Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 7

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  wieszcz
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Sylwetka Adama Mickiewicza w polonijnych podręcznikach do kształcenia literacko-kulturalnego

100%
Pelczar W.
Seminare. Poszukiwania naukowe
|
2007
|
vol. 24
439-446
EN
The article presents some reflections about Adam Mickiewicz, called “the polish national bard” and his place in polish education abroad. A base of these reflections are schoolbooks, which was used in polish schools abroad after the second world war. These books was edited by polish teacher`s organizations in Great Britain’ Canada and The United States of America. The author writes, that the silhouette of Mickiewicz’ his creation and life are very important implement in forming of polish spirit between young people of polish diaspora in the West of Europe and over The Atlantic Ocean.
2
Publication available in full text mode
Content available

Mesjanizm rozproszony. Epigonia oraz Polonia aeterna Wojciecha Wencla

75%
Spólna A.
Świat i Słowo
|
2020
|
vol. 35(2)
109-125
PL
The article shows forms that neo-romantic messianism takes in Wojciech Wencel’s poetry volumes Epigonia and Polonia aeterna. The Polish nation, understood as a primordial community, is depicted through the prism of national-conservative clichés, taken from freely interpreted Sarmatian literature and Mickiewicz’s romanticism. The hero of Wencel’s poems has a sense of mission as a guide for his compatriots through the traps of late modernity and as a guardian of national memory. The language of this poetry, ostentatiously old-fashioned, serves to sacralize history seen as a continuum of struggle and martyrdom. Both books demonstrate a strongly internalized, martyrological-heroic concept of the messianic calling of Poland – although not expressed as directly as in the preceding volume, De profundis.
3
Publication available in full text mode
Content available

Dobrodziej – mistrz – profesor. Wincenty Pol w świetle listów doń skierowanych

63%
Nowak-Barcińska M.
Zeszyty Naukowe KUL
|
2018
|
vol. 61
|
issue 1
561-580
EN
The author of the article researches how Wincenty Pol was described in the letters he was sent to. The research corpus contained 98 letters addressed to Pol by a variety of senders, compiled by Zbigniew Sudolski in an anthology: Letters from our Land. Wincenty Pol’s Epistolography, 1826-1872. Of particular interest are the statistically significant forms of address: patron, professor, master, prophet, kin. The forms used for addressing Wincenty Pol depict him as e.g.: father of the nation and a prophet; an adored – if not worshipped – and respected professor. These forms confirm Suchodolski’s claim about the vital role of the author of Mohort in “shaping the culture of his times”. At same time, the expressions under analysis are a testimony of the rich language etiquette of the time.
PL
Przedmiotem uwagi autorki są określenia Wincentego Pola wydobyte z przesłanej doń korespondencji. Bliżej przygląda się formom: dobrodziej, profesor, mistrz, wieszcz, ziomek. Korpus badań stanowiły listy (ogółem 98) skierowane do Wincentego Pola przez różnych nadawców w latach 18301872 zamieszczone przez Zbigniewa Sudolskiego w zbiorze: Listy z ziemi naszej. Korespondencja Wincentego Pola z lat 1826-1872 (s. 545-657). W zwrotach adresatywnych Wincenty Pol ukazywany jest m.in. jako ojciec narodu i wieszcz, twórca wielbiony czy wręcz ubóstwiany, szanowany profesor, potwierdzają one tezę Sudolskiego nt. istotnej roli twórcy Mohorta w „kształtowaniu kultury swoich czasów” (LZN, s. 546). Analizowane wyrażenia poświadczają zarazem bogactwo współczesnej Polowi etykiety. Człon podstawowy zwrotu adresatywnego wzbogacają liczne określenia towarzyszące, które powodują, że adresatywy z listów do Pola umieszczone na skali stopniowalnej grzeczności – są bardzo grzeczne. Jak się wydaje, często formuły te są próbą pogodzenia konwencji – pisania wedle zwyczaju – i szczerego uczucia nadawcy – pisania wedle serca.
4
Publication available in full text mode
Content available

Mesjanizm rozproszony. Epigonia oraz Polonia aeterna Wojciecha Wencla

51%
Spólna A.
Świat i Słowo
|
2020
|
vol. 35
|
issue 2
109-125
EN
The article shows forms that neo-romantic messianism takes in Wojciech Wencel’s poetry volumes Epigonia and Polonia aeterna. The Polish nation, understood as a primordial community, is depicted through the prism of national-conservative clichés, taken from freely interpreted Sarmatian literature and Mickiewicz’s romanticism. The hero of Wencel’s poems has a sense of mission as a guide for his compatriots through the traps of late modernity and as a guardian of national memory. The language of this poetry, ostentatiously old-fashioned, serves to sacralize history seen as a continuum of struggle and martyrdom. Both books demonstrate a strongly internalized, martyrological-heroic concept of the messianic calling of Poland – although not expressed as directly as in the preceding volume, De profundis.
5
Publication available in full text mode
Content available

O skrzypcach oraz ich muzyce w wierszu do „artysty zapomnianego” - Do Nikodema Biernackiego

45%
Łuczak B.
Studia Norwidiana
|
2013
|
vol. 31
91-116
EN
The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.
6

O skrzypcach oraz ich muzyce w wierszu do "artysty zapomnianego" - do Nikodema Biernackiego

45%
Łuczak B.
Studia Norwidiana
|
2013
|
vol. 31
91-116
XX
The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.
7
Publication available in full text mode
Content available

Motywy romantyczne na kanwie archetypów biblijnych w powieści hebrajskiej Tomasza Augusta Olizarowskiego. Część I. Harfa Samsona

38%
Jarosz A.
Język - Szkoła - Religia
|
2023
|
vol. 18
80-95
EN
The article pertains to a Hebrew novel by Tomasz August Olizarowski, which was written in two stages. The first part entitled Sophet’s. A Hebrew Novel. Song 1–2 was written between 1836 and 1845 and published in 1852; the second, entitled Samson. A Hebrew Poetic Novel, was first published in 1873. They constitute integral units and each can be treated separately. They are linked by the title character and his story. The figure of Samson, as created by Olizarowski, is a complex and original construct. It was shaped from biblical archetypes, which we have divided into two categories: poetic language and artefact (object). In this sketch, we have analysed the second of the indicated categories: the shaping of the character in connection with his main attribute (the harp), which is an important archetypal motif. The cedar, prophetic harp with golden and silver strings is part of the sacred and co-creates the story presented in the poetic novel. Based on this artefact, the poet introduces important Romantic motifs: song, the prophetic (and poetic) word and the concept of the Logos. The combination of the figure of Sophet with this archetypal instrument allows us to relate it to the figures of Orpheus and Christ, as well as to recognise in it the universal figure of the bard, the singer (Homer, Oisin, Bojan).
PL
Artykuł dotyczy powieści hebrajskiej Tomasza Augusta Olizarowskiego, która powstawała w dwu etapach. Pierwsza część pt. Softy. Powieść hebrajska. Pieśń 1–2 została napisana w latach 1836–1845, a wydana w 1852 r.; druga, zatytułowana Samson. Poemat hebrajski, ukazała się po raz pierwszy w 1873 r. Stanowią one integralne całostki i każdą z nich można traktować osobno. Łączy je tytułowy bohater i jego historia. Wykreowana przez Olizarowskiego postać Samsona jest konstruktem złożonym i oryginalnym. Została ukształtowana z archetypów biblijnych, które podzieliliśmy na dwie kategorie: języka poetyckiego i artefaktu (przedmiotu). W niniejszym szkicu poddaliśmy analizie drugą ze wskazanych kategorii: ukształtowanie postaci w powiązaniu z przynależnym jej głównym atrybutem (harfą), będącym ważnym, archetypicznym motywem. Cedrowa, prorocka harfa o złotych i srebrnych strunach przynależy do sfery sacrum i współkreuje prezentowaną w poemacie historię. Na podstawie tego artefaktu poeta wprowadza do utworu motywy ważne w romantyzmie: pieśń, słowo prorockie (i poetyckie) oraz koncepcję Logosu. Połączenie postaci Softego z tym archetypicznym instrumentem pozwala nam odnieść ją do postaci Orfeusza i Chrystusa, jak również rozpoznać w niej uniwersalną figurę wieszcza, pieśniarza (Homera, Oisina, Bojana).
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.