Search results - CEJSH

1

„Poza wierszem i prozą, poza intencją i uzasadnieniem”. O granicach wierszowości w serii przypisów do utworu Zmieniał się język

100%

Cieślak-Sokołowski T., Uniwersytet Jagielloński W. P., tomasz.cieslak-sokolowski@uj.edu.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2012

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vol. 01

EN

The article attempts to outline such a concept of critical reading which would take into consideration the deconstructive practice of American critics, which could be applied to the interpretation of Polish modern poetry. My aim is to present the concept of continuity, rather than schism, between New Criticism (the meaning of a poem cannot be determined, the meaning is ambiguous, paradoxical and ironic, held together by the “organic” unity of the poem) and deconstruction (indeterminacy in the poem is the function of its structure). The reading of Czeslaw Milosz’s poem Zmieniał się język proves to be a convenient field for the above statements.

2

Late Masterpieces of Miłosz

100%

Kuczera-Chachulska B.

Colloquia Litteraria

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2017

|

issue 1

EN

In the last lyric Czesław Miłosz raises the themes somehow similar to those which appear in Mickiewicz’s Lozanne lyric: their characteristic feature is also the similarity between the attitudes and formalsolutions. The aesthetic category of the “Lozanne issue” to a great extent builds an extremely brave shape of Miłosz’s late lyric.

3

Miłosz’s Job

100%

Szczepan A. M.

Colloquia Litteraria

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2017

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issue 1

EN

Miłosz’s poetry asks numerous questions concerning an idea ofguilt, forgiveness and suffering nevertheless it never provides easy answers, rather multiplies them creating an atmosphere of overwhelming inescapable responsibility. This essay examines the problem of suffering and its implications in relation to figure of biblical Job that appears in Miłosz oeuvre repeatedly and undergoes a kind of thepoet’s interpretation in Miłosz’s translation of the Book of Job. The main thesis of my considerations is that various strategies of approaching the problem of suffering applied by Miłosz culminate in the conviction that the Joban deepest pain is his uniqueness, his being incomparable to anyone else. The only faith that can sustain in the context of WWII is “a faith through thankfulness” despite evil that ruled the world at that time.

4

The Door to Peace

100%

Kudyba W.

Colloquia Litteraria

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2017

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issue 1

EN

Czeslaw Milosz’s poem Późna dojrzałość describes the experience of spiritual breakthrough. His past time hero feels incomplete. Full--time starts for him at the time of “awakening”. However, deep experience of “me” leads eventually beyond ego – towards the relations with others. The protagonist recognizes both a personal value of himself and of the others. It is the dignity of a “child of the King”, it has its source not so much in axiology, as in the ontology. The described spiritual breakthrough does not solve world’s problems, but introduces a new perspective of their understanding. It allows – thanks to a deep experience of hope – to anticipate the future harmony. Internal doors allow the hero to look into something which will become complete at the end of time, yet it now exists in the form of announcement hidden in the structure of reality.

5

The motives of eyes, blindness and light in late poetic works of Czeslaw Milosz

100%

Dobrzyńska T.

Colloquia Litteraria

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2017

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issue 1

EN

The subject of the examination here is a late period of Miłosz’sliterary output (volumes: „Druga przestrzeń” and „Wiersze ostatnie”). While discussing the motif of eyes, blindness and light the author brings up a general and serious problem of the poet’s vision in his final poems: he uses this theme in existential and metaphysical contexts.

6

Poetry as Czesław Miłosz’s Personal Identity

100%

Bieńkowska E.

Colloquia Litteraria

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2017

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issue 1

EN

The author brings up the problem connected with the intersection (coherence) of „personal rightness” and „poetic rightness” in Czesław Miłosz’s literary output; she endeavours to interpret his poetry as a distinct mark of personal identity. In odrer to do so she refers to such crucial contexts of Miłosz’s writing, the authos of „Ziemia Urlo” as, for instance, Polish romanticism and French writers. The sketch becomes concluded by the necessary – for the poet himself – acceptance by the others.

7

Czesław Miłosz’ American Experience in Światło dzienne (Daylight)

63%

Kołodziejczyk E., Polish Academy of Sciences T. I. o. L. R., ewa.kolodziejczyk@ibl.waw.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 38

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issue 8

EN

Miłosz’s volume Światło dzienne (Daylight, 1953) is conventionally read by critics as the political poetry deeply engaged with history. The article offers a corrective to this traditional reading by interpreting the volume as an interplay of European and American influences. As a European poet, Miłosz had experienced the violent demise of ideals that were the foundation of the Old World. Światło dzienne (Daylight) is, therefore, at one level, an elegiac volume, in which both persons and ideas are mourned. On the other hand, to the extent that for Miłosz America continues the noble ideas abandoned in Europe, he cannot accept what he regards as their misguided or perverse incarnations. This explains the emotional climate of the whole volume, with its dominant mood of disappointment, anger and a refusal of reconciliation. Światło dzienne (Daylight) is American in its outlook on taking seriously America’s status as a superpower and its influence on the future direction of the global history. It is anti-American, however, in identifying America’s perceived failures to live up to the post-war challenge for the human civilization in general, and the consequent dangers. The article intends to assess Miłosz’s debt to English-language poetry in this volume in light of his personal notes from his reading and translation work at the time.

8

Najnowsze bułgarskie przekłady Czesława Miłosza

63%

Bachnewa K.

Postscriptum Polonistyczne

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2013

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issue 2(12)

163-175

EN

Significant for the history of the reception of the Polish poet in Bulgaria are the book published in the Czesław Miłosz year: It (translated by Silvia Borisova and Kamen Rikev). The volume It is discussed from the point of view of the faithfulness of the translation of the poet’s specific philosophical interests. The translation of Native Realm is also of significance to the Bulgarian perception of Miłosz. The artistic value of the translation (Родната Европа, 2012) done by Margreta Grigorova and Mira Kostova is considered with reference to the various meanings of the notion of what it means to be European.

9

„Literatura polska jest projektem na daleką metę”: „prywatne obowiązki” a Miłoszowskie czytanie Rosji

63%

Szumna M.

Pamiętnik Literacki

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2014

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vol. 105

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issue 1

85-104

PL

Artykuł – wpisujący się w tradycję historii intelektualnej – jest próbą pokazania, w jaki sposób można czytać eseistykę Czesława Miłosza pod kątem zawartego w niej projektu modernizacyjnego, nakierowanego na europeizację polskiej kultury. Autorka stara się udowodnić, że „prywatne obowiązki” wolno uznać za jedną z centralnych kategorii w myśleniu tego pisarza i zastanawia się nad tym, w jaki sposób ta koncepcja przekłada się nie tylko bezpośrednio na jego twórczość, ale i na proponowany przez niego model zachowań współczesnego polskiego intelektualisty. Tekst ten można przy tym uznać za swoiste studium przypadku: rozwiązania podsuwane przez Miłosza zostały tu prześledzone na przykładzie odniesień do kultury rosyjskiej występujących w jego szkicach i korespondencji.

EN

Falling into the tradition of intellectual history, the article is an attempt to present the way one reads Czesław Miłosz’s essay writings from the angle of a modernizing project included in it aiming at Europeanization of Polish culture. The author tries to prove that “private obligations” might be seen as one of the central category in Miłosz’s thinking, and ponders over the mode this concept mirrors not only directly his creativity but also the model of behavior of a contemporary Polish intellectual which the writer proposes. The text may furthermore be regarded as a peculiar case study: Miłosz’s suggested solutions are here followed as based on the references to Russian culture present in his sketches and correspondence.

10

„Ale pachniały zioła…”. Kilka uwag o Orfeuszu i Eurydyce Czesława Miłosza

63%

Brzozowski J., Uniwersytet Łódzki I. F. P., jacek_brzozowski@interia.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2012

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vol. 01

EN

The text is an attempt to prove that the descent to the underworld that the poem depicts (written after Carol’s death) led the Old Poet-Orpheus to absolute, completely objective and maximally interiorized knowledge of loss. The knowledge is of certain weight to the author, who only a few years earlier wrote a dramatic poem entitled ‘It’ (‘To’) and made it the first text of his poetic book under the same title. Unlike the case of the ancient Orpheus, or other later Orpheuses, that knowledge is not, however, the character’s final destination. The ending of the poem allows the reader to assume that — typically of Miłosz — it is an opening to the grand epiphany of existence.

11

A Fox in the Land of Ulro: Miłosz and Beckett

63%

Kopciński J.

Colloquia Litteraria

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2017

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issue 1

EN

In the sketch I present Beckett as a representative of western civilisation and a dialogue between Beckett and Czesław Miłosz. A characteristic outcome of this confrontation are the instruction for the habitués of the Urlo Land (Ziemia Urlo): cultivation of love for order, exercising the memory against the flow of time, choice of goodness despite the unmitigated evil, faith in what is visible, love for facts and search for meaning.

12

Czesław Miłosz’ American Experience in Światło dzienne (Daylight)

63%

Kołodziejczyk E.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2016

|

vol. 38

|

issue 8

107-129

EN

Miłosz’s volume Światło dzienne (Daylight, 1953) is conventionally read by critics as the political poetry deeply engaged with history. The article offers a corrective to this traditional reading by interpreting the volume as an interplay of European and American influences. As a European poet, Miłosz had experienced the violent demise of ideals that were the foundation of the Old World. Światło dzienne (Daylight) is, therefore, at one level, an elegiac volume, in which both persons and ideas are mourned. On the other hand, to the extent that for Miłosz America continues the noble ideas abandoned in Europe, he cannot accept what he regards as their misguided or perverse incarnations. This explains the emotional climate of the whole volume, with its dominant mood of disappointment, anger and a refusal of reconciliation. Światło dzienne (Daylight) is American in its outlook on taking seriously America’s status as a superpower and its influence on the future direction of the global history. It is anti-American, however, in identifying America’s perceived failures to live up to the post-war challenge for the human civilization in general, and the consequent dangers. The article intends to assess Miłosz’s debt to English-language poetry in this volume in light of his personal notes from his reading and translation work at the time.

13

CARRYING COALS TO NEWCASTLE COULD ONE SAY IT IN A DIFFERENT MANNER?

63%

Garbol T.

Colloquia Litteraria

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2017

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issue 1

EN

The article’s starting point is the necessity to alter the paradigm of Polish poetry, which is declared in the ‘contemporary Polish lyric poetry’ anthology Powiedzieć to inaczej [To say it in a different manner]. The author attempts to assess the chance of the project’s success.

14

Antynomie religii mitologicznej. Kilka uwag na marginesie Traktatu teologicznego Czesława Miłosza

63%

Koehler K.

Colloquia Litteraria

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2011

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vol. 11

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issue 2

15-30

PL

The Noble Prize winner, Czeslaw Milosz in the last years of his life wrote a religious poem „The theological treatise”. In my paperI try to understand a religious dimension of a person who is the narrator of the poem. This is the voice of an experienced person who tries to find his way between two oppositions: the so called Polish catholicism (which is stereotypised as „mass” catholicism, unreflective, superficial etc) and a religion of a modern intellectual (with his religious hesitations, opposition to the catholic „mob” etc).I try to throw some light on a narrator’s perspective going back to some Molosz’s texts from the past. I hope the paper will be interesting to the scholars and others who are trying to solve the fascinating problem of the religious dimenssion of Czeslaw Milosz’s poetry.

15

Późne arcydzieła Miłosza

63%

Kuczera-Chachulska B.

Colloquia Litteraria

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2011

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vol. 11

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issue 2

81-90

PL

In the last lyric Czesław Miłosz raises the themes somehow similar to those which appear in Mickiewicz’s Lozanne lyric: their characteristic feature is also the similarity between the attitudes and formalsolutions. The aesthetic category of the “Lozanne issue” to a great extent builds an extremely brave shape of Miłosz’s late lyric.

16

Poezja jako tożsamość osobowa u Czesława Miłosza

63%

Bieńkowska E.

Colloquia Litteraria

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2011

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vol. 11

|

issue 2

7-14

PL

The author brings up the problem connected with the intersection (coherence) of „personal rightness” and „poetic rightness” in Czesław Miłosz’s literary output; she endeavours to interpret his poetry as a distinct mark of personal identity. In odrer to do so she refers to such crucial contexts of Miłosz’s writing, the authos of „Ziemia Urlo” as, for instance, Polish romanticism and French writers. The sketch becomes concluded by the necessary – for the poet himself – acceptance by the others.

17

Niedziela w Brunnen po latach

63%

Zieliński J.

Colloquia Litteraria

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2011

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vol. 11

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issue 2

91-100

PL

The author compares two visions of Europe, seen from Switzerland: one by the English economist David Ricardo, who was here in 1822, the second one by Czesław Miłosz, visiting this country in 1953. Link between both is Ricardo’s future Polish translator, at the same time brother of Miłosz’s maternal grandfather. Miłosz’s essay is discussed in the frame of the idea of the „liberation of Eastern Europe”, launched by his editor, Jerzy Giedroyc, in the early fifties, and of Arthur Koestler’s call for an European Legion of Liberty. After comparison of the text of Sunday in Brunnen with the iconographic programme of the parochial church in Brunnen the author comes to the conclusion that Miłosz wrote a work of fiction rather than a documentary report on his visit in this small place in Switzerland. Brunnen can be seen as an exemplum.

18

Antinomies of Mythological Religion; Some Remarks on the Margin of Czesław Miłosz’s “Traktat Teologiczny” (“Treatise on Theology”)

63%

Koehler K.

Colloquia Litteraria

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2017

|

issue 1

EN

The Noble Prize winner, Czeslaw Milosz in the last years of his life wrote a religious poem „The theological treatise”. In my paperI try to understand a religious dimension of a person who is the narrator of the poem. This is the voice of an experienced person who tries to find his way between two oppositions: the so called Polish catholicism (which is stereotypised as „mass” catholicism, unreflective, superficial etc) and a religion of a modern intellectual (with his religious hesitations, opposition to the catholic „mob” etc).I try to throw some light on a narrator’s perspective going back to some Molosz’s texts from the past. I hope the paper will be interesting to the scholars and others who are trying to solve the fascinating problem of the religious dimenssion of Czeslaw Milosz’s poetry.

19

Katastrofizm Czesława Miłosza

54%

Miklas-Frankowski J.

Studia Gdańskie. Wizje i rzeczywistość

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2014

|

vol. 11

61-72

EN

This article is an attempt to look at Miłosz’es catastrophism from the side that has usually been ommitted in research so far – Miłosz’es own attitude to catastrophism – his individual characteristic. It the reconstruction I used Miłosz’es statements about catastrophism from The Land of Ulro, The Witness of Poetry, Native Realm, from conversations with Renata Gorczyńska („World Traveler”) as well as from a polemic article „Death to Cassandra” from 1945. According to Miłosz catastrophism has a planetary scale. It is the end of one world and civilization and the beginning of a new unknown, global world. Diagno-sis of XX century in his opus magnum The Land of Ulro indicates it’s decadent critical character. Civilization and society have been deprived of life-giving „onto-logical ground” and last only thanks to a phenomenon called by Miłosz „the law of delay”. Though, as per Miłosz, catastrophism is not a hopeless vision. The catastro-phe is necessary to let the broken down world be reborn and return to order. In the conclusion to The Land of Ulro author admits that from Oscar Miłosz he inherited faith (…) in a distant happy era of humanity reborn. And in his last Harvard lecture On Hope Miłosz announced that humanity will enter a new, regenerating dimen-sion, regaining it’s historical awareness and will begin learning of its past, contem-plating cultural heritage left behind by past civilizations and generations.

20

„Pomimo Wszystko, Rodzinna Europa”? Polska Wobec Zachodu w Eseistyce Czesława Miłosza / A ‘Family Europe’ in Spite of Everything? - Poland and the West in Miłosz’s Essays

54%

Wawak T.

Kultura i Społeczeństwo

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2013

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vol. 57

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issue 2

197-209

EN

This article is a description of the relation between Polish culture and the West in Czeslaw Milosz’s thought, and an attempt to answer the question of its relevance to the current social situation and the mentality of Poles. Milosz noted that Polish culture is characterized by gentleness. He pointed out the difference between the twentieth century social and political experiences of Poles and of citizens of the West, and for this reason distanced himself from nihilism in post-war France and materialism in the United States in the sixties. At the beginning of the twenty-first century, the penetration of Western cultural patterns is visible in Poland. However, despite the change of the political system, the same traits that characterized Poles in the mid-twentieth century are also observable. Poles, being unable to find their identity in the new social and political conditions, are still looking for a model for their culture.

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