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Uwagi na temat wiersza „Don Juan i Dońa Anna” Marii Pawlikowskiej -Jasnorzewskiej

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Jęcz J.
Studia Europaea Gnesnensia
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2016
|
issue 14
51-67
EN
The paper aims to offer an interpretation of “Don Juan and Dońa Anna”, a poem by Maria Pawlikowska-Jasnorzewska in the light of one of the most famed European myths. Relying on the abundant studies devoted to the oeuvre of the poet, it is also worthwhile to analyze how the poem was influenced by the social and cultural trends of its times.
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„Więc naprzód pies poczciwy kundel, który nas nigdy nie opuścił…” Wątki kynologiczne w wybranych wierszach polskich poetów XX w.

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Jęcz J.
Prace Literackie
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2017
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vol. 57
105-115
EN
The aim of this paper is to discuss the motif of the dog occurring in the twentieth century Polish poetry. This will entail two research outlooks: 1. the dog as the author of alyrical monologue, per­ceiving the world from an animal’s point of view (Monologue of a dog ensnared in history by Szymborska and A dog’s dream by Gałczyński); 2. the dog as the source of interest for the subject of a poem First of all, the dog by Herbert, Dogs by Baczyński, and Stroking a dog by Pawlikowska-Jasnorzew­ska). The paper serves the role of an introductory article, touching upon the most important issues, foundations and literary devices used in depicting the dog motif in the above-mentioned poems.
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Gdzie jest Komandor? Motyw śmierci w kontekście (nie)obecności Kamiennego Gościa w utworach Tadeusza Micińskiego („Przy grobie Don Juana Tenorio”) i Bolesława Leśmiana ([„Zbladła twarz Don Żuana, gdy w ulicznym mroku”])

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Jęcz J.
Prace Literackie
|
2016
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vol. 56
83-101
EN
The story of don Juan, persistently retold by many poets, seems to be only a pretext for show­ing the problem of presence/absence of Commander (and, as a consequence, death motif) in the Tadeusz Miciński and Bolesław Leśmian’ s poems. In the don Juan Tenorio history’s final fragments, the Stone Guest was coming to call for don Juan’s conversion. On the seducer’s incessant refusals and rebelling against the laws set by God and society, the Stone Guest was killing him. Don Juan de Maraña, by contrast, has decided to enter a convent — Commander has reclaimed the sinner. In my article I would like to present the motif of death, love, pride, punishment and conversion in two Young Poland’s poems and I would like to describe these problems considering the époque’s esthetic and cultural dimension.
4

"Śmierć Komandora" Tomasza Łubieńskiego wobec mitu kamiennego gościa w dramacie XVII wieku (Tirso de Molina, Molier)

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Jęcz J.
Prace Literackie
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2014
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vol. 54
5 - 17
EN
In the first part of my article I try to present the emergence and evolution of the Komandor’s myth and then to define the stony guest as a new type of literary character. By analogy with don Juan and Casanova characters, which as donżuan and casanova permanently entered the language and colloquial speech, I tried to act similarly with reference to Komandor. I determined three criteria which in my opinion define seventeenth-century alive sepulchral figures. These are: material (stone), place they come from (the netherworld) and mission (don Juan’s conversion). In the second part of the article I focused on the Komandor’s Death drama by comparing the form of the stony guest from Tirso de Molina’s and Molier’s dramatic works to Komandor in order to finally deny the possibility of considering the title character of Łubieński’s drama a representative of the specific type of character provided by me.
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