz Różewicz’s poetry, including the possibility of the co-existence of and/or replacement of the dominant sense of sight by that of touch. In poetic practice, this change is expressed by the metaphor “touching sight”. Phenomenological analysis allows one to determine the cognitive order in which the perception of an image precedes the perception of a word. The author argues that the understanding of poetry as the philosophy of art requires establishing a list of recalls of images and reconstructing cognitive order (including the subjective experience of space), which together create the “poetics of view”. When interpreted from this perspective, poetry can be treated as testimony to the knowledge of reality.

2

Ikona Beethovena i korespondencja sztuk. Kilka interpretacjach literackich

86%

Łoboz M.

Prace Filologiczne. Literaturoznawstwo

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2016

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issue 6(9)

93-108

EN

The article describes various aspects of the 19th-century myth of Beethoven that can be found in selected works of the 19th and 20th century. In literary adaptations, the Beethoven's myth is realised in a very unambiguous way, yet the issue should be treated more broadly. The selected literary works discussed in the article are typical examples of the iconic images of Beethoven although they vary in the aspects of both form and content. The present article uses certain determiners as presented by Irena Poniatowska in her paper The Iconic Image of Beethoven in Polish Poetry. The analysis of specific semantic fields (suffering, overcoming suffering and victory over suffering) suggested by Poniatowska may seem not entirely verifiable, however, the universal aspect of literary interpretations is guaranteed by the expressive ideas concealed in the music and the fragmentation of composition frequently employed by Beethoven. The Beethoven case was an inspiration for creating many different literary representations of an icon. The nostalgic image of ponds in Soplicowo (Pan Tadeusz by Adam Mickiewicz) is just one of many possible ways of translating a literary text into a particular work of music. Revolutionary phrases by Ujejski (Translations of Beethoven) are a perfect illustration of Beethovenian emphasis related to overcoming suffering. Both examples prove that the 19th-century literary adaptations are more consistent with the overall concept of correspondence of arts (synaesthesia) than any of the 20th century realizations (i.e. Quasi uni fantasia by Teresa Weyssenhoff, Beethoven by Zbigniew Herbert or Beethoven’s Tomb, Niobe by Konstanty Ildefons Gałczyński) as those focus more on the portrayal of the personage, who experienced both failure and victory, and therefore seem to have more loose connection with specific works of Beethoven.

3

Od Baudelaire’a do Mallarmégo. W poszukiwaniu ideału muzyczności

81%

Opiela-Mrozik A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2019

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vol. 52

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issue 1

275-289

EN

This article undertakes the topic of the evolution in perceiving the ideal of literary musicality among representatives of French symbolism, taking into account Baudelaire and Mallarmé. The former, who is considered to be the precursor of symbolism, used prosody and combined the arts and music to convey the metaphor of painting and poetry. On the other hand, in Mallarmé’s oeuvre, it is poetry that moves closer to music on the level of form. Next, the utilization of the acoustic aspect of text, which is characteristic of Verlaine, is degraded in René Ghil’s artificial system of verbal instrumentation. The work of Villiers de l’Isle Adam and Jules Laforgue shows that music-related topics are gradually set aside and the music theme is softened and gives way to silence. Silence itself is the best way that presents Mallarmé’s ideal of musicality as a silent concert that resonates in the reader’s mind.

PL

Artykuł podejmuje temat ewolucji w postrzeganiu ideału literackiej muzyczności wśród przedstawicieli francuskiego symbolizmu koncentrując uwagę zwłaszcza twórczość Baudelaire’a i Mallarmégo. Pierwszy z nich, uważany za prekursora symbolizmu, stosował prozodię, co można zaobserwować w jego twórczości łączącej różne sztuki i wykorzystującej tematy muzyczne do budowania metaforycznych ujęć malarstwa i poezji. Natomiast poezja Mallarmégo zbliża się do muzyki na poziomie formy. Wykorzystanie akustycznego aspektu tekstu, charakterystyczne dla poezji Verlaine, przechodzi przez sztuczny system instrumentacji słownej René Ghila. Z kolei, utwory Villiers de l’Isle Adama i Jules Laforgue’a pokazują, że tematy muzyczne są stopniowo marginalizowane, co otwiera drogę do milczenia. To zupełna cisza, która w najlepszy sposób przedstawia ideał muzyczności Mallarmégo jako cichy koncert, rozbrzmiewający w umyśle czytelnika.

4

Tańczące muzy. Kino i korespondencja sztuk

72%

Hendrykowski M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2009

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vol. 7

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issue 13-14

5-14

EN

How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.

PL

Dancing muses. Cinema and the correspondance of arts How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Prace Filologiczne. Literaturoznawstwo

1 Przestrzenie Teorii

1 Cieślak R.

1 Hendrykowski M.

1 Opiela-Mrozik A.

1 Łoboz M.

1 2019

1 2016

1 2014

1 2009

„wymienię wzrok na dotyk”. Poetyka oglądu w twórczości Tadeusza Różewicza

Ikona Beethovena i korespondencja sztuk. Kilka interpretacjach literackich

Od Baudelaire’a do Mallarmégo. W poszukiwaniu ideału muzyczności

Tańczące muzy. Kino i korespondencja sztuk