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Czy mężczyźni napisali Biblię tylko dla chłopców? Amerykańskie echa głosu Lutra w wierszu Emily Dickinson

100%
Soćko J.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 3(322)
168-176
PL
Artykuł zasadza się na interpretacji jednego wiersza Emily Dickinson – nietłumaczonego dotąd na język polski utworu o numerze 1545, zaczynającego się od wersu: The Bible in an antique Volume. Nakreślając biograficzny kontekst, który zaważył na kształcie tego wiersza, autorka pokazuje, jak nauczanie Lutra i Kalwina wpłynęło na wczesne, purytańskie społeczności w Stanach Zjednoczonych oraz rozwijające się wraz z nimi tożsamościowe narracje Amerykanów. Komentując poszczególne wersy utworu, autorka omawia m.in. specyfikę i rolę purytańskiego kaznodziejstwa, wpływ protestantyzmu na postawę i argumenty XIX-wiecznych sufrażystek oraz na purytańską obsesję na punkcie śmierci. Ostatnia część artykułu pokazuje, jak purytańskie dziedzictwo wpłynęło na wizjonerski idiom nowatorskiej poezji Emily Dickinson.
EN
The article is based on an interpretation of a single poem by Emily Dickenson, up to now not translated into the Polish; this is poem no. 1545 starting with the verse: The Bible is an Antique Volume. By sketching the biographical context, which affected the shape of the poem in question, the author demonstrated how the teachings of Luther and Calvin impacted Puritan communities in the United States and the developing parallel identity narrations of the Americans. In her comments on particular verses of the poem the author discussed, i.a. the specificity and role of Puritan preaching, the influence of Protestantism on the attitudes and arguments of nineteenth-century suffragettes, and the Puritan obsession with death. The last part of the article indicates the way in which Puritan legacy affected the visionary idiom of the pioneering poetry of Emily Dickinson.
2
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Tłumaczki chleb powszedni. Ludmiła Marjańska i Mary Swann

76%
Rajewska E.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2018
|
issue 33
291-307
EN
The article discusses a translation of a Carol Shields’s novel Swann. A Mystery (1987) by a Polish poet Ludmiła Marjańska (Zagadka wiecznego pióra, 1998). Marjańska’s translation is not an easy one to assess: it contains some shifts as well as simple mistakes, but Polish versions of lyrics quoted in the novel as written by a mysterious, unacknowledged (and non-existing) poet Mary Swann are undeniably its strongest point. What makes them more interesting, they show close affinity to poems by Emily Dickinson translated by Marjańska – and to her own poetry.
3
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Czy Emily Dickinson pisała wiersze?

75%
Magnone L.
Przegląd Humanistyczny
|
2017
|
vol. 61(4 (459))
103-124
PL
The author proposes a reflection on discovering the poet with regard to his creation or construction. This issue is discussed on the example of Emily Dickinson’s works which were published only after her death and were not prepared for print by the author herself. In the light of the latest research on the material dimension of her legacy (starting from Virginia Jackson’s study Dickinson’s Misery: A Theory of Lyric Reading from 2005 to the recently published collection The Gorgeous Nothings. Emily Dickinson’s Envelope Poems), it appears that many of Dickinson’s works were not written in a form that could be recognized as poetic at first glance. A large part was preserved only in notebooks, loose sheets covered with handwriting written in continuo or at odd angles, in a manner adapted to the format of a given scrap of paper, usually a free fragment of a recycled envelope or a torn-off corner of a piece of paper used previously for a different purpose. These texts had to be recognized then by discoverers as poems, and then copied and edited in a way consistent with what was considered lyric poetry in the era. Some of them were then rejected as not falling into the category of poetry and included in the opus of the American only by later researchers. Others, in the first editions treated as poems with time were excluded by historians of literature from this collection. Contrary to the provocative title, the aim of the article is not to answer the question about the status of the texts left by Dickinson. Instead, the author reflects on the poetic criteria ascribed to her works by the first and subsequent readers.
4
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Persona liryczna w wierszach Cypriana Norwida i Emily Dickinson

75%
Samsel K.
Przegląd Humanistyczny
|
2017
|
vol. 61(4 (459))
93-101
PL
The study is devoted to personological analysis of the one-hundred-poem collection entitled Vade-mecum by Cyprian Norwid in the light of advanced and, above all, multidimensional research on the personology of the subject of creative activities of Emily Dickinson’s poems. Based to a large extent on Robert Weisbuch’s complex terminology from the canonical volume Emily Dickinson’s Poetry, using his typology of lyrical personas, the researcher on Norwid gains important, additional comparative literature tool allowing, e.g. the juxtaposition alongside each other of the types of poetry written by Norwid, Dickinson and Baudelaire (Norwid’s and Dickinson’s lyrical persona is – it seems – a mixture of a “wounded dialectician” and “engaging sufferer”, Baudelaire’s persona is, in turn, the marriage of features of an “engaging sufferer” and “withdrawn bard”). This is how the premodernist “theatre of personas” is created, the stronger that – which I am trying to emphasize in this text – despite appearances, it is possible to find similarities in the poetic language between the works of Norwid and Dickinson. In the same way, Norwid and Dickinson – in order to build their lyric – use a poetic function in the Jakobsonian sense: on the one hand, they strengthen and intensify its impact, on the other hand, they use it to “cover up” the phenomenon of linguistic disintegration of the world for which Modernist lyric poetry served in a special way as a detector, a kind of litmus paper.
5
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Between Poetic Voice and Silence: Hart Crane, Yvor Winters, Metapoetics and Emily Dickinson’s Legacy

75%
Piechucka A.
Text Matters: A Journal of Literature, Theory and Culture
|
2020
|
issue 10
336-363
EN
The article is a comparative study of the ways in which two American modernist poets bound by a literary and human connection, Hart Crane and Yvor Winters, dealt with Emily Dickinson’s legacy in their own works. My study is an attempt to place Crane within the legacy of the American Renaissance as represented not by Walt Whitman, with whom he is customarily associated, but by Dickinson, and to examine the special place she holds in Crane’s poetry and in his thinking about poetry and the world at large. Crane’s poetic take on the Amherst poet is set against and complemented by his friend Yvor Winters’s ambiguous relationship with Dickinson’s heritage: troubled by an anxiety of influence, Winters, the poet-critic, vacillates between his reverence for the female poet and his skepticism about certain aspects of her œuvre. In the close readings of the poems in question undertaken in my study, the focus is on their metapoetic dimension. Particular emphasis is laid on the dialectics of silence, which plays a key role in both Crane’s and Winters’s works under discussion, as well as on the related themes of blankness and absence, poetic plenitude and perfection. Attention is also given to the problematics of death, time and timelessness. While Winters concentrates mostly on metapoetics in his exploration of the Dickinsonian tradition, Crane goes further, considering the fate of female artists and gender issues, thereby transcending poetic self-reflexiveness and addressing farther-reaching community concerns, with particular emphasis on anti-patriarchal and feminist ones.
6
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Poetyckie powroty zza grobu

63%
Kącka E., Książyk Ł.
Przegląd Humanistyczny
|
2017
|
vol. 61(4 (459))
7-8
PL
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7
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Opowieść o „życiopisaniu”. Portret Emily Dickinson w filmie Cicha namiętność Terence’a Daviesa

44%
Bobowski S.
Tematy i Konteksty
|
2019
|
vol. 14
|
issue 9
610-635
EN
Emily Dickinson was not married nor had children, she did not establish a family, but she had a life filled to the brim with love, friendship, suffering, death, searching for God and, of course, writing poems about all these fundamental phenomena of human existence. Her poetry reveals a picture of a woman who is unusually spiritually rich, beautiful and…unhappy, living for the bigger part of her mature existence like a hermit, oftentimes being a witness of deaths of those to whom she was closest. Additionally, perhaps because of her Sapphic inclination, she could experience suffering being forced to suppress it and feeling social isolation or exclusion. On the other hand, any reader of poems by “the nun of Amherst” can sense a great blast of happiness and some ecstatic delight over the existence itself and… the possibility of expressing this delight in poems. Just life itself and poetry were the greatest passions of Dickinson among many others which profusely filled her psyche. Indeed, it is difficult to assess which of these two infatuations was stronger. That is why I used in the title of my essay a neologism: “life-writing” (“życiopisanie”), which was some time ago first employed by the Polish poet Edward Stachura in reference to his own life and poetry. Terence Davies’s movie about Emily Dickinson and her life is a real masterpiece in which the weave of the two main  passions Dickinson had, their interpenetration, their ardent intimacy or simply  indissolubility and unity have been shown in a deliciously suggestive way. The essay is a modest attempt at using such a way of describing things.
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