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1

Front Podolski w wojnie polsko-rosyjskiej w 1920 r.

100%

Grzegorczyk T.

Zeszyty Naukowe Ostrołęckiego Towarzystwa Naukowego

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2010

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vol. Zeszyt

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issue XXIV

157-174

EN

The article treats about the history of Podolski’s Front, one of operational federations of Polish army, which took part in the actions of Polish-Russian war in winter and early spring in 1920, on the Ukrainian war theatre. Profiles of military actions taken up by armies subservient to Podolsky Front’s leadership and dislocation of those armies were presented on the basis of Polish and Russian reference books. The article includes data concerning the establishment of front’s armies and losses made as a result of military actions. There is also included complementary information about hardware and artillery equipment of the front’s armies. Selective bibliography was comprised.

PL

Artykuł traktuje o dziejach Frontu Podolskiego, jednego ze związków operacyjnych armii polskiej biorących udział w działaniach wojny polsko-rosyjskiej zimą i wczesną wiosną 1920 r. na ukraińskim teatrze wojny. Na podstawie materiałów źródłowych polskich i rosyjskich autor przedstawił zarys działań militarnych podejmowanych przez wojska podległe dowództwu Frontu Podolskiego oraz dyslokację tychże wojsk. Artykuł zawiera dane dotyczące stanów liczebnych wojsk frontu, a także strat przez nie ponoszonych w wyniku działań bojowych. Powyższe uzupełniają informacje o wyposażeniu wojsk frontu w artylerię oraz broń maszynową. Zamieszczono wybraną bibliografię.

2

Muzyka i gruźlica

94%

Ładoń M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

151-162

EN

The article is an attempt at interpreting two Jarosław Iwaszkiewicz’s texts: Brzezina and Sława i chwała. The authoress examines the presence in texts by Jarosław Iwaszkiewicz two interrelated elements: tuberculosis and music. This relationship resulted from the characteristic image of tuberculosis – the disease of the soul, which gave ill features artists. Music became a special language, which spoke of tuberculosis in Jarosław Iwaszkiewicz’s texts. This is particularly interesting falls in the story Brzezina and the novel Sława i chwała. Music accompanies the heroes dying there in various forms: nature sounds, piano, radio, singing women.

3

Pierwsza literacka miłość – Czesław Miłosz wobec wczesnej twórczości Jarosława Iwaszkiewicza

84%

Matyskieła J.

Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia

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2014

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vol. 32

EN

Private and literary relations between Czesław Miłosz and Jarosław Iwaszkiewicz lasted for almost fifty years. The period between 1928 and 1929 is actually the first phase of their connections. During these years Miłosz encountered Iwaszkiewicz’s early works, which delighted him (poems as well as prose) with their atmosphere (based on the peculiar language, subject matter, fascination forthe East) and verse structure. What is more, Iwaszkiewicz was the only Polish writer who was able to match the eastern and the western type of the Modernism together. In Miłosz’s opinion in the early Iwaszkiewicz’s works the tradition of Polish poetry remained alive. For all these reasons he always believed, that his choice was right.

PL

Osobiste, a także literackie relacje między Czesławem Miłoszem a Jarosławem Iwaszkiewiczem trwały niemalże przez pół wieku. Pierwsza faza ich kontaktów obejmuje lata 1928–1929, gdypisarze się jeszcze nie znali. Miłosz zetknął się wówczas z twórczością Iwaszkiewicza i zachwycił się zarówno jego wierszami, jak i prozą poetycką. Podziw dla Dionizji, Kasyd, Legend i Demeter, Ucieczki do Bagdadu czy Zenobii Palmury przetrwał próbę czasu: Miłosz na zawsze pozostał wierny swemu wyborowi. Wpłynęło na to wiele czynników: aspekt „warsztatowy” Iwaszkiewiczowskich dzieł, łączenie przez pisarza modernizmu europejskiego w jego wschodniej i zachodniej odmianie, tematyka jego utworów, wreszcie też właściwa mu fascynacja Wschodem. O szczególnej pozycji Iwaszkiewicza w panteonie poetów międzywojnia zdaniem autora Trzech zim zadecydowałajednakże przede wszystkim widoczna w jego twórczości „ciągłość tradycji polskiego wiersza”, której rolę podkreślił w tekście Nad książką, czyli cudze chwalicie – recenzji IwaszkiewiczowskichWierszy wybranych.

4

Venezia nella poesia di Jarosław Iwaszkiewicz

84%

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.

5

Iwaszkiewicz’s Venice

83%

Pietrych K.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2020

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issue 9

155-177

EN

The article offers an overview of Iwaszkiewicz’s Venice works, starting with his early poems from his first visit in the city on a lagoon, and all the way to a work in his final poetry collection. This overview helps one realise that the writer’s autobiography is the key to all of them. Both poems and prose works followed the writer’s rhythm of existence. The presented images not so much extract the features of the city but rather refer to the author’s age, mood, and mental disposition. Another major factor that shaped the image of Venice in Iwaszkiewicz’s works were the conventional topoi consolidated in culture which build the artistic means of symbolising actual spaces. Iwaszkiewicz’s text, which developed for nearly sixty years is a praise of art understood, per modernist principles, in an absolutist manner.

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1 Acta Universitatis Lodziensis. Folia Litteraria Polonica

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

1 Czytanie Literatury. Łódzkie Studia Literaturoznawcze

1 Italica Wratislaviensia

1 Zeszyty Naukowe Ostrołęckiego Towarzystwa Naukowego

1 2021

1 2020

1 2014

1 2012

1 2010

1 Grzegorczyk T.

1 Matyskieła J.

1 Pietrych K.

1 Prola D.

1 Ładoń M.

Front Podolski w wojnie polsko-rosyjskiej w 1920 r.

Muzyka i gruźlica

Pierwsza literacka miłość – Czesław Miłosz wobec wczesnej twórczości Jarosława Iwaszkiewicza

Venezia nella poesia di Jarosław Iwaszkiewicz

Iwaszkiewicz’s Venice