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1

A dialogue between a surgeon and a demiurge in Stanislaw Baranczak

100%
Misiak I.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
69-92
EN
The dialogue between a surgeon and a demiurge, the main characters making their appearance in Stanislaw Baranczak's poetry volume 'Chirurgiczna precyzja. Wiersze i piosenki z lat 1995-1997' (Surgical precision. Poems and poems, 1995-1997), concerns the role of poetry and the role of the poet. The dispute between the two figures covers the major issues: Language, Death, Freedom, Love. In Baranczak's view, poetry is a means of communicating with three message recipients: the World, Transcendence, and Others. However, this artistic message is often distorted - and hence, the aporetic dialogue of the surgeon and the demiurge reminds us of unsolvable contradictions ruling the reality, whilst also rendering the reader aware of existence of certain paradoxical rules that poetry attempts at introducing in the sphere of language and feelings. Attempted reconciliation of such contradictions is beyond reach; yet, a protest in the form of pieces of poetry that broadens the territory of freedom and love becomes the most important thing.
2

Just one moment. Photographing in Polish 20th-century poetry

100%
Zalewski C.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
58-68
EN
This article interprets three lyrical pieces focusing around photograph taking. Poems by Tytus Czyzewski, Stanisław Baranczak and Janusz Szuber show that the action in question was used for the purpose of tanathological penetrations of aspects of 20th-century culture.
3

Bezradność. Na marginesach wierszy Szymborskiej

80%
Przymuszała B.
Białostockie Studia Literaturoznawcze
|
2013
|
vol. 4
289-302
EN
The article focuses on the problem of representing helplessness in Szymborska’s poetry, showing various ways of describing this state, as well as its importance for the whole output of the poet. In love poems it is very often presented with the theatrical metaphore “acting oneself”: when nothing can be done at the moment of parting, the poems’ speaker quite often “enters the role” of the former “I”, simultaneously having a feeling of lack of control over what is happening with him/her. Thereby he/she underscores the automaticity (and “artificiality”) of his/her own behaviour. Helplessness is also expressed through enumeration: several specifications, which are expected to cover the feeling of inability to cope with the situation (as in the case of the poem Odzież [Clothes], dedicated to a visit to a doctor, which we are afraid of). The feeling of helplessness, a state difficult to describe, in Szymborska’s texts becomes an important sign of a human codition: imperfect, not always able to cope with challenges. The description of this state reveals simultaneously emotional nature of the poems written by the author of Ludzie na moście [People on the bridge].
4

A double world. Remarks on narrative and identity in Jaroslaw Iwaszkiewicz's homosexual texts

80%
Piotrowski G.
Teksty Drugie (Second Texts)
|
2007
|
issue 6(108)
207-218
EN
Jaroslaw Iwaszkiewicz's homosexual texts - specific as they are, owing to the specificity of the discourse, the psychosexual, social and cultural construction of the author within the text - are disturbing with their peculiar aura. The stories told are usually discontinuous, unclear and inexplicable. The topic of a 'different love' is masked, shown indirectly, or even if it seems open or neutral, it gets entangled in a net of embroiled, if not contradictory, addresser's intentions ('Przyjaciele' (Friends), 'Mefisto - Walc' (Mephisto Waltz)), or becomes the subject of an elaborate literary game, be it stylisation ('Czwarta symfonia' (The Fourth Symphony)), suspense, or 'self-thematism' ('Nauczyciel' (The Teacher), 'Martwa pasieka' (A dead apiary)). Such signals enable a double reading, which is accessible to 'initiate' readers. But they are also a sign of a double nature of the world, which - according to German Ritz - is part of any homosexual experience. In Iwaszkiewicz, the homosexual identity is never expressed out loud and never gets integrated. It is generated by confirmation concurrent with negation, camouflage and allusiveness or provocative openness, is interrelated with a voyeuristic attitude ('Tatarak' (The sweet rush)) and liberates through sublimation.
5

'Our monuments are ambiguous ...', Tadeusz Rózewicz's epitaphs

80%
Marciniak H.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
22-41
EN
This essay attempts at interpreting selected poems and essays by Tadeusz Rózewicz, in the context of funereal/commemorative issues. These include both occasional texts devoted to the memory of individual persons as well as pieces considering the problem of Death in a universal perspective. Having assumed that the issue of Death - a death of God, man, and poetry, and reciprocal associations thereof - is one of the major threads in the poet's oeuvre, the authoress attempts at reconstructing the reply Rózewicz gives to the question of how is it possible for poetry - 'dead, as it is, ... mortal, as it is', and deprived of a metaphysical foundation - to save or preserve the memory of a dead person. She tries to prove that Rózewicz's funereal output polemicises with a consolational model of mournful or memorial poetry and its traditional topics.
6

Some remarks on a poetic dialogue between Tadeusz Rózewicz and Adam Czerniawski

80%
Rabizo-Birek M.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
206-217
EN
The article presents a few motifs related to the poetic dialogue between Tadeusz Rózewicz and Adam Czerniawski. The reflection concerns, among other things, the issue of references - i.e. mutual poetic portraits; how Czerniawski's translations affected the meaning-modifying corrections made by Rózewicz in his lyric 'Drzwi' (Door); and, the dialogicality of autothematic issues embarked on by the two poets, related to the essence of poetry and the ethos of poet. The following poems are subject to analysis: Rózewicz's 'Francis Bacon czyli Diego Velázquez na fotelu dentystycznym' (Francis Bacon or Diego Velázquez in a dentist's chair) ***; 'Drzwi' (Door); ***; 'na poczatku jest slowo' (at the beginning there is word); 'na obrzezach poezji' (in the peripheries of poetry); and, Czerniawski's 'Tak to jest specjalista' (Yes that's an expert), and 'Tajemnica poezji' (The secret of poetry). Adam Czerniawski has translated Rózewicz's poems and plays into English. A poet and critic, he is a friend of Rózewicz's.
7

On Tytus Czyzewski's poetic formism

80%
Sobieraj S.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
172-184
EN
Formism in Polish poetry is usually described as an ephemeral phenomenon accompanying futurism. We lack any definition or theoretical discussions going beyond the field of fine arts. The author makes such attempt analyzing Tytus Czyzewski's work. He claims that formistic poetry is based on the combination of poetic, plastic and musical features which all together make up a coherent composition of a poem. Verses constructed in that manner have the advantage of intermediality, due to diversity of both material and codes of expression.
8

From a sailing subject to a flowing subjectivity in Adam Mickiewicz's lyrical poetry

80%
Siwiec M.
Teksty Drugie (Second Texts)
|
2006
|
issue 5(101)
69-90
EN
This article discusses the evolution of Adam Mickiewicz's lyrical-text subject through the prism of the motif of navigation in the poet's oeuvre. Pieces of verse written in various phases of his artistic activity have been analysed: from classicist juvenile poems (Juz sie z pogodnych niebios ...), programmatically Romanticist poems (two poems titled Zeglarz (The Sailor), pieces written down in period 'memory albums', the 'maritime' cycle of 'Sonety krymskie' (The Crimean Sonnets), 'Do samotnosci', through to late verse, religious and thoughtful as it was ('Rozum i wiara', 'Widzenie', and, especially, the 'Lausanne Lyrics' cycle). In the earliest poems, the image of moving across the water expresses shared strivings of a collective subject; in the romanticist pieces, it turns out to be a lone action taken by a 'strong self' being aware of its unique quality and not understood by the others. In the later poems, where a personal aspect tends to disappear, sailing turns into the former 'self' flowing across or even disappearing. In Mickiewicz's lyrics, the transformation of the sailing motif occurs as the poet's gradually freeing himself from the metaphor in question and from identifying the subjectivity of his poems with the figure of a sailor.
9

Rózewicz, the nihilist

80%
Januszkiewicz M.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
42-57
EN
Almost from the very outset of Tadeusz Rózewicz's artistic itinerary, his work has been accompanied with a dispute related to the problem of nihilism. At least up until 1990s, it was assuming the form of an alternative: a nihilist, or, a moralist? In the first part of the present sketch, the author attempts at tracing the dispute's history, making references to selected convictions formulated as part of it. The second and third parts will embark on attempted transferral of the problem into an entirely different ground. From the thus delineated perspective, the problem of nihilism will be approached in a new context, which, as it may be reasonably believed, will force us not only to significantly revaluate our existing critical views but, in the first place, to assume a new methodological position that would give grounds for such a 'shift' or 'revaluation'. However, the author's intent is not to announce the dispute's end, for the dispute will probably go on. What the author refers to instead is the dispute's being closed, exhausted. Hence, he tries to show that the 'moralist vs. nihilist' alternative is not only erroneous and exhausted but it also leads to certain serious misunderstandings related to how we comprehend the notion of 'nihilism' today.
10

'Me: a room to display things rewritten'. Miron Bialoszewski, or, literature as a form of existence

80%
Kunz T.
Teksty Drugie (Second Texts)
|
2006
|
issue 5(101)
36-54
EN
This article deals with attempted reconstruction of a performative variety of literary subjectivity which emerges from the interpretation of a few selected poems by Miron Bialoszewski. Particular attention is paid to the ingenuous concept of 're-writing', which for the author of the essay is a sort of interpretative key to understanding the specificity of a relationship between the world, language, and subject in Bialoszewski's output. The author argues that the act of writing (or rather, re-writing) becomes a privileged method of subjective existence, spanning over both the empirical and textual spheres. Bialoszewski's writing strategy is described as a 'fagic' one, with a reference to the poet's extremely unique capability of transforming any forms of experience (particularly, linguistic experience) into his own individual idiom. This peculiar skill contains Bialoszewski's basic self-creative existential formula consisting in a conscious creation of the 'self' through it being rewritten in a new linguistic order. This attitude is conditioned by the radically anti-essentialist input concept of existence, the original ontological weakness of the 'self', which, in an integrated form filled with a sense, may seemingly manifest itself in a text, owing to the act of writing.
11

A forgotten deposit. An alternative look on M. Swietlicki's poem 'Dla Jana Polkowskiego'

80%
Antoniak E.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
185-191
EN
The authoress interprets Marcin Swietlicki's poem 'Dla Jana Polkowskiego' (For Jan Polkowski) through the prism of a now -forgotten, previously published piece by Slawomir Matusz titled 'Nie podaje nikomu reki' (I'm not shaking hands with anyone). Shared motifs if both texts are considered and the history of the relationship between the two poets is traced.
12

Miron Bialoszewski's hermetic pornographies

80%
Sobolczyk P.
Teksty Drugie (Second Texts)
|
2006
|
issue 6(102)
165-181
EN
This text deals with two aspects of Bialoszewski's poetry, by far neglected by scholars, i.e. his love and obscene verse. The author discusses the considerations for which the poet has rejected love poetry, once his starting point (in a sentimentalist fashion), suggesting, on the one hand, that Bialoszewski at some point joined the actions aiming at reviving the idea of avant-garde (with Artur Sandauer as the idea's engine), and referring to the biographical context, on the other. The poet was namely detained by the Security Office (the then Polish secret police) on account of his homosexual inclinations; also, cultural norms of the time had a say. The author argues that this has eventually led Bialoszewski to elaborating a peculiar poetics of 'hermetic pornographies', i.e. ones accessible to the 'initiated' only, where obscene elements replace love poetry, with a tint of maliciousness, love poetry thus getting demystified. In parallel, the present text polemicises against German Ritz's fragmentary recognitions on the presence of a homoerotic discourse in the Bialoszewski output.
13

The problem of record and interpretation of multiple versions of a text. Based upon Anna Swirszczynska's 'Orfeusz' as an example

80%
Kozyra M.
Teksty Drugie (Second Texts)
|
2007
|
issue 3(105)
229-232
EN
The idea of a new collation method was conceived during the writing of the author'ess' MA thesis entitled 'Anna Swirszczynska's 'Orfeusz': Evolution of the text'. She searched for a new solution in editing varieties of the test, so that changes appearing in its subsequent versions might be shown pronouncedly and without detriment to the piece's coherence and their interpretation facilitated. The idea has come into being thanks to support from Professor Maria Prussak.
14

Kuszeni przez nierealne – nieestetyczna prawda o prowincji w wybranych wierszach Andrzeja Bursy

80%
Piotrowska-Grot M.
Świat i Słowo
|
2012
|
vol. 10
|
issue 2(19)
237-246
EN
Expression „small towns” at the first moment is associated to us with pleasurable thoughts about comfortable life without any problems. That places are almost perfect, but in second opinion that kind of towns don’t really exist. That is only our imagination, stereotype, nice pictures from American movies. Senses not often wins with magic of stereotypes, but in literature sometimes appear some relists who are trying to find truth about world – in its ugly, unhappy face. The one of them is Andrzej Bursa, cold cursed poet – cynical critic of our everyday. In my paper I tried to oppose his vision of province against to his opinion about big cities, to show how original is his approach to the subject, and his battle with mendacity. The truth shown in poems – Town and Warsaw – Phantom – is unsightly and it doesn’t fit readers in a good mood, but it is the highest, unfortunately steel exotic, value. According to Bursa good side of ugliness is authenticity which we can find in small towns. Big cities attract us, but there is a trap - they aren’t real. It is a reference to Boudiliard’s theory about reality and simulations. Man from Bursa’s lines have to choose between life in kind of dream in the city and realistic, ugly province. Both of them pose obstacles and have some good and bad sides, but they are only opposition to nothingness, which is the biggest fear for modern people.
15

Widok (?) z ziarnkiem piasku. Estetyczność, etyczność, wspólnotowość, czyli zapiski o kulturze tworzenia przestrzeni wspólnej

80%
Korusiewicz M.
Świat i Słowo
|
2012
|
vol. 10
|
issue 2(19)
105-117
EN
The transformations of the contemporary world force us to rethink the traditional notions and concepts which have been perceived as the pillars of so-called Western world view and a new evaluation of complex relations of the spheres of reality which Western traditions tend to present as separate. Among them reside the visions of the ethical and the aesthetical, and the rapidly changing idea of the commons. Contemporary discourses developing relative models of reality accentuate mutual conditioning of what is labeled the ethical and the aesthetical as operating in the common space of our everyday experience and crucial for the community-making processes. The article is an attempt to delineate these relations projecting them into social space of a ‘small city’ as having a particular potential of creating a communal space.
16

Bialoszewski: idyllic

70%
Zaleski M.
Teksty Drugie (Second Texts)
|
2006
|
issue 5(101)
55-68
EN
Miron Bialoszewski's poems published in his famous debut-making collection 'Obroty rzeczy' have been read within the context of an idyll-of-self tradition (a concept by Renato Poggioli), that is, an idyll of privacy, its variety being an 'idyll of one's own room', the locus amoenus of the Stalinist age. Sacralisation of the ordinary, being characteristic to Bialoszewski, is a uniqueness of things ordinary, interpreted by the author not in terms of a Freudian 'unheimliche der Gewöhnlichkeit' but as a category of the ordinary, within the meaning established by Stanley Cavell. Such an 'ordinariness' is represented in epiphany scenes where the most ordinary things appear. Bialoszewski's poetry is an idyll of being, as such.
17
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IN THE NAME OF MARY: BARANOWICZ, JAWORSKI, AND THE GOOD PASTOR

61%
BROGI G.
pl.it / rassegna italiana di argomenti polacchi
|
2021
|
issue 12
110-132
EN
The only surviving manuscript of a sermon pronounced by Stefan Jaworski in Kyiv on 8 September 1693 includes a “funeral note” commemorating Łazarz Baranowicz’s death. Jaworski’s sermon and funeral note, which in the extant witness follows the sermon, have neither been published nor studied before. By providing an analysis of both, the aim of this paper is to investigate and compare the works of the two preachers and poets, and to draw some conclusions about their personalities, poetic style, and worldview. Baranowicz’s poems and Jaworski’s sermon also provide some interesting details which shed new light on the literary and cultural milieu of Kyiv and Czernihów in the last three decades of the 17th century
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