The appearance of a humorous current, where the principle of a pure-nonsense dominated, was a significant phenomenon in Polish poetry after the year 1989. It was initiated by Stanisław Barańczak and continued by Wisława Szymborska. The question arises: what caused the humorous creation to occupy a significant place in the newest poetry? What is more, under the pen of the most prominent creators. Obviously, one of the motivations for this type of creative activities is very simple – it is a game, and games have accompanied the poetic life from the beginning of time. The issue is, paradoxically, much more serious. Now, the games of Barańczak and Szymborska result directly from their poetics, especially from their sensitivity to the language, its power and weakness. Both poets in their serious, but also unserious poetry examine the language boundaries: how far does the language reach in its ability to name? The unserious poetry of Barańczak and Szymborska constitutes an integral part and continuation of their creative activity. One can find there all the elements present in their serious poetry. In that sense, it is a manifestation of the modernistic (the twentieth-century) sensitivity to language.
The article is a comparative analysis of two poems by Stanisław Barańczak: Bez poprawek [Without Corrections] from his debut collection Facial Corrections (Korekta twarzy) and She Cried That Night, but Not for Him to Hear (Płakała w nocy, ale nie jej płacz go zbudził) from his last collection Surgical Precision (Chirurgiczna precyzja). The subject of both these poems is love. In the first one, the erotic poem takes a surprising turn when the punchline reveals the object of feelings to be a text. It opens the reading proposed in the title, according to which the love described by Barańczak is turned into a text, a story, an emotional relationship between two people mediated by language, mutual interpretation and, as a final consequence, by poetry. The article discusses whether transferring feelings into a text is a necessary consequence of the textual nature of one’s presence in the world, whether it results in this tragic alienation of even the closest people or – quite the contrary – whether it allows one to break through the individuality.
Nowe książki, które właśnie się ukazały, pozwalają na doczytanie Błońskiego. Wydawało się, że znamy go już wystarczająco dobrze, że wszystko przeczytaliśmy. Tymczasem wydobywane są na światło dzienne teksty wcześniej niepublikowane, niekiedy bardzo osobiste, intymne. Przypominamy sobie też (lub czytamy pierwszy raz) rzeczy drukowane, ale zagubione w czasopismach lub programach teatralnych. To okazja, żeby na twórczość Jana Błońskiego spojrzeć z innej strony i na nowo ją przemyśleć. Dopełniamy wiedzę o jego pisarstwie, ale także – co nie mniej ważne – o jego osobie
The preamble of National Core Curriculum for Basic Education in Poland presents main aims, for example guiding to the values, teaching skills of communication, active participating in culture. However, the analysis of the part devoted to the subject of Polish tongue and culture shows there is contradiction between declaration and strict requirements. The created by Curriculum pupil who ends the education at the Polish primary school mainly is an expert equipped in opulent knowledge on language and literature, not skilled and responsible user of communication and participant in culture. As an opposed model, we can present the Finnish National Curriculum where knowledge is subordinated to practical skill.
The interpretation of the poem “Hi-Fi” by Stanisław Barańczak leads to the reflection over the tension between the two modernist aesthetic postulates: the pursuit of pure beauty in art and the pursuit of the truth about the world by means of art. For Barańczak the pretext for entering into this discussion was the arrival of new technical abilities – sensitive appliances which can register and recreate all sounds from a concert, also the ones non-musical, unwanted from the perspective of an expected aesthetic perfection.
The article is a synthetic presentation of the assumptions and results of the PISA study. The article discuses methodology of assessment, ways of doing it and forms of tasks. Particular attention is paid to the main field from the year 2018, i.e. the under standing of the text being read. Basic concepts related to the text, the situation of the reader, and the act of reading were explained. The following sections discuss the results, ta king into account other areas (mathematics, life sciences), historical changes and comparisons with other countries. The results of contextual research were also presented, which give the opportunity to examine the climate of Polish schools, teaching methods, and students’ well-being. Finally, a proposal for the interpretation of the results is presented.
PL
Artykuł stanowi syntetyczne przedstawienie założeń i wyników badania PISA. Omówione są metodologia badania, sposób jego przeprowadzania, formy zadań. Szczególną uwagę poświęca się dziedzinie głównej z roku 2018, czyli rozumieniu czytanego tekstu. Zostały wyjaśnione podstawowe pojęcia związane z tekstem, sytuacją czytelnika, aktem lektury. W dalszej części omówiono wyniki, z uwzględnieniem pozostałych dziedzin (matematyka, nauki przyrodnicze), zmian w ujęciu historycznym oraz porównań z innymi krajami. Przedstawione zostały również wyniki badań kontekstowych, które dają możliwość przyjrzenia się klimatowi polskiej szkoły, sposobom nauczania, dobrostanowi uczniów. Na koniec została przedstawiona propozycja interpretacji wyników.