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Narrator czy… poeta oralny? Mickiewiczowski „Powrót taty” w opracowaniu muzycznym Henryka Jareckiego i Jana Gołębiowskiego

100%
Piotrowska M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2022
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issue 42
157-169
EN
The article discusses the opera-ballad Powrót taty (Father’s return) in a musical edition by Henryk Jarecki with a libretto by Jan Gołębiowski. Its goal is to present the manners of building the character and the narrative. Apart from the characteristic features of a ballad, the text also discusses the category of an oral poet, a “storyteller” and the dialogue relation (“speaking” instead of “talking”.) These are the means that gave Mickiewicz’s ballad a new dimension. Helpful in its reception are texts on cultural practices, especially those referring to oral culture (compare with e.g. Jack Goody, Albert B. Lord, Eric A. Havelock, Walter J. Ong.).
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Narrative Structure as the key Factor in the Interpretation of the Novel "The Stormy Life of Lasik Roitschwantz" by Ilya Ehrenburg

75%
Ścibior A.
Slavia Orientalis
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2019
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vol. LXVIII
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issue 1
3
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Pomlky“ románového vypravěče a „zapovězená“ řeč lidového vypravěče v románech Milana Kundery

51%
Galmiche X.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 58
115-122
EN
Milan Kundera poetics is based on a “world of the romantic fiction built on the personal speech of the narrator” (M. Chvatík). Nevertheless, it enters in contradiction with some essays of Kundera himself, who centers on the figure of the storyteller, active figure of the narrative “from Rabelais to Laurence Sterne” (“Speech of Jerusalem”, resumed in The Art of the Novel). Kundera seems to give for task to the modern narrator to resuscitate an atavistic, pre-rational genius, chairing in instinctual desire to tell. Thus there is a contradiction between the ambition of recovery of the lively word — the voice of the storyteller — by the modern novel, and the actual practice of the story adopted by Kundera. This article tries to describe this paradox through one of these mythical categories approached in a recurring way by Kundera: that of laughter.
4
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Polskie bajarze i ich kulturowe znaczenia (rekonesans)

51%
Wróblewska V.
Literatura Ludowa
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2023
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vol. 67
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issue 1-2
137-149
PL
Podstawowym celem artykułu jest pokazanie funkcjonowania w kulturze polskiej bajarzy rozumianych nie jako gawędziarze, ale zbiory baśni. Zaczęto je publikować w XIX w. i wydaje się je aż do tej pory. Pierwszy, Bajarz polski Antoniego Józefa Glińskiego, powstał w 1853 r., ostatni zaś, Współczesny bajarz polski  Zuzanny Orlińskiej, w 2021 r. Na przestrzeni wieków powstało wiele innych bajarzy, których głównym zadaniem bya popularyzacja polskich bądź/i ludowych tradycji. W artykule zaprezentowano znane zbiory i ukazano ich zmieniające się funkcje. 
EN
The main aim of the article is to show the functioning of bajarze in Polish culture, understood not as storytellers, but as collections of fairy tales. They began to be published in the 19th century and continue to be published today. The first Bajarz polski by Antoni Józef Gliński was created in 1853, and the latest, Współczesny bajarz polski, by Zuzanna Orlińska – in 2021. Over the centuries, many other collections of tales were released: their main goal has been to popularize Polish and/or folk traditions. The article presents known collections and shows their changing functions.
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