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1
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What is a "Sebastian"?: A nonsensical look at the poetry of Yona Wallach

100%
Porat A.
The European Journal of Humour Research
|
2017
|
vol. 5
|
issue 3
EN
This article compares the nonsense works of Lewis Carroll to the poetry of the canonical Hebrew poet Yona Wallach. Both writers present literary works which are not based on the logic of 'ordinary' reality, but rather on systems of unfamiliar, surreal and 'dreamlike' logic. However, Carroll's logical nonsense is famously comical and playful in nature. Unlike him, Yona Wallach's poetry is mostly regarded as 'serious', even tragic, with a 'doom-like' atmosphere hovering over it. Nonetheless, and precisely because of their considerable dissimilarity, the comparison between Yona Wallach and Lewis Carroll discloses their surprising similarity. In this artiel will examine two mechanisms in which they both play with the conventional meanings of words and use them incongruously, non-commonsensically.Throughout this article, Carroll reveals his serious and gloomy face whereas Wallach reveals her (hardly spoken of) logical and amused face.Thus, the contrasts between the comically playful accuracy of Carroll's work and Wallach's ambiguous and mostly "dark" poetry, sheds light on their respective mechanisms of signification and humor-making, in a manner indiscernible when each is treated in isolation.
2
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Prze-pisywanie romantyzmu? O jednej z poetyckich dykcji Aleksandra Wata

99%
Pietrych K.
Poznańskie Studia Polonistyczne. Seria Literacka
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2014
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issue 24
213-228
EN
The article is an attempt to read Wiersze śródziemnomorskie (Mediterranean Poems) – one of the most prominent texts of the modernist Polish poet Aleksander Wat. The author is interested in the relation of this text with Romanticism, consisting not only in a variety of intertextual and aesthetic references, but, what is most significant, in the realization of a Romantic concept of subjectivity in the way of perceiving and experiencing the world. The author follows the demonstrations of this subjectivity in the consecutive fragments of the Mediterranean poem, indicating multifaceted character of Romantic trappings and dependencies, especially those of epistemological kind. This kind of reading of the Mediterranean poem inclines one to pose a fundamental question: why Wat, in a revisionist fashion, makes use of the Romantic diction in Mediterranean Poems, making of it a kind of a subcode of his own language? It happens so because the difficulties of modernist identity have their source in Romanticism, which, firstly, discovers the world as a domain of conflicting oppositions, secondly, – as a meditative consciousness questioning the substantive unity of the subject, thirdly, – subjectivity as a task to be realized by various types of articulations and narrations.
3
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Genius, Appropriation and Transnational Collaboration in Ezra Pound’s Cathay

86%
Vali A.
Anglica. An International Journal of English Studies
|
2018
|
issue 27/1
97-110
XX
When we discuss the cross-cultural relationships of Euro-American modernists we often fall between the poles of either celebrating the ‘coming together of traditions’ or suspiciously decrying the power play involved. A case in point is the divergent critical understanding most often posited of Ezra Pound’s relationship to the materials he produced from Ernest Fenollosa’s notes – notably Classical Chinese poetry in the form of Cathay (1915). The first position is Hugh Kenner’s who holds that its meaning, its primary function, was as an anti-WWI volume, rather than as any representation of Chinese poetry or an extension of Imagism (1971, 202–204). In seeming opposition to this vision of an ideal aesthetic come at by the application of genius, we have those who highlight the source material of Fenollosa’s notes to discuss various modes of Pound as translator. Interestingly, these critics, who resist the Kennerian celebration of Poundian genius and insist that Pound is engaged here in an act of translation, “essentially [...] appropriative” (Xie 232), or otherwise, also reinforce a reading whereby “the precise nature of the translator’s authorship remains unformulated, and so the notion of authorial originality continues” (Venuti 6). This is the issue I wish to address when we study the disparities between Fenollosa’s notes and the Cathay poems, i.e. Pound’s own choices with regard to those poems’ content, as a key chapter in the study of transnational collaboration.
4
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Arspoetyka

81%
Grądziel-Wójcik J., Kwiatkowska A., Kraskowska E.
Forum Poetyki
|
2015
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issue 1
76-85
EN
The term „ars poetica” can refer both to a relatively new (sub)genre of poetry and to the classical Latin works (often) bearing the title ars poetica. The article proposes to use it to cover three areas of literary and metaliterary work: 1) classical normative-descriptive poetics; 2) self-reflexive poems devoted to the art of poetry; 3) guides to creative writing and essays on secrets of the writer’s craft.
PL
Hasło „arspoetyka” zawiera definicję i charakterystykę tego nowego terminu, nawiązującego do łac. ars poetica. Proponuje się objąć nim trzy obszary zjawisk literackich i metaliterackich: 1) klasyczne poetyki normatywno-opisowe; 2) wiersze autorefleksyjne poświęcone sztuce poetyckiej; 3) poradniki twórczego pisania i eseistykę poświęconą tajnikom warsztatu pisarskiego.
5
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António Feijó i Leopold Staff – poetyckie wizje Orientu na tle polsko-portugalskich relacji literackich i kulturalnych (od parnasizmu do palimpsestu)

72%
Kalewska A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2021
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vol. 21
167-200
EN
The article aims to discuss the Chinese culture inspirations in Polish and Portuguese modernist poetry. In the context of Polish-Portuguese literary relationships, late Romantic, Symbolic, Parnassianism-related and Oriental tendencies are presented in the works of a Portuguese poet Antón Feijó (1859-1917), with references to a selected aspect of Leopold Staff’s works (1878-1957). A historical-literary analysis is accompanied by literary and cultural comparative studies. Within the comparative method of presenting the Parnassian palimpsests, as 'The Chinese Lyric Book' ('Cancioneiro Chinês', 1890) by António Feijó and 'Chinese Flute' ('Fletnia chińska', 1922) by Leopold Staff are categorised, the thesis about the independent status of the works in question was built. Modernist visions of the Orient, understood to date a paraphrase or an adaptation of Chinese poetry read in translations from French, gain the status of original works. In view of blurring the differences between the European adaptations - Portuguese poem and Polish poetic prose, based on Oriental motifs drawn from two different French sources (translations): Judith Gautier’s and Franz Touissant’s works - and the Chinese original, the methodological approach to the text as to a palimpsest is justified. Feijó’s “Chinese Poetry” and Oriental poetic landscapes in Staff’s prose are therefore independent literary works, analysed in parallel, as mirror reflections of the fascination with the Orient’s culture. The literary works in question fully deserve the title of cultural texts, the recipient of which will be a Polish reader, a lover of poetry inspired by French Parnassianism.
6

Antoni Lange – poeta metafizyczny XIX stulecia. Barokowe konteksty "Rozmyślań"

72%
Żbikowska H.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
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2015
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issue 21: Sztuka tracenia, sztuka rezygnacji. Samoograniczenie i autocenzura
319-337
EN
The article is devoted to the relationship between "Rozmyślania" ["Musings"] by Antoni Lange and the baroque poetics, with special focus on the sixteenth and seventeenth century metaphysical poetry. The starting point is the stylistic perspective – Lange’s cycle was interpreted as the nineteenth century creative implementation of metaphysical style elements, formed in the Baroque. The fragments of "Rozmyślania" ["Musings"] are compared to the poetry of Mikołaj Sęp Szarzyński, Daniel Naborowski, Sebastian Grabowiecki and Jan Andrzej Morsztyn. The perspective of the Polish Baroque was extended to the European context, most of all to the English metaphysical poetry. The significant issues are Lange’s conceptismo and his attitude towards art as a value.
7
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What is the androgyne? The androgynous character and Kazimierz Lewandowski ‘morbid modernity’

58%
Ejzak B., Ejzak B.
Ruch Literacki
|
2021
|
issue 4
8

Inna Iłła. Słowo mówione i słowo pisane w poezji Kazimiery Iłłakowiczówny

58%
Marzec L.
Pamiętnik Literacki
|
2023
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vol. 114
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issue 1
193-216
PL
W artykule przedstawiono nowe odczytanie poezji Kazimiery Iłłakowiczówny w kontekście teorii Hansa Urlicha Gumbrechta dotyczącej zderzenia dwóch kultur: kultury obecności i kultury znaczenia, oraz koncepcji formacji dyskursywnych: ustnej i piśmiennej, odpowiadających propozycji filozofa. Autorka prezentuje typowe dla modernizmu, zanurzonego w technologii druku i postulacie powszechnej alfabetyzacji, przeciwstawienie sobie oralności i piśmienności, które zasadniczo wpłynęły na znaczeniowe oraz brzmieniowe wartości poezji Iłłakowiczówny. Zarazem, jak dowodzi autorka w artykule, pragnienie obecności i związane z nim środki ekspresji czynią twórczość poetki oryginalną i wyjątkową.
EN
The article offers a new understanding of Kazimiera Iłłakowiczówna’s poetry in the context of Hans Urlich Gumbrecht’s theory of clash of two cultures: the culture of presence and the culture of meaning, and of the philosopher’s corresponding concepts of discursive formations: oral and written. The author presents the juxtaposition of orality and literacy, typical of modernism, immersed in the technology of printing and the postulate of universal literacy, which significantly influenced the meaning and sound values of Iłłakowiczówna’s poetry. At the same time, as the article demonstrates, the desire for presence and the means of expression associated with it make the poet’s work original and unique.
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