Search results

1

Krystyna Jaworska, Massimo Maurizio, Roberto Merlo (a cura di), Il canto l’incanto il grido. Tre poetesse dell’Europa centro-orientale, con testi e traduzione a fronte, Stilo Editrice, Bari 2017, pp. 184

100%

Amenta A.

pl.it / rassegna italiana di argomenti polacchi

|

2018

|

issue 9

226-229

2

Poézia ako alternatíva učeného teologického výkladu? Najsvätejšia Trojica optikou poézie sv. Gregora z Nazianzu

80%

Brodňanská E.

Studia theologica

|

2022

|

vol. 1

15-39

EN

: Gregory of Nazianzus valued the educational influence of poetry. He hoped that the recipients of his poetry would be not only delighted, but also educated and convinced by its attractive form. This is the case with the problem of the Holy Trinity as well. A closer study of Gregory’s verses, presenting and introducing the secret of the Holy Trinity, reveals the union of the impersonal view of Gregory the Theologian with the profound personal feeling of Gregory the man. Gregory proposes a clear definition of the mutual relation of the three divine persons, their trinity, and presents the immense secret of the Trinity. In relation to man, he argues for the grace and kindness of the Trinity. These verses, primarily written for the common people, the young without any experience, people from Gregory’s environment, very often unbelievers, could be taken for an alternative to the more thoughtful and more sophisticated theological sermons. In these verses, Gregory offers basic truths, while using poetic means and expressions to make them more attractive. It helps him arouse the interest of listeners or readers, and their willingness to perceive is subsequently transformed into a better understanding and memorization of the presented truths.

3

„And What is a Beautiful Poem”? Reflections of a Poet on Vlad Petre Glăveanu’sThe Psychology of Creativity: A Critical Reading

70%

Citko K.

Creativity. Theories – Research - Applications

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2015

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vol. 2

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issue 1

97-101

EN

I fully subscribe to Glăveanu’s opinions. I am not a psychologist, but as someone who specialises in culture and at the same time, as a poet, I believe that if the psychology of creativity is to say something truthful about the creative process, it should open up to the inner life of artists and to statistically unmeasurable processes such as talent and inspiration, rather than devise and carry out laboratory experiments. Therefore, encouraged by Glăveanu to pose innovative questions, in my article I ask about the essence of poetic inspiration, that is able to create images and lies at the root of metaphor which emerges in the mind of an artist.

4

Образ Козака Мамая в українському романтизмі

70%

Новик О.

Studia Polsko-Ukraińskie

|

2016

|

vol. 3

145-159

EN

The article is devoted to the painting “Cossack Mamai”, the most popular figure in Ukrainian folk arts of the Romanticism period. In particular, it describes the Cossack’ courage, his image presented as the knight, praised in numerous Ukrainian Baroque panegyrics, his fights against the infidels, and other Cossack attributes, which correlate with verbal and painted images. It is difficult, however, to determine exactly what was first – paintings of “Mamai” of the early 19th century or Romanticist texts, since there was, obviously, a mutual influence. Poetry of Ukrainian Romanticism contains the collective image of nameless Cossack, reconsidered Cossack Mamai, featuring some typical Romanticist characteristics.

5

Cognitive Poetry: Theoretical Framework for the Application of Cognitive Psychology Techniques to Poetic Text

70%

Kharkhurin A. V.

Creativity. Theories – Research - Applications

|

2016

|

vol. 3

|

issue 1

59-83

EN

This article presents a theoretical framework for the author’s experimental work in contemporary poetry, which has received the term cognitive poetry. In contrast to cognitive poetics, which applies the principles of cognitive psychology to interpret poetic texts, cognitive poetry applies these principles to produce poetic texts. The theoretical considerations of cognitive poetry are based on the assumption that one of the major purposes of creative work is to elicit an aesthetical reaction in the beholder. The aesthetical reaction to poetic texts could be achieved via their satiation with multiple meanings presented through multiple sensory modalities. Cognitive poetry employs techniques developed in cognitive psychology to explicitly address cognitive processes underlying the construction of multiple conceptual planes. The following techniques are discussed: priming, the Stroop effect, multimodal and multilingual presentations. The applications of these techniques are illustrated with examples of poetic texts produced by the author.

6

Ogień i nóż – pirofityczna twórczość Erny Rosenstein

61%

Tomczok M.

pl.it / rassegna italiana di argomenti polacchi

|

2022

|

issue 13

118-131

EN

This article aims to demonstrate the meaning is attached to fire in Erna Rosenstein’s poetry and art. Based on the pioneering analyses by Dorota Jarecka, I suggest that the particularly intense presence of fire in the artist's oil paintings, assemblages and poems is driven by the need to create a constellation of random objects, myths and autobiographical material centered on the experience of witnessing her parents' deaths in 1942. By analyzing various approaches to fire, I show that Rosenstein searches for a form of invigorating and evolving destruction in her poetry (which I define as “pyrophytic art”) which would enable her to fantasize about a world after a catastrophe, a world without human life. In this approach, poetry emerges as an extension of the ideas presented in her art. Taking at times narrative, fairy-tale or mythographic forms, poetry defines Rosenstein’s artistic idiolect in a more individual way than art could, allowing the artist's voice, her own speaking self, to be emphasized and dynamized.

7

Wartości estetyczne w poetyce haiku szkoły Bashō

61%

Żuławska-Umeda A.

Estetyka i Krytyka

|

2004

|

issue 1(6)

8

Macaronic writing by young Belarusian poets: the attractions of english ‘barbarisms’

61%

McMillin A.

Przegląd Wschodnioeuropejski

|

2016

|

vol. 2

197-207

EN

The English language, for various reasons, is very attractive to many young Belarusian poets, who use it for adornment, humour, rhyme or even in acrostic verses. Occasional successes are greatly outnumbered by failures, due to errors in English grammar (something that is not confined to Belarusian poets) and, particularly, misunderstandings about the differences between English and Belarusian phonology. The hidden difficulties of the English language are frequently revealed in macaronic verse, at least to English readers.

9

Xu Zhimo, Wiersze (tłumaczenie z jęz. chińskiego Maria Sztuka)

61%

Sztuka M.

Przegląd Orientalistyczny

|

2017

|

issue 3-4 (263-264)

451-454

10

Adolf Dostal – básník nesplněných nadějí

61%

Martinek L.

Studia Slavica

|

2014

|

vol. 18

|

issue 2

97-106

EN

The author’s contribution deals with poetry of Adolf Dostal (1941–1963) and focuses mainly upon the relations between literature and music in Dostal’s poetry written in Polish language. At the same time the reception of literary criticism of Dostal’s poetry not only in the region of Těšín, but also in the Czechoslovakia, in the Czech Republic after 1992, and in Poland is mentioned. The translations forming further dimension of Dostal’s poetry perception are presented in this contribution.

11

We Have Been Visited: Divine Encounter through the Lukan Benedictus (Luke 1:68–79)

57%

Seal D.

The Biblical Annals

|

2021

|

vol. 11

|

issue 2

231-246

PL

Recent discussions of the Benedictus have focused on its function in Luke- Acts. However, little if no attention has been given to the persuasive force of the passage and how it may have functioned to create a divine encounter for the implied audience. This study will address this gap. Following a brief survey of Luke’s purpose and a discussion of the nature of prophecy, I will argue, first, that divine revelation was often cast in poetic form. Second, I will describe the poetic features of the Benedictus, emphasizing its divine nature. Third, I will explain the ancient perception that deities had a superior ability to name persons, places, and objects. I will follow this discussion with a listing of the divinely authored names in the Benedictus. Fourth, I will contend that the Old Testament vocabulary and the tone of confidence in Zechariah’s prophecy further enhances its divine nature. Finally, considering the above, I will explain how a skilled lector reading the prophecy to Luke’s original audience may have allowed them to experience something of the aural presence of God.

EN

Recent discussions of the Benedictus have focused on its function in Luke- Acts. However, little if no attention has been given to the persuasive force of the passage and how it may have functioned to create a divine encounter for the implied audience. This study will address this gap. Following a brief survey of Luke’s purpose and a discussion of the nature of prophecy, I will argue, first, that divine revelation was often cast in poetic form. Second, I will describe the poetic features of the Benedictus, emphasizing its divine nature. Third, I will explain the ancient perception that deities had a superior ability to name persons, places, and objects. I will follow this discussion with a listing of the divinely authored names in the Benedictus. Fourth, I will contend that the Old Testament vocabulary and the tone of confidence in Zechariah’s prophecy further enhances its divine nature. Finally, considering the above, I will explain how a skilled lector reading the prophecy to Luke’s original audience may have allowed them to experience something of the aural presence of God.

12

Auzoniuszowe "Parentalia". Charakter i kompozycja zbiorku

51%

Krynicka T.

Vox Patrum

|

2008

|

vol. 52

|

issue 1

549-561

EN

En la dedicatoria de sus Parentalia el Poeta de Burdeos advierte al lector que no va a encontrar en la obra ni una tematica muy amena ni un titulo atractivo. Sin embargo nos parece que eon esta declaración no hace sino apelar al tópico de modestia. En realidad, escribiendo el unico en la literatura latina conjunto de poe- mas dedicados a los muertos provenientes de la misma familia, Ausonio se esmera mucho para que su obra agrade a los lectores. Varietas es el principio fundamental de la composición de Parentalia. El Poeta utiliza numerosos motivos tradicionales de la antigua poesfa funeral y varios metros. En cuanto al orden en el que sus seres queridos aparecen el la ‘Commemoración”, estableciendolo tiene en cuenta no solo el cardcter del vmculo por consanguinidad o afinidad, sino tambien el papel que un fallecido desempenó en la vida del Poeta y la cronologfa de los óbitos. La obra consta de doce partes, la mayoria de las cuales la constituyen unos poemas agrupados alrededor de una persona o una idea. Aparte de esto Ausonio enlaza poemas y dichos grupos de ellos tanto usando conjunciones y adverbios, como repitiendo o contraponiendo ciertos motivos.

13

Wśród przeczytanych łąk, asonansów... O literaturze totalnej trochę innym głosem

51%

Fajfer Z.

ER(R)GO: Teoria – Literatura – Kultura

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2016

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issue 32

EN

Authored by the proposer and theorist of liberature, the article discusses the idea of liberature and connects its theory and practice in an innovative manner. Contrary to the Author’s previous elucidations, the focus is not so much on the physical form of the liberary work but on the essential position of the voice in the reading of liberature, which, until recently, was lost among textual elements of such a work. Fajfer underlines the idea of a total, bodily work which is planned in its entirety and whose body is able to “speak” to its readers. This speaking is especially noticeable in the spectacle called The View from a Deep Tower [Widok z głębokiej wieży], directed by Teresa Nowak, which moves towards the “theatricality” of poetry. Fajfer describes this spectacle as a new experience for a poet whose main purpose used to be the visual presentation of a textual form. In this new, aural quality of poetry, the author notices a new dimension of the total literature.

PL

Niniejszy artykuł teoretyka i inicjatora liberatury podejmuje się opisu tego pojęcia i połączenia jego teorii i realizacji w innowacyjny sposób. Co istotne, tekst skupia się nie tylena fizycznej formie dzieła liberackiego, jak miało to miejsce we wcześniejszych tekstach autora, ile na kluczowej roli głosu w procesie lektury dzieła literackiego, który dotychczas był pomijany na rzecz innych tekstualnych elementów tych prac. Totalne, ucieleśnione dzieło, w całości zaplanowane, a jednak zdolne "mówić" do czytelnika: ku temu właśnie kieruje się Fajfer w swoim artykule. Owo mówienie najdobitniej możemy zauważyć w spektaklu zatytułowanym Widok z głębokiej wieży, w reżyserii Teresy Nowak, nakierowanym na "teatralność" poezji. Fajfer opisuje ten spektal jako nowe doświadczenie dla poety, którego głównym celem jest nadanie wizualnej prezentacji formie tekstualnej. Tym samym, ta nowa, słyszalna jakość poezji staje się dla autora nowym wymiarem literatury totalnej.

14

Orient w twórczości „polskich poetów kaukaskich” (na przykładzie twórczości Tadeusza Łady-Zabłockiego, Władysława Strzelnickiego, Michała Butowta-Andrzejkowicza)

43%

Sattarov S.

Tematy i Konteksty

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2019

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vol. 14

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issue 9

313-326

EN

This paper deals with the theme of the Orient in the creativity of “Polish Caucasian poets” (Tadeusz Łada-Zabłocki, Władysław Strzelnicki and Michał Butowt-Andrzejkowicz), as well as the causes of their interests in The East and The Caucasus. According to the author, it is connected with the blossoming of Romanticism in Europe and Russia in the first half of the 19th century. Romantic writers very often referred in their creativity to the themes of romantic love, knighthood, fight for freedom, nature and its beauty, spiritual essence, Orient, world of fantasies and imagination, as well as mythologism or mysticism. The theme of the Orient allowed them to combine all the above-mentioned themes. For “Polish Caucasian poets”, the Caucasus was the East, and romanticism in their creation contributed to view the Caucasus as a different (than ordinary) world offering other possibilities, a different degree and quality of freedom.Therefore, the romanticism of “Polish Caucasian poets” was closely connected with Caucasian orientalism, which enriched Polish literature with new contents. Orientalism in the creativity of “Polish Caucasian poets” acquired its specificity with the dominant motives referring to freedom, descriptions of nature and beautiful Caucasian landscapes, Eastern (Azerbaijani) mythology, etc. In this way, “Polish Caucasian poets” brought to the Polish romantic literature hitherto unknown in it a new exotic Caucasian colouration and played an important role in the development of relations between the Polish culture and the cultures of Caucasian peoples.

15

Tkaczyszyn-Dycki’s Continuous “Song About…”

41%

Pietrych K.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2019

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vol. 52

|

issue 1

213-229

PL

Autorka w swoim artykule analizuje poezję Eugeniusza Tkaczyszyna-Dyckiego. Zakłada ona, że poprzez jego odrębne utwory jesteśmy w rzeczywistości w kontakcie z jednym, ciągle pisanym wierszem, który wciąż nie może być w pełni zrealizowany, a jednocześnie istnieje dla niektórych w zakresie każdej realizacji, ale nigdy całkowicie i ostatecznie. To jest powód kolejnych prób jego stworzenia – stale powtarzanej, niekończącej się piosenki. Wszechobecny, natrętny rytm Dyckiego ujawnia się z jego uporczywą, obsesyjną obecnością na płaszczyźnie meta-tekstu i aktywuje ją. Zintensyfikowany wzorzec powtarzania, odsłaniając się, staje się najważniejszym nośnikiem funkcji poetyckiej i wskazuje na niekończącą się procesualność ciągłego powtarzania wiersza jako ostatecznego i najważniejszego celu transu poety.

EN

In this article, the author analyzes the poetry of Eugeniusz Tkaczyszyn-Dycki, positing that through his individulal works we are in contact with One Poem, constantly written, which cannot be fully realized; it exists to some extent in every realization, but never completely and ultimately. This is the reason for his subsequent attempts to create it – a constantly repeated, never-ending song. Dycki’s omnipresent, intrusive rhythm reveals with its persistent, obsessive presence the meta-text plane and activates it. By exposing itself, the intensified pattern of repetition becomes the most important carrier of the poetic function, pointing to the endless process of the continuously repeated verse as the ultimate and most important goal of the poetry.

16

Konteksty muzyczne w Rymach dziecięcych Kazimiery Iłłakowiczówny

41%

Rosół P.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2019

|

vol. 52

|

issue 1

415-423

EN

The topic of this paper is Kazimiera Iłłakowiczówna Children’s Rhymes – a book of poetic miniatures for children, to which Karol Szymanowski composed a set of songs for voice and piano entitled Children’s Rhymes Op. 49 in memory of his late niece Alusia. The author of this paper discusses the circumstances of the work’s composition and recalls the conflict between the poetess and the composer that arose when he got the songs published by the Universal-Edition publishing house without her permission. Next, the autor focuses on an intersemiotic analysis of the musical interpretation of the poems (dynamic, rythmical, agogic and melodic modifications), based on the conception of illustrating text with the use of sounds.

PL

Szkic poświęcony jest Rymom dziecięcym Kazimiery Iłłakowiczówny – tomikowi miniatur poetyckich przeznaczonych dla dzieci, do których Karol Szymanowski skomponował cykl pieśni na głos i fortepian pt. Rymy dziecięce op. 49 zadedykowanych zmarłej siostrzenicy – Pamięci Alusi. Autorka szkicu przywołuje okoliczności napisania cyklu oraz wspomina o konflikcie, jaki powstał między poetką a kompozytorem, który bez zgody autorki wydał pieśni w wydawnictwie Universal-Edition. W dalszej części szkicu Autorka skupia uwagę na intersemiotycznej analizie muzycznego przekładu wierszy (zabiegi dynamiczne, rytmiczne, agogiczne oraz melodyczne), w którym przejawia się kompozytorski zamysł ilustrowania tekstu dźwiękami.

17

Multimedialny widok z głębokiej wieży

41%

Matuszyk Ł.

ER(R)GO: Teoria – Literatura – Kultura

|

2016

|

issue 32

EN

A review of a poetic performance Widok z głębokiej wieży (A View from a Deep Tower) by Zenon Fajfer, dir. Teresa Nowak, Hipertekstowo project, Kinoteatr Rialto, Katowice, 25 April 2015 r.

PL

Recenzja poetyckiego performansu Zenona Fajfera, pt. Widok z głębokiej wieży, reż. Teresa Nowak, Projekt Hipertekstowo, Kinoteatr Rialto, Katowice, 25.04.2015.

18

Blathmac i jego "Poemat" poświęcony Dziewicy Maryi

41%

Szewczyk A.

Vox Patrum

|

2004

|

vol. 46

573-578

EN

The author presents the poem on the Virgin Mary, the oldest in Ireland and one of the oldest in the Early Medieval Europe. This poem wrote Irish monk of the monastery on Iona, Blathmac (+ 825). The author presents biography of Blathmac and the most important aspects of theology of Mary (Mary companion in suffering, Virgin Mary, Mother Mary, Theotocos, Intercessor). The poem includes many names of Mary: Sancta, Dear, Beautiful, Queen, Bright, Brightneck, True Virgin, Sun of the women, Sun of the human race.

19

Poezja w małżeństwie, małżeństwo w poezji (Teresa Ferenc i Zbigniew Jankowski)

41%

Dąbrowska-Czoch M.

Język - Szkoła - Religia

|

2014

|

vol. 9

|

issue 1

91-106

PL

Niniejszy artykuł zawiera analizy wybranych wierszy dwojga poetów: kobiety i mężczyzny, żony i męża. Nietypowa sytuacja twórcza, jaką stanowi małżeństwo poetyckie, stanowić może ciekawą perspektywę badawczą. W artykule omówione zostały zawarte w wierszach przedstawienia tematów miłości, rodziny, domu i małżeństwa. Rozważania oparte są głównie na tomiku Cztery twarze domu. Antologia rodzinna, którego tytuł zaprasza czytelnika do zatrzymania się nad problematyką domu i rodziny. Autorka odwołuje się przy tym do kategorii autobiografizmu, powołując się między innymi na prace Małgorzaty Czermińskiej i Andrzeja Lama. W analizach opisuje podobieństwa i różnice wyrażone w wierszach Ferenc i Jankowskiego i stara się ukazać je jako poetyckie świadectwa ludzkiego indywidualnego przeżywania świata, które nie wyklucza porozumienia i bliskości. W wierszach obojga poetów ujawnia się, w odmienny sposób obrazowana, konieczność życia z niemożliwymi do zrozumienia doświadczeniami: bólem i miłością.

XX

The article contains reflections about selected poems of two poets: a woman and a man, a wife and a husband. This untypical life situation brings an interesting perspective to research. The article treats of how both poets describe subjects of love, family, home and marriage. Considerations are based especially on the book Cztery twarze domu. Antologia rodzinna, which title and construction encourage to look at this question. Comparing writings of people that are close to each other requires referring to the autobiographic matter. The author refers to the works of, inter alia, Małgorzata Czermińska and Andrzej Lam. The article also brings up the question of what the homes, which are simultaneously one home, are. The author describes differences and similarities which are expressed in poems by Ferenc and Jankowski, and tries to show them as poetic testimony of abundance of human individuality. The variety doesn’t prevent a union between people, but it is an opportunity of conversation and understanding distinct ways of thinking about life and world. In the article, the author analyses poems in which two different attitudes are noticeable, but both result from a similar reason – the necessity to live with incomprehensible pain and love.

20

La poésie mystique indienne est-elle morte ?

41%

Kumar S.

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

|

2022

|

vol. 32

|

issue Special Issue

201-215

EN

The present article is an attempt at understanding the various stages of artistic expressions through which Indian mystic poetry has passed and argues that this art form has not become stagnant or dead. It aims to show that it continues to flourish and evolve. It also focuses on a period of transition where a new poetry seems to appear against the background of conventional poetry. This article deals with the concerned question from a critical point of view and clearly marks the various phases of its development, divided into three different stages. It explains that each phase, though complete in itself, serves as a link to the following one. The utmost care has been taken to present the arguments related to mystic poetry in as clear a manner as possible so as to remove the misperceptions that prevails about it. Some important poets like Maithili Sharan Gupt, Mahadevi Verma and Harivansh Rai Bachchan have been discussed in this article in order to have a synoptic view of growth and evolution of Indian mystic poetry. In short, an attempt has been made to present a journey of Indian mystic poetry from the 19th century to the post-Independence period.

Refine search results

Krystyna Jaworska, Massimo Maurizio, Roberto Merlo (a cura di), Il canto l’incanto il grido. Tre poetesse dell’Europa centro-orientale, con testi e traduzione a fronte, Stilo Editrice, Bari 2017, pp. 184

Poézia ako alternatíva učeného teologického výkladu? Najsvätejšia Trojica optikou poézie sv. Gregora z Nazianzu

„And What is a Beautiful Poem”? Reflections of a Poet on Vlad Petre Glăveanu’sThe Psychology of Creativity: A Critical Reading

Образ Козака Мамая в українському романтизмі

Cognitive Poetry: Theoretical Framework for the Application of Cognitive Psychology Techniques to Poetic Text

Ogień i nóż – pirofityczna twórczość Erny Rosenstein

Wartości estetyczne w poetyce haiku szkoły Bashō

Macaronic writing by young Belarusian poets: the attractions of english ‘barbarisms’

Xu Zhimo, Wiersze (tłumaczenie z jęz. chińskiego Maria Sztuka)

Adolf Dostal – básník nesplněných nadějí

We Have Been Visited: Divine Encounter through the Lukan Benedictus (Luke 1:68–79)

Auzoniuszowe "Parentalia". Charakter i kompozycja zbiorku

Wśród przeczytanych łąk, asonansów... O literaturze totalnej trochę innym głosem

Orient w twórczości „polskich poetów kaukaskich” (na przykładzie twórczości Tadeusza Łady-Zabłockiego, Władysława Strzelnickiego, Michała Butowta-Andrzejkowicza)

Tkaczyszyn-Dycki’s Continuous “Song About…”

Konteksty muzyczne w Rymach dziecięcych Kazimiery Iłłakowiczówny

Multimedialny widok z głębokiej wieży

Blathmac i jego "Poemat" poświęcony Dziewicy Maryi

Poezja w małżeństwie, małżeństwo w poezji (Teresa Ferenc i Zbigniew Jankowski)

La poésie mystique indienne est-elle morte ?