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Szkic do portretu literackiego Marie Krysinskiej

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Wierzbowska E. M.

Pamiętnik Literacki

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2018

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vol. 109

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issue 1

81-94

PL

Marie Krysinska, pisarka, kompozytorka i śpiewaczka, miała ważny wkład intelektualny w filozofię i estetykę swojej epoki. W swoich utworach podejmowała m.in. kwestie kreatywności, geniuszu czy miejsca kobiet w społeczeństwie. Jej dzieło charakteryzuje różnorodność źródeł i wpływów; różne sztuki, literatura, nauka wchodzą w nieustanny dyskurs. Związki Krysinskiej z muzyką wpisują się m.in. w jej działalność w kabaretach „Les Hydropathes” i „Le Chat noir”. W połowie lat osiemdziesiątych XIX wieku poetka została wciągnięta w spór o wolny wiersz (vers libre). Krysinska nie pozwoliła na pomniejszenie swojej roli we wprowadzaniu wolnego wiersza do poezji francuskiej, za co współcześni oraz późniejsi krytycy ukarali ją wykluczeniem. Jej walka o wiersz wolny to przede wszystkim walka o uznanie równości mężczyzn i kobiet w domenie nauki i sztuki.

EN

Marie Krysinska, a woman writer, composer and signer, made a substantial contribution to philosophy and aesthetics of her epoch. In her output she took up, inter alia, the issues of creativity, genius, and women’s place in society. Her work is characterised by diversity of sources and influences as various arts, literature and science enter in it into a continuous discourse. Krysinska’s connections with music constitute, e.g. her activity in two cabarets ”Les Hydropathes” and ”Le Chat noir”. In 1880s she was engaged into a controversy over free verse (vers libre); she disallowed to diminish her role in introduction free verse into French poetry, for which her contemporaries and later critics punished her by exclusion. The fight she fought for the free verse is predominantly a fight for acknowledging equality of men and women in the domain of science and art.

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Poésie et absence

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Litsardaki M.

Quêtes littéraires

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2012

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issue 2

162-172

EN

Considering poetry as a literary form in close relation with absence and scarcity; this paper deals with some of the most frequent and significant forms of absence that appear in poetic texts. The physical absence of the other, due either to death or to the distance between the two individuals, is the most common kind in lyric poetry. Modern poetry often deals with Gods’ absence, which represents an important loss for the contemporary human being, trying to understand or face it. There is also the lack of inspiration and words with efficient expressive capacity that make poets suffer. However, poetry is the only way in which they express their situation and create a meaningful language. Finally, absence in poetry is also a fundamental sign of its generic specificity in connection with the means that it uses, as well as with its printed representation on paper, especially in the contemporary production. In all cases, poetry, based on the dialectic of being – not being, operates as a material, sensible and intellectual presence, which like the primordial logos fillsthe vacuum, eliminates absence and scarcity, generates and animates the human world and en-riches it with presence and meaning.

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« J’allais sous le ciel, Muse ! et j’étais ton féal ». Le vagabond dans la poésie française de la deuxième moitié du XIXe siècle

89%

Varsimashvili-Raphael M.

Quêtes littéraires

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2014

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issue 4

56-66

EN

Throughout history, vagrancy appears as one of the notions of the Human Condition. Its artistic and poetical representations are drawn from multiple sources and offer various models. The fantasy of vagrancy in French poetry in the second half of the Nineteenth Century is fashioned as much through the vagrant’s relationship with space as with Society. Its models spring from marginality and contestation. Spatial structure presents an opposition between « closed » and « open », « interior » and « exterior », and so forth... These separations fluctuate and interact mutually. The poet conjures, from any questing, marginal figure, his own image. The general tendency, from Hugo to Rimbaud, shows both a crushing of the poetical figure, transforming it into a magus or a prophet, and the proliferation of the accursed poet’s « negating anger ».

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Entre dentelle et fragment : évolution de la tactique du vide rimbaldienne de la Saison aux Illuminationsv

75%

Rafika H.

Quêtes littéraires

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2017

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issue 7

51-60

EN

A Season in Hell and Illuminations both of these collections are considered as masterpieces of Rimbaud’s poetry. Whereas A Season in Hell is presented as his artistic testimony, Illuminations, on the other hand, is considered by critics as an abstruse writing, an enigma. Acknowledging critical scholarship on this topic, as well as inherent differences of both collections, this article will show that a link could be found between these two works. This thread, which creates what we would like to call Rimbaud’s embroidery, was created by himself through silence and words. That is this will of Rimbaud for both works and the readers that we will discuss here, a strategy that we have named: Tactic of Emptiness.

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Баллада М. Ю. Лермонтова «Три пальмы» и судьба одного ориентального мотива в поэзии В. Жуковского, А. Пушкина, А. Мицкевича

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Ходанен Л.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2011

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issue 4

53-61

EN

This article concerns the Eastern motif ―the horse and the rider in the desert‖. This motif appeared in French poetry (Millevoye and Lagrange) in connection with the translations of the Bedouin (desert arabs) poetry. Gradually, in the poetry by Zukovskij (Песнь араба над могилою коня), Pushkin (IX Imitation from the poetic cycle Подражания Корану), Mitskevich (Фарис), and Lermontov (Три пальмы), a metasubject was formed, with a synthesis of Eastern and Western motifs. The poets start with the imitation of the Eastern texts and then, in their poetry, they start to express the philosophical ideas of correspondence between the Eastern and Christian cultures as different forms of a civilization development.

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Raný Mallarmé v českých překladech

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Šuman Z., Ébert-Zeminová C.

Slovo a smysl - Word & Sense

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2019

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vol. 16

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issue 31

40-62

EN

This article consists in a thorough analysis of various Czech translations of the early poems of French Symbolist poet Stéphane Mallarmé. The main difficulties arise from Mallarmé’s omnipresence in Czech literary culture, together with a tendency to adapt his poetry to fit the mood of changing historical contexts and expectations. Many Czech poets — some of the most prominent — have dealt with Mallarmé’s poetry, and its influence cannot be limited to a simple matter of translation. Among other things, it has thoroughly permeated Czech poetry in a specifically political way, as we see for example with Hrubín’s historic address to the Convention of Writers in 1956. The overall aim of this paper however is to present a detailed examination of two Parnassian poems by Mallarmé as translated by F. Dohnal, E. Lešehrad, K. Čapek, V. Nezval, F. Hrubín, O. Nechutová, V. Mikeš and J. Pokorný. Based on a series of observations that have mainly to do with semantics, prosody and the translators’ overarching strategies, the authors come to the conclusion that the early Czech translations depend too much (if not word-for-word) on the French originals, and on Parnassian poetical principals. A sensible change comes with K. Čapek. It is, however, F. Hrubín, himself an acclaimed poet, who offers the most convincing translation, at least if we take into consideration such traditional or conservative criteria as precision and accuracy

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Překlady Vítězslava Nezvala : Rimbaud, Baudelaire, Mallarmé

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Pelán J.

Česká literatura (Czech Literature)

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2017

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vol. 65

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issue 1

5-47

EN

This article analyses three sets of translations that form the core of Vítězslav Nezval's translation work: The Work of Arthur Rimbaud (1930), The Poetry of Stéphane Mallarmé (1931) and a selection from Les Fleurs du Mal by Charles Baudelaire (completed 1931, published posthumously 1964). It observes that Nezval declares the translation to be an "analogy and imitation of the original poem", created ex novo from the original "content and verbal material", as this is in line with translation theory at that time, which demanded that a translation should above all be an original poem. In keeping with this principle, Nezval has Rimbaud speak in the modern poetic language which speaks for itself in his collections. His poetic licence is then excused, if not justified, by the conviction that Rimbaud's poetics are the product of a modernism that basically consists in the associative mechanism. However, Rimbaud's, Baudelaire's and Mallarmé's modernism does not work on the basis of the associative principle: quite the reverse, the works of all these poets are characterized by highly rational structuralization. Hence Nezval presented a quite specific "imitation" of the original texts, projecting his own poetics that were in thrall to a cubist-poetist faith in poetic imagery in perpetural motion.

CS

Autor ve své stati podrobuje analýze tři překladové soubory, jež vytvářejí jádro překladatelského díla Vítězslava Nezvala: Dílo J. A. Rimbauda (1930), Poezii Stéphana Mallarmého (1931) a výbor z Květů zla Charlese Baudelaira (dokončeno 1931, publikováno posmrtně 1964). Konstatuje, že jestliže Nezval prohlašuje překlad za "analogii a imitaci původní básně", vytvořenou ex novo z původního "slovního a obsahového materiálu", je zajedno s dobovou teorií překladu, požadující, aby překlad byl především původní básní. V intencích této zásady dává Nezval promluvit Rimbaudovi onou moderní básnickou řečí, jíž ve svých sbírkách promlouvá sám. Licence jsou pak omluveny, ne-li zdůvodněny přesvědčením, že Rimbaudova poetika je produktem onoho modernismu, v jehož základech leží asociativní mechanismus. Modernismus Rimbaudův, Baudelairův a Mallarméův však s asociativním principem nepracuje: díla všech těchto básníků naopak charakterizuje hlubinně racionální konstrukční práce. Nezval tak podal značně specifickou "imitaci" původních textů: promítl do nich svou vlastní poetiku, okouzlenou kubisticko-poetistickou důvěrou v samopohyb básnické obraznosti.

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„Věčnost“ Arthura Rimbauda a její české překlady

63%

Kužel P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2021

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vol. 31

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issue 2

104-120

EN

The study focuses on the significance of Arthur Rimbaud’s poem “Eternity”. It presents a literal Czech translation and a detailed commentary of the poem and compares it with other Czech translations. In addition, it describes the cultural context in which the poem was created, and it attempts to prove a hypothesis — based on the analysis of the poem — that “Eternity” is partially based on specific philosophical concepts of temporality, the absolute, and the Self. Consequently, the study implicitly polemizes with the opinion of Vítězslav Nezval, who significantly influenced the reception of Rimbaud in Czechia. Nezval appreciates Rimbaud’s free imagination, but claims there is no logical intention or philosophical background behind the meaning of Rimbaud’s poems. To prove the opposite, the study uncovers and describes the logical order and philosophical implications of the poem. At the end of the study, the author’s own poetic translation of “Eternity” is presented.

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PILLARS OF THE NATIONAL POETRY: GÉRARD DE NERVAL’S VOICE IN THE ROMANTIC DEBATE ON THE ORIGINS OF FRENCH LITERATURE

51%

Kowalska M.

Świat Tekstów. Rocznik Słupski

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2020

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vol. 18

19-31

EN

The article discusses the Gérard de Nerval’s voice in the debate on the sources and origins of French national literature. The main subjects of analysis are two of his articles from 1830, the prefaces to choice of poems of Ronsard, Du Bellay, Baïf, Belleau, Du Bartas, Chassignet, Desportes, and Régnier, as well as to selection from German poetry. In the light of the dispute in the second half of the eighteenth and the beginning of the nineteenth century over the greater importance of trouvères or troubadours as the fathers of national literature, Nerval’s position is less rigid and lacking pathos. He recalls the medieval noble and folk literature, one which is the product of chivalric culture unifying many groups and the other, “Gallic” which does not include a large part of the nation but which goes deeper into it and is more emotional in its expression. In the second type he mentions less popular occasional genres, for instance farces, fabliaux, facetiae and puts them as the examples of literature “from the heart of France”, “capable to inspire” and “to supply great ideas”. This type encompasses the sacred and profane, the multilingual, the seriousness of spiritual themes along with pure comedy. All these qualities according to Nerval reflect the French spirit and may be the sources of revival for true French romantic poetry.

PL

Artykuł przedstawia głos Gérarda de Nervala w dyskusji o źródłach i początkach francuskiej literatury narodowej. Przedmiotem analizy są dwa artykuły z 1830 r., wstępy do Choix des poésies de Ronsard, Du Bellay, Baïf, Belleau, Du Bartas, Chassignet, Desportes, Régnier oraz Poésies allemandes. W kontekście sporu o wyższość truwerów lub trubadurów jako „ojców współczesnej literatury” i „wychowawców narodu”, który toczył się ostatnich dziesięcioleciach XVIII i na początku XIX wieku, stanowisko Nervala jawi się jako budujące mosty między zwaśnionymi stronami, oryginalne i wyzbyte niepotrzebnego patosu. Nerval przypomina, że w średniowiecznej literaturze francuskiej można dostrzec dwa prądy: „rycerski”, na który składają się m.in. powieści, poematy alegoryczne, ballady, oraz „galijski”, który przejawia się np. w misteriach, moralitetach, farsach i facecjach. Taka literatura, łącząca sacrum i profanum, różne języki, śmiech z nauką, oddaje zdaniem Nervala ducha narodu i w niej tkwią źródła odrodzenia francuskiej poezji.

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Słyszę was głosy zabitych – Andrzeja Wróblewskiego przypis do Louisa Aragona

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Nowicka D.

Narracje o Zagładzie

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2019

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issue 5

176-198

EN

For Wróblewski, Aragon – whose famous cry “I hear you, voices of the killed” is derived from the poem entitled “Autumn Night” – has become a figure of comparable imagination. This article juxtaposes Andrzej Wróblewski’s art with the work of Louis Aragon, a French poet and novelist, making it possible to recognise their shared poetics of war. In fact, both of them perceived language as a device shaping social imagery, searched for new forms of artistic expression,used metaphors and allegories extensively, and fought for a new and peaceful dimension of art.

PL

Aragon, będący autorem poematu Noc sierpniowa, w którym pojawia się słynne zawołanie: „Słyszę was głosy zabitych”, stał się dla Wróblewskiego twórcą o zbliżonej wyobraźni. Próba zestawienia sztuki Andrzeja Wróblewskiego z twórczością francuskiego poety i powieściopisarza Louisa Aragona, która jest tematem artykułu, pozwala na zauważenie wspólnych, wojennych poetyk obu twórców. Artystów łączyło podobne rozumienie istoty języka jako narzędzia kształtującego społeczne imaginarium, poszukiwanie nowych form wyrazu, posługiwanie się metaforą i alegorią, a także walka o nowy, pokojowy wymiar sztuki.

11

Słyszę was głosy zabitych – Andrzeja Wróblewskiego przypis do Louisa Aragona

51%

Nowicka D.

Narracje o Zagładzie

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2019

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issue 5

176-198

EN

For Wróblewski, Aragon – whose famous cry “I hear you, voices of the killed” is derived from the poem entitled “Autumn Night” – has become a figure of comparable imagination. This article juxtaposes Andrzej Wróblewski’s art with the work of Louis Aragon, a French poet and novelist, making it possible to recognise their shared poetics of war. In fact, both of them perceived language as a device shaping social imagery, searched for new forms of artistic expression,used metaphors and allegories extensively, and fought for a new and peaceful dimension of art.

PL

Aragon, będący autorem poematu Noc sierpniowa, w którym pojawia się słynne zawołanie: „Słyszę was głosy zabitych”, stał się dla Wróblewskiego twórcą o zbliżonej wyobraźni. Próba zestawienia sztuki Andrzeja Wróblewskiego z twórczością francuskiego poety i powieściopisarza Louisa Aragona, która jest tematem artykułu, pozwala na zauważenie wspólnych, wojennych poetyk obu twórców. Artystów łączyło podobne rozumienie istoty języka jako narzędzia kształtującego społeczne imaginarium, poszukiwanie nowych form wyrazu, posługiwanie się metaforą i alegorią, a także walka o nowy, pokojowy wymiar sztuki.

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Entre portrait symbolique et vision sociale de la femme. La sirène dans des poèmes choisis de la fin du XIXe siècle

51%

Sasin E.

Academic Journal of Modern Philology

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2023

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issue 20

307-314

EN

This article aims to show the relationship between the woman in the social context of nineteenth-century France and the female portrait presented in symbolist poetry. Allegiances between the philosophical influence of Schopenhauer and Baudelaire, the woman of the theatre as well as the femme fatale and the mermaid, her mythological prototype, are proven. The presented portrait is based on woman’s primal relationship with nature and with artificiality depending on the development in society; the main elements are the dependence of the woman on the man and their mutual manipulation.

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Być obcym u siebie? Marcin Świetlicki i Barbara Gruszka-Zych wobec znaków przynależności

38%

Jasionowicz S.

Prace Polonistyczne

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2017

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vol. LXXII

41-57

EN

The article is a reflection on the symbols through which the modern experience of cultural belonging is expressed and on the motivations behind their contestation. Examples of selected themes that Marcin Świetlicki and Barbara Gruszka-Zych explore in their writing are used to examine the poetic quest to overcome feelings of alienation in one’s own cultural milieu. In spite of the differences between the two poets, both address the problems facing the contemporary consciousness of Western man, split between the desire to complete the process of deconstructing his own universal “identifying signs” and the need to creatively explore the process of symbolization itself. The issue of “internal acculturation,” as a particular case within the topic of acculturation as a whole, is also correlated to examples drawn from Francophone poetry.

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Szkic do portretu literackiego Marie Krysinskiej

Poésie et absence

« J’allais sous le ciel, Muse ! et j’étais ton féal ». Le vagabond dans la poésie française de la deuxième moitié du XIXe siècle

Entre dentelle et fragment : évolution de la tactique du vide rimbaldienne de la Saison aux Illuminationsv

Баллада М. Ю. Лермонтова «Три пальмы» и судьба одного ориентального мотива в поэзии В. Жуковского, А. Пушкина, А. Мицкевича

Raný Mallarmé v českých překladech

Překlady Vítězslava Nezvala : Rimbaud, Baudelaire, Mallarmé

„Věčnost“ Arthura Rimbauda a její české překlady

PILLARS OF THE NATIONAL POETRY: GÉRARD DE NERVAL’S VOICE IN THE ROMANTIC DEBATE ON THE ORIGINS OF FRENCH LITERATURE

Słyszę was głosy zabitych – Andrzeja Wróblewskiego przypis do Louisa Aragona

Słyszę was głosy zabitych – Andrzeja Wróblewskiego przypis do Louisa Aragona

Entre portrait symbolique et vision sociale de la femme. La sirène dans des poèmes choisis de la fin du XIXe siècle

Być obcym u siebie? Marcin Świetlicki i Barbara Gruszka-Zych wobec znaków przynależności