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1

Efekt Bonhoeffera w poezji polskiej od Barańczaka do Różewicza

100%
Bogalecki P.
|
2018
|
vol. 72
|
issue 3(322)
177-184
PL
Artykuł poświęcony jest wpływowi, jaki na polskich poetów powojennych wywarła biografia i teologiczne intuicje urodzonego we Wrocławiu Dietricha Bonhoeffera (1906–1945). Podkreślając rolę publikacji z 1970 roku (Wyboru pism luterańskiego teologa oraz monografii Chrześcijanin w Trzeciej Rzeszy Anny Morawskiej), autor postrzega zagadnienie to jako przejaw opisanego już wpływu autora Naśladowania na opozycję lat 70. i 80., zwłaszcza na przedstawicieli tzw. lewicy laickiej. Jego materiał badawczy stanowią zarówno przywołujące Bonhoeffera teksty dyskursywne polskich poetów (S. Barańczaka, W. Woroszylskiego czy A. Zagajewskiego) i nawiązujących do nich eseistów (A. Michnika czy S. Chwina), jak i same teksty poetyckie (m.in. S. Stabry, W. Woroszylskiego, K. Brakonieckiego). Dłuższe analizy poświęcone zostały cyklowi Sztuczne oddychanie Barańczaka (1974), w którym – za J. Kandziorą – odnajduje autor liczne nawiązania do Bonhoeffera, oraz odnoszącemu się do niego bezpośrednio poematowi nauka chodzenia Tadeusza Różewicza (2004). Pobocznym celem artykułu jest przegląd powojennych polskich wierszy przywołujących postać Marcina Lutra, wśród których część – jak teksty Różewicza czy Woroszylskiego – powstała w czasie zainteresowania ich autorów postacią Bonhoeffera.
EN
An article on the impact exerted on Polish poets by the biography and theological intuitions of the Wrocław-born Dietrich Bonhoeffer (1906–1945). While stressing the role played by publications from 1970 (Selected Writings by the Lutheran theologian and the monograph: Chrześcijanin w Trzeciej Rzeszy by Anna Morawska) Piotr Bogalecki perceived this problem as a symptom of the already described influence of this author on the opposition of the 1970s and 1980s, especially the so-called secular leftists. Here, research material is composed both of discursive texts by Polish poets referring to Bonheoffer (S. Barańczak, W. Woroszylski or A. Zagajewski) and essayists evoking them (A. Michnik or S. Chwin), as well as poetry i (i.a. S. Stabro, W. Woroszylski, K. Brakoniecki). Longer analyses are dedicated to the Sztuczne oddychanie (Artifical Respiration) cycle by Barańczak (1974), in which the author, following the example of J. Kandziora, discovered numerous mentions of Bonhoeffer, as well as to the poem: nauka chodzenia (Learning to Walk) by Tadeusz Różewicz (2004) with its outright direct references. A lateral objective of the article is a survey of post-war Polish poems evoking the person of Martin Luther, some of which – such as texts by Różewicz or Woroszylski – were written at a time when their authors were interested in Bonhoeffer.
2
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„Zwięźle spleciony warkocz kontrapunktu”. Poezja Stanisława Barańczaka a doświadczanie granicy „

87%
Piotrowska-Grot M.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2019
|
issue 36
149-165
EN
The article attempts to familiarise the reader with Stanisław Barańczak’s poetic presentations of experiencing border and limit. It synthesises the set of various sorts of limits faced by the human from Barańczak’s poems. Moreover, the analyses and interpretations in the article aim to make evident the characteristic way in which the author of Surgical Precision (Chirurgiczna precyzja) presents the border between existence and eschatology and, more specifically, the way how Barańczak nullifies this border between dimensions in his poetry. His poems are not devoid of metaphors inspired by eschatological considerations and the functions these references serve are worth a closer look. Firstly, there are the most obvious sociopolitical connotations also used by the language of communist propaganda. The most important in the quoted poems, though, are the deliberate references to eschatology that expose the association mechanism and deconstruct the linguistic habits of a Christianity-based cultural circle. Using the ambiguity of specific words and images and creating metaphors based on eschatology-related phenomena, Barańczak familiarises the reader with death and negates the artificial duality of worlds. This is not, however, metaphysical poetry in a classic sense; it is poetry close to human existence and, above all, to all of the numerous fears accompanying people.
3
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Dziesięć sążni w dół albo dziesięć uwag o płynności i głębi

87%
Hoffmann K.
Przestrzenie Teorii
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2016
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issue 26
163-173
PL
The text is an interpretation of Stanisław Barańczak’s poem From the introduction to a phrasebook. The reading of the lyric reveals a basic organizing opposition, i.e. the dichotomy of “liquidity” (“shallowness”) and “depth”. The final parts of the interpretation present the role of poetic language (defined through modernistic concepts) as a language that gives the opportunity to counter the aporia inherent in every act of communication.
4
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Ginsberg Barańczaka. Z dziejów jed(y)nego przekładu

76%
Meller O.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2019
|
issue 36
227-242
EN
The article is an analysis of the translation of the poem A Supermarket in California (Supermarket w Kaliforni), the only poem by Allen Ginsberg translated by Stanisław Barańczak. In the critical works of the author of Facial Corrections (Korekta twarzy) the beatnik’s poetics is contrasted with the poetry of Robert Frost and James Merill – writers crucially important to the translator. Despite this, A Supermarket… enriched Barańczak’s anthology of American Poetry published in 1998. The translator’s key choice appears to be the use of a conversational idiom, placing the poem opposite the ‘howling’ diction from the flagship poems of the author of Howl. The testaments of a dialogue with tradition is what Barańczak seeks in it; he is most interested in the formal and semantic bows to the father of American poetry. What Barańczak makes the semantic dominant is, rather than the structure of the text or the images evoked in it, Whitman’s patronage with all its consequences.
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Harmonia, polifonia czy zgrzytliwy dysonans? O samotności w Winterreise Wilhelma Müllera, Franza Schuberta i Stanisława Barańczaka

75%
Leśniewska A.
Facta Ficta. Journal of Theory, Narrative & Media
|
2020
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vol. 6
|
issue 2
53-70
EN
In the article Harmony, polyphony or a grapy dissonance? About loneliness in Müller, Schubert and Baranczak's ‘Winterreise’, Anna Leśniewska juxtaposes different views on the process of experiencing the state of loneliness and despair: an exalted Werther romantic confronted with the cold-hearted rationalism of a 20th century cosmopolitan. The first stance is presented in Winterreise, a cycle of songs by Franz Schubert from 1827 to the lyrics of Wilhelm Müller, which is an extremely expressive demonstration of man's existential problems in the 1820s – including loneliness, a crisis of subjectivity, the failure of love, a sense of individual isolation, and attempts to gradually accept the approaching death without a certainty of existence of afterlife. The romantic view is contrasted with the poetic counterfactual Winter Journey. Poems to the music by Franz Schubert (Podróż zimowa. Wiersze do muzyki Franza Schuberta) written by Stanisław Barańczak in 1994 – a volume of poems strongly associated with Schubert's songs through explicit and implicit references, but remaining an autonomous creation. These two incompatible epochs condition the development of completely different crises related to an individual's infirmity towards the problem of loneliness, his social maladjustment and isolation caused by it, and his doubts about the meaning of human existence in the sense of metaphysical emptiness. Assuming a comparative perspective, one can feel a constant tension between Winterreise and Winter Journey. Evidently, Barańczak's Journey is an idiosyncratic response to the 19th century work, but the comparison of these shots and the study of their interrelations is made possible by the musical layer – the compositions of Franz Schubert – that links the two works and creates the "effect of mutual references in the Müller- Schubert-Barańczak triangle" described by Anna Węgrzyniakowa. Barańczak's Winter Journey, considered as a poetic counterfactual, grants a possibility of approaching the three texts comparatively; in this way, it allows us to confront Müller's and Barańczak's visions to answer the questions formulated by men of the 19th and late 20th centuries, accompanied by Schubert's compositions.
6
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Osobnienie

71%
Siwczyk K.
Poznańskie Studia Polonistyczne. Seria Literacka
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2019
|
issue 36
31-39
EN
The article aims to outline the presence of a metaphysical perspective in Stanisław Barańczak’s poems which is already present in the poet’s earliest works. Barańczak outlines this process in his debut collection. His translation achievements support the presence of a metaphysical perspective in his original poems, and the mutual dependence of his poetry writing and translation can already be clearly felt in his initial works. The article compares the views of poets from generations younger than Barańczak’s and their reactions to the work of the author of A Postcard from the Other World (Widokówka z tego świata).
7
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O doświadczeniu akuzmatycznym w poezji. Słuchanie świata w Szybkim wierszu Adama Zagajewskiego oraz Kontrapunkcie Stanisława Barańczaka

71%
Reimann-Czajkowska A.
Forum Poetyki
|
2022
|
issue 27
90-105
EN
The paper is about intermediality, focusing especially on relations between music and literature, connected by music in lyrical circumstances (Iwona Puchalska) in poetry. It is an attempt at listening to an intertextual dialogue between two poems, where listening to music is the most important experience (Goldberg Variations by J.S. Bach in Barańczak’s Kontrapunkt, and a Gregorian chant in Zagajewski’s Szybki wiersz). In the two poems logos and melos are inseparable, they permeate each other, they organize the fictional space of their respective texts, and serve as a starting point for existential considerations. Listening thus brings a new sort of a sensual reception (and organization) of reality, in which experiencing opposites can lead to desired Harmony.
PL
Artykuł zatytułowany „O doświadczeniu akuzmatycznym w poezji. Słuchanie świata w Szybkim wierszu Adama Zagajewskiego oraz Kontrapunkcie Stanisława Barańczaka” wpisuje się w problematykę intermedialności, szczególnie zaś koncentruje się na muzyczno-literackich relacjach w tekstach poetyckich, które łączy „muzyka w okolicznościach lirycznych” (Iwona Puchalska). Szkic jest próbą wsłuchania się w intertekstualny dialog, jaki nawiązuje się między wierszami, w których najważniejszym doświadczeniem podmiotu jest słuchanie muzyki (Wariacji dla Goldberga J.S. Bacha w wierszu Barańczaka i chorału gregoriańskiego w wierszu Zagajewskiego). W interpretowanych utworach logos i melos to sfery nierozłączne, wzajemnie się przenikające, które organizują fikcyjną przestrzeń tekstów, będąc zarazem punktem wyjścia do rozważań o charakterze egzystencjalnym. Słuchanie przynosi tym razem nowy rodzaj zmysłowego odbioru (i porządkowania) rzeczywistości, w której także doświadczenie przeciwieństw może prowadzić do utęsknionej Harmonii.
8
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Suplementa. (O sztuce czytania i nieczytania Podróży zimowej)

65%
Olszański G.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2019
|
issue 36
167-193
EN
Stanisław Barańczak collection Journey in Winter (Podróż zimowa) published in 1994 was enthusiastically received by critics, resulting in a great number of related essays and reviews. The author of Supplements reconstructs the main reading strategies of the reviewers and takes a close look at the tools and context they employ. Finally, the reflections on the ways of interpreting the Poznan-born poet’s book provoke the author to consider the critical and poetic biases, the issue of music as a source of identity and a very nonobvious relation between Schubert’s vocal works and the rap aesthetics.
9
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Stanisław Barańczak Hi-Fi. Antynomia modernistycznej estetyki

65%
Biedrzycki K.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2014
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issue 24
283-290
EN
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.
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