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1

Wading through black jade in Marianne Moore’s sunken cathedral: The modernist sea poem as a Deleuzian fold

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Ambroży P.

Studia Anglica Posnaniensia

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2015

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vol. 50

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issue 4

79-97

EN

The study is a close reading of Moore’s poem “The Fish” (1918) through the conceptual lens of Gilles Deleuze’s trope of the fold, as explained in his influential 1988 study of Leibniz, The Fold: Leibniz and the Baroque. The purpose is to explore Moore’s (neo)baroque sensibility and her peculiar penchant for Baroque tropes, images and forms. The Deleuzian concept of the fold, with its rich epistemological implications and broad cultural applicability as the universal trope of crisis, change, unrest and transience, helps to comprehend Moore’s own philosophical and aesthetic concerns. The study, in accord with the interdiscursive character of the contemporary studies of modernism draws from art history, philosophy, theory, literature, and visual arts, to uncover a strong Baroque undercurrent in the poet’s polyphonic imagination. Seen in the light of Deleuze’s fold, Moore’s poem emerges as a quasi-Baroque ruin, a sunken cathedral-cum-graveyard, with a theatrical chiaroscuro lighting and folding and unfolding of sense, which both shelters and entombs the severely wounded modernist soul.

2

Word, Colour and Sound: John Gould Fletcher’s Hybrid “Colour Symphonies”

100%

Wącior S.

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2017

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vol. 65

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issue 11: Anglica

193-205

EN

The paper undertakes as its subject the problem of complexity in the composition of a cycle of poems called “Colour Symphonies” written by an American modernist poet John Gould Fletcher in the first decades of the twentieth century. The uniqueness of composition of the entire cycle as well as its separate “colour” parts consists in combining visual representations with diverse sonic effects in a joint effort of creating in this way a singular poetic verbal equivalent. Such hybrid-like compound becomes in turn a carrier of emotional states which the poet attempts to render in successive parts of the cycle. Fletcher’s sequence of colour symphonies is a supreme example of modernist hybridity of composition so characteristic for its numerous poetic groups like for example Imagism.

PL

Artykuł podejmuje problematykę złożoności kompozycyjnej poetyckiego cyklu wierszy pt. „Colour Symphonies,” napisanego przez modernistycznego poetę amerykańskiego Johna Goulda Fletchera. Unikalność budowy całego cyklu, jak również jej poszczególnych „kolorowych” części polega na sprzęgnięciu obrazowania wizualnego z rozlicznymi efektami dźwiękowymi i stworzenia w ten sposób ich poetyckiego ekwiwalentu słownego. Tak utworzony konstrukt hybrydowy staje się w konsekwencji nośnikiem stanu emocjonalnego, który poeta odwzorowuje w poszczególnych sekwencjach cyklu. Cykl ten wpisuje się w programową hybrydowość strukturalną, postulowaną przez poetykę wiersza modernistycznego, a w szczególności jej odmiany zwanej imagizmem.

3

“Flowers that never die”: Stéphane Mallarmé’s ‘Soupir’ and ‘To My Sister’s Smile’ by Wacław Rolicz-Lieder

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Gacek N., Gacek N.

Ruch Literacki

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2018

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issue 6

4

“The Artist’s Sadness”, the artist’s joy: Autothematic reflection in two poems by Leopold Sfaff and in the poetry of the postwaravant-garde (Tymoteusz Karpowicz and Krystyna Miłobędzka)

80%

Górniak-Prasnal K., Górniak-Prasnal K.

Ruch Literacki

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2019

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issue 2

5

“A mate, companion and friend”: Maryla Wolska and the Płanetnicy Poets of Lwów

80%

Czabanowska-Wróbel A., Czabanowska-Wróbel A.

Ruch Literacki

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2019

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issue 2

6

The highways and byways of the Orient: Leopold Staffa nd Rabindranath Tagore

71%

Płaszczewska O., Płaszczewska O.

Ruch Literacki

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2019

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issue 2

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4 Ruch Literacki

1 Roczniki Humanistyczne

1 Studia Anglica Posnaniensia

3 2019

1 2018

1 2017

1 2015

1 Ambroży P.

1 Czabanowska-Wróbel A.

1 Gacek N.

1 Górniak-Prasnal K.

1 Płaszczewska O.

1 Wącior S.

Wading through black jade in Marianne Moore’s sunken cathedral: The modernist sea poem as a Deleuzian fold

Word, Colour and Sound: John Gould Fletcher’s Hybrid “Colour Symphonies”

“Flowers that never die”: Stéphane Mallarmé’s ‘Soupir’ and ‘To My Sister’s Smile’ by Wacław Rolicz-Lieder

“The Artist’s Sadness”, the artist’s joy: Autothematic reflection in two poems by Leopold Sfaff and in the poetry of the postwaravant-garde (Tymoteusz Karpowicz and Krystyna Miłobędzka)

“A mate, companion and friend”: Maryla Wolska and the Płanetnicy Poets of Lwów

The highways and byways of the Orient: Leopold Staffa nd Rabindranath Tagore