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1

Е.В.Спекторский и А.Л.Блок: история взаимоотношений

100%

Михальченко С., Ткаченко Е.

Lublin Studies in Modern Languages and Literature

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2008

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issue 32

58-74

EN

The research is devoted to the initial stage of the biography of an outstanding Russian thinker Evgeniy Vasilyevich Spektorsky (1875-1951). His study at the Warsaw University is characterized. The authors analyze influence which was rendered on him by the professors of the university, first of all, his supervisor A.L.Blok. The work is written on the basis of materials of the Russian, Ukrainian and Polish archives.

2

„To był mastodont” – Mieczysław Szczuka w poszukiwaniu piękna utylitarnego

71%

Więcek-Gigla A.

Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia

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2020

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vol. 38

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issue 1

EN

The article is an attempt at outlining the biography of Mieczysław Szczuka, a Polish graphic artist of the interwar period. His short-lived artistic activity is important because of his fascination with Soviet constructivism, pioneering Polish photomanipulation, theoretical work and combining artistic ideas with the communist pursuit of social and political revolution. Szczuka co-created the art and literary magazines (Blok [The Bloc], Dźwignia [The Lever]) and was involved in avant-garde publishing. The programme statements brought up in this paper were part of the artistic and literary discussions of the interwar period.

PL

Artykuł jest próbą biografii Mieczysława Szczuki – polskiego artysty-grafika międzywojnia. Jego krótka działalność jest istotna z uwagi na fascynację radzieckim konstruktywizmem, pionierstwo w zakresie polskiego fotomontażu, działalność teoretyczną oraz zespolenie idei artystycznychz komunistycznym dążeniem do przeprowadzenia rewolucji społeczno-politycznej. Szczuka współtworzył czasopisma artystyczno-literackie (Blok, Dźwignia) oraz angażował się w wydawniczą działalność awangardową. Przywoływane wypowiedzi programowe wpisywały się w artystycznei literackie dyskusje międzywojenne.

3

Venezia nella poesia di Jarosław Iwaszkiewicz

71%

Prola D.

Italica Wratislaviensia

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2021

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issue 12.1

177-196

EN

The article explores the problem of the representation of Venice in Jarosław Iwaszkiewicz’s poetry, starting from the short series “Tram Tickets,” from the mid-1920s, to the masterful “Ode on the Destruction of Venice,” a true farewell and poetic testament of the writer. This study seeks to define the characteristics of the city’s genius loci, tracing the relationships between romantic historicism, perceptual poetics, and the decadent aestheticism of Iwaszkiewicz. For the poet, Venice constituted a complex palimpsest where every added word necessarily had to be negotiated with a complex and cumbersome tradition of texts and images; every attempt to define the nature of the city implied a Sisyphean effort to find a pure and non-conditioned look. For this reason, he was convinced that Venice could be described only indirectly, through the rhetorical tools—similes, synaesthesia, metaphors —offered by poetic language. Iwaszkiewicz’s representation of Venice appears to be rooted in particular in the modernist tradition and in its complex network of cultural and symbolic references. The essay highlights the influence of John Keats and Aleksandr Blok, as well as the specific interpretation of the figures of Endymion and Salome, symbols of eternal youth and beauty, the myths on which the poetics of the Polish writer was based. Among all the cities that are reflected in Iwaszkiewicz’s works, Venice is the one that best expresses his conception of the crisis of European civilisation, awareness of the end of a historical period, and hope of a future palingenesis.

IT

L’articolo affronta il problema della rappresentazione di Venezia nella produzione lirica di Jarosław Iwaszkiewicz a partire dalle brevi poesie del ciclo “Biglietti del tram”, della metà degli anni Venti, sino all’Ode sulla distruzione di Venezia, scritta alla fine della sua vita, vero e proprio commiato e testamento poetico dello scrittore. Nello studio si cerca di definire le caratteristiche del genius loci della città, tracciando i rapporti tra lo storicismo romantico, la poetica percettiva e l’estetismo decadente dello scrittore. Per Iwaszkiewicz, Venezia si poneva come un complesso palinsesto dove ogni parola aggiunta doveva necessariamente venire negoziata con una complessa e ingombrante tradizione di testi e di immagini, ogni tentativo di definizione implicava la fatica sisifea di ritrovare uno sguardo puro, originario, non condizionato. Per questa ragione era convinto che Dario Prola 196 Venezia potesse venire descritta al meglio solo in modo indiretto, attraverso gli strumenti retorici - similitudini, sinestesie, metafore - offerte dal linguaggio poetico. La rappresentazione di Venezia di Iwaszkiewicz appare radicata in particolare nella tradizione modernista e nella sua complessa rete di riferimenti culturali e simbolici. Nel saggio si mette in evidenza l’influenza di John Keats e di Aleksandr Blok, la specifica interpretazione delle figure di Endimione e di Salomè, simboli dell’eterna giovinezza e della bellezza, i miti su cui si fondava la poetica dello scrittore polacco. Tra tutte le città che trovano espressione nella sua letteratura, Venezia è quella che meglio esprime la sua concezione della crisi della civiltà europea, la consapevolezza della fine di una fase storica, la speranza di una prossima palingenesi.

Refine search results

1 Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia

1 Italica Wratislaviensia

1 Lublin Studies in Modern Languages and Literature

1 Prola D.

1 Więcek-Gigla A.

1 Михальченко С.

1 Ткаченко Е.

1 2021

1 2020

1 2008

Е.В.Спекторский и А.Л.Блок: история взаимоотношений

„To był mastodont” – Mieczysław Szczuka w poszukiwaniu piękna utylitarnego

Venezia nella poesia di Jarosław Iwaszkiewicz