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HAIKU? SENRYU? MIRONU? MIRON BIALOSZEWSKI'S POETRY AND ORIENTAL GENRES (Haiku? Senryu? Mironu? Poezja Mirona Bialoszewskiego wobec gatunkow orientalnych)

100%
Sniecikowska B.
Pamiętnik Literacki
|
2011
|
vol. 102
|
issue 3
77-111
EN
The article analyses Miron Bialoszewki's late poetry (1976-1983) in the context of Oriental genres: lyrical haiku and satirical senryu. The author begins with the problems of zen poetry, then proceeds to discuss numerous but largely unfound proposals to link Bialoszewski's poetic output with haiku. Scrutinizing Bialoszewski's miniatures, Beata Sniecikowska takes into considerations the lucid sensual arrangements, the attitude of the lyrical 'I,' irony, gnomicity, and linguistic, graphic, and instrumentational conceptism. The points of reference of the analyses are Japanese haiku and senryu as well as haiku by Jack Kerouac - a figure also connected with Zen Buddhism. Sniecikowska concludes that in Bialoszewski's late literary creativity one finds a set of poems of close-to-haiku modality, however less rigorous and perceptibly deriving from avant-garde tradition. The researcher facetiously refers to them as 'mironu.'
2

POETIKA PRÍPRAVY: ČESKÉ A SLOVENSKÉ SCÉNY AUTOBIOGRAFICKÉHO PÍSANIA V 70. A 80. ROKOCH 20. STOROČIA

63%
Kazalarska Z.
Slovenská literatúra (Slovak Literature)
|
2016
|
vol. 63
|
issue 5
364 – 376
EN
This article deals with Czech and Slovak unofficial autobiographical writings (diaries, private letters, notebooks and samizdat sheets) from the normalisation period of the 1970s and 1980s. The author focuses on works by authors such as Ivan Diviš, Ivan Kadlečík, Dominik Tatarka, Ludvík Vaculík a Jan Zábrana and argues that they contribute to a dissident culture of short forms, which was typical for the literature of late socialism in Eastern Europe. Analysing their reflections and meta-reflections on the act of writing, as well as on writing materials, instruments and gestures, she comes to the conclusion that these writers thematise, problematize and make use of the same „scene of writing” (Rüdiger Campe) in their works: the scene of making notes. Defining notes not merely as products, but as a writing praxis with particular instrumental and gestural features, the author draws attention to the following five figures, which are essential for the elaborated programme of making notes: intransitivity, mobility, casualness, tentativeness and excess. In order to illustrate the „poetics of preparation” (Roland Barthes), shared and developed by the examined literary works, she uses as an example a collage by the Czech dissident and exile artist Karel Trinkewitz, in which notes and haiku poems are combined. She concludes that in the interpreted autobiographical writings the scene of making notes comes to the foreground; it is not only an object of narration, reflection and meta-reflection, but turns into a scriptural gesture of resistance towards the writing conditions in the 1970s and 1980s.
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