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1

Wody Zofii Nałkowskiej

100%

Marzec L.

Przestrzenie Teorii

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2011

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issue 16

81-95

EN

The article treats the aquatic imagination of Zofia Nałkowska in her early and late works. The matter of water is in Nałkowska’s writing strongly connected with an image of women, but, as the author claims, not in the way Gaston Bachelard pointed out in his works. Nałkowska throughout her writing attemped to re-think and re-write the Ophelia complex (or the Ophelia myth), indicating cultural and social aspects of women’s choices. The more adequate theory describing women’s relation with water is the one proposed in Luce Irigaray’s essays.

2

Poeta w kajaku. (Bez)ruch i (a)symetria jako kategorie przestrzeni w poetyckich obrazach jezior i rzek Leszka A. Moczulskiego i Zbigniewa Chojnowskiego

51%

Wądolny-Tatar K.

Prace Filologiczne. Literaturoznawstwo

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2015

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issue 5(8)

201-216

EN

The images of lakes and rivers situated in Suwałki, Warmia and Mazurian Regions in the poetry by Leszek A. Moczulski and Zbigniew Chojnowski are constructed on the basis of the space categories related to mobility, immobility, symmetry and asymmetry. A canoe trip, which evokes the aforementioned categories, becomes a metaphor of life or subject’s condition. The properties of lakes/rivers and their activity in the aquatic imagination of authors combine with the issue of individual and collective memory/ oblivion, religious experience, anthropology and history of lands described in the poems. Especially in the poetry of Zbigniew Chojnowski, the lake is the centre of life formation (also an ontogenetic metaphor), the lake’s rhythm determines the subject’s existence. In the poems, the element of water favours also the sexualisation of poetical images.

3

Nil Słowackiego

51%

Krysowski O.

Prace Filologiczne. Literaturoznawstwo

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2015

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issue 5(8)

357-375

EN

The ways of presenting the Nile, as well as its roles in the works of Słowacki are to a large extent related to types of literary entity’s creation. Sometimes the river improves the cognitive opportunities, but sometimes it limits them. At times it appears to be the axis of the world, a place from which one can see the reality with a divine eye. Sometimes, however, it narrows down the perspective, blurs one’s sensitivity and leads one to a tanatic space like the mythological Styx does. The diversity of the river’s images and functions is driven mainly by the romantic subjectivity. It is variable, sometimes growing to the size of the absolute and full of almost cosmic energy, and sometimes shrinking, escaping from the world’s din, looking for the calm in a closed, isolated land of deadly dreams. The poet never follows the traditionally-established pattern of showing the Nile as a source of life and water which provides Egypt with economic welfare. Geography, economics and politics give way to a peculiar romantic humanism in Słowacki’s works. What truly matters is discovering and establishing the relationship between man and the nature, history and transcendence

4

Rzeki w „Królu-Duchu”

51%

Samsel K.

Prace Filologiczne. Literaturoznawstwo

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2015

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issue 5(8)

479-505

EN

The river theme is one of the most outstandingly presented aquatic themes of The Spirit King. It is accumulated in four scenes of the poem. In the first rhapsody: in the symptomatic descent of Her-Armenian to the Styx, Lethe or Neman; next, in Popiel’s civil war at the Vistula. In the third rhapsody (as in Juliusz Kleiner’s edition), the theme is situated in Dobravna’s dream depicting her journey by the subterranean river to sunlit Jerusalem; and also in Bolesław Śmiały’s passages across the Bug and Dnieper. Rivers in genesian landscapes become mainly conceptualised as a part of genesian psychomachia, a battle of spirits included in the realistic/historic domain of conquests, passages, massacres and attacks. As the essentials of a prewar scenery in The Spirit King, they rarely happen to be an aspect of domestic life or Slavic hierophanies. In Slavic genesian calendar, water appears to be only a companion of the mystic fire ceremonies, like the rite of St. John’s Eve or the wedding of Mieczysław and Dobrawna (L. Nawarecka). That is also the reason why the interpretation of aquatic context of The Spirit King as yet another immanent context of the ‘great Slavic epic’ seems to be a form of reductionism, as it does not consider the ‘mystic structure of Słowacki’s imagination’ (M. Cieśla-Korytowska). The Vistula is a Polish Nile, the Neman becomes a Polish Lethe and the scene of cleaning the wounds by Her-Armenian on the banks of the Neman inherits somehow (right after the poem Beniowski) the dimension of the bards’ antagonism (Mickiewicz against Słowacki). The mythical hero of the poem may be seen, in a deeply intermediary manner, as the surpassing and overcoming of Mickiewicz’s Konrad from Dziady, Part III.

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3 Prace Filologiczne. Literaturoznawstwo

1 Przestrzenie Teorii

1 Krysowski O.

1 Marzec L.

1 Samsel K.

1 Wądolny-Tatar K.

3 2015

1 2011

Wody Zofii Nałkowskiej

Poeta w kajaku. (Bez)ruch i (a)symetria jako kategorie przestrzeni w poetyckich obrazach jezior i rzek Leszka A. Moczulskiego i Zbigniewa Chojnowskiego

Nil Słowackiego

Rzeki w „Królu-Duchu”