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1
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Wokół "Quidama". W 150. rocznicę powstania utworu

100%
Korpysz T., Kozłowska A.
Colloquia Litteraria
|
2007
|
vol. 2
|
issue 1/2
185-191
2
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DEATH IN FORUM BOARIUM; SOME REMARKS ON CANTO XXIV OF NORWID’S QUIDAM

100%
Chlebowski P.
Colloquia Litteraria
|
2018
|
issue 4
3
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Dyskretny urok rzymskiego wnętrza. O przestrzeniach mieszkalnych w Quidamie Cypriana Norwida

89%
Chlebowska E.
Studia Norwidiana
|
2008
|
vol. 26
69-97
EN
The action of Norwid's poem Quidam takes place in Rome in Emperor Hadrian's times. The topographic realia of the city, however, do not occupy much space in the text of the work. There are no descriptions of monumental elegant edifices, temples, town squares, or indeed of the way the Roman street looked like. The houses, in which the protagonists' life goes on, are the only exception in this respect; the author made them the background for the events taking place in the poem. The article is an attempt at reconstructing the actual look of Roman houses, in which a lot of scenes that are key ones in the course of the action of the poem take place: of the villas belonging to Artemidor and to Jason Mag, of Sophia's house and of Alexander's son's tenement flat. On the basis of analysis of fragments of Norwid's text that made for these reconstructions, also the specificity was determined of the descriptions of living interiors that consist of a fragmentary character and chariness of the description, privacy and subjective treatment of the scenes, and most of all of emphasizing the function of light in constructing the image of the presented world. In Quidam the author presents an exceptional abundance of observations about light, and the meaning of the motif of light and shadow in the poem exceeds the composition significance discussed in the article and heads for evaluating-symbolic functions. The choice and arrangement of elements that make up the poetic images of interiors in the poem is conditioned, on the one hand by the narration strategy accepted by the author, where the perspective of narrator-witness dominates, and on the other by the specificity of a two-pole relation: man - interior. Both issues are given independent paragraphs in the article, an to conclude the considerations of living spaces attention is paid to the feature that is a peculiar distinctive one for the way the world is presented on the pages of Quidam. What is meant here is a clear turn to the peripheral sphere, additionally reinforced by raising the rank of the role that the fragment plays, which makes Norwid's poem appear to the reader as marked with the mystery of the interior, the person, the city.
4
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Pierwiastek norwidyczny, czyli Norwid Irzykowskiego

88%
Kącka E.
Przegląd Humanistyczny
|
2017
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vol. 61(4 (459))
51-63
PL
The article focuses on a lesser-known issue regarding the reception of Norwid’s work and at the same time it goes beyond the perspective of reception research and points to several significant relationships between thought, aesthetics, literary sensitivity and intellectual biography of both authors. The perspective assumed here is then partly comparative, and partly reconstructing more or less obvious inspirations. Irzykowski rarely wrote about Norwid or referred to him (the issue of incomprehensibility is best known), while many of his concepts are worth confrontation with Norwid’s analogical ideas. Moreover, in many cases the author of Quidam seems to be a silent adversary of Irzykowski, unnamed, but coreflecting in the margins of the text. Undoubtedly, both of them meet at key points as to their understanding of tragedy, irony, and the “pałuba” [hag] element, which is one of the most important concepts of Irzykowski, has its discursive counterparts in Norwid’s reflection.
5

The trial of Quidam in the light of Roman law

75%
Chlebowski P.
Studia Norwidiana
|
2018
|
vol. 36 English Version
59-77
EN
The article is an attempt to analytically portray the scene of the trial of three Christians, taking place on the Capitol Hill, in front of the temple of Jupiter in Norwid’s poem Quidam. This monumental fresco, divided into many smaller sequences, clearly distinguishes itself from intimate shots prevalent in the text, narrowed to small spaces, small groups of people. The analysis focuses here primarily on the reconstruction of the trial from the perspective of Roman law. Ultimately, this leads to the recognition of historical legal awareness of Norwid, who, upon constructing one of the fundamental visions of his work, drew on the knowledge and literature of the mid-19th-century concerning the role and significance of Roman law.
6
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The trial of Quidam in the light of Roman law

71%
Chlebowski P.
Studia Norwidiana
|
2018
|
vol. 36 English Version
59-77
PL
Artykuł stanowi próbę analitycznego przybliżenia sceny sądu nad trzema chrześcijanami, rozgrywającą się na Kapitolu, przed Jowiszowym templum w Norwidowym poemacie Quidam. Ten monumentalny fresk, rozpisany na wiele mniejszych sekwencji, wyraźnie odróżnia się swoim charakterem od dominujących w tekście ujęć kameralnych, zawężonych do niewielkich przestrzeni, niewielkich grup osób. Analiza skupia się tu przede wszystkim na rekonstrukcji przebiegu procesu z punktu widzenia rzymskiego prawa. Ostatecznie prowadzi do rozpoznania historycznej świadomości prawnej Norwida, który, konstruując jedną z zasadniczych wizji swojego utworu, sięgał po wiedzę i literaturę przedmiotu połowy XIX wieku, dotyczącą stanu i znaczenia prawa rzymskiego.
EN
The article is an attempt to analytically portray the scene of the trial of three Christians, taking place on the Capitol Hill, in front of the temple of Jupiter in Norwid’s poem Quidam. This monumental fresco, divided into many smaller sequences, clearly distinguishes itself from intimate shots prevalent in the text, narrowed to small spaces, small groups of people. The analysis focuses here primarily on the reconstruction of the trial from the perspective of Roman law. Ultimately, this leads to the recognition of historical legal awareness of Norwid, who, upon constructing one of the fundamental visions of his work, drew on the knowledge and literature of the mid-19th-century concerning the role and significance of Roman law.
7

Proces Quidama w świetle rzymskiego prawa

71%
Chlebowski P.
Studia Norwidiana
|
2018
|
vol. 36
55-72
PL
Artykuł stanowi próbę analitycznego przybliżenia sceny sądu nad trzema chrześcijanami, rozgrywającą się na Kapitolu, przed Jowiszowym templum w Norwidowym poemacie Quidam. Ten monumentalny fresk, rozpisany na wiele mniejszych sekwencji, wyraźnie odróżnia się swoim charakterem od dominujących w tekście ujęć kameralnych, zawężonych do niewielkich przestrzeni, niewielkich grup osób. Analiza skupia się tu przede wszystkim na rekonstrukcji przebiegu procesu z punktu widzenia rzymskiego prawa. Ostatecznie prowadzi do rozpoznania historycznej świadomości prawnej Norwida, który, konstruując jedną z zasadniczych wizji swojego utworu, sięgał po wiedzę i literaturę przedmiotu połowy XIX wieku, dotyczącą stanu i znaczenia prawa rzymskiego.
EN
The article is an attempt to analytically portray the scene of the trial of three Christians, taking place on the Capitol Hill, in front of the temple of Jupiter in Norwid’s poem Quidam. This monumental fresco, divided into many smaller sequences, clearly distinguishes itself from intimate shots prevalent in the text, narrowed to small spaces, small groups of people. The analysis focuses here primarily on the reconstruction of the trial from the perspective of Roman law. Ultimately, this leads to the recognition of historical legal awareness of Norwid, who, upon constructing one of the fundamental visions of his work, drew on the knowledge and literature of the mid-19th-century concerning the role and significance of Roman law.
8

Quidam wobec poetyki żywych obrazów. Przyczynek do genologii poematu

71%
Chlebowski P.
Studia Norwidiana
|
2013
|
vol. 31
117-135
EN
The article points to a genological clue that has not yet been noticed in studies of Quidam. The clue – situating the pictorial art of description on the side of tableaux vivants – leads genological findings in a direction that is different from the one that has been followed up till now: it allows one to see the structure of the work in a different perspective, first of all connected with the idea of a synthesis of arts, with a strong visual and theatrical emphasis. The author, pointing to a connection between Quidam and the poetics of tableaux vivants, not only wants to broaden the genological spectrum by adding new, unknown areas, but also tries to understand its enigmatic plot structure, within which there are two contradictory factors: power and atrophy, synthesis and analysis, fragmentation of the plot and concentration on one event, reduction and excess.
9
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Quidam wobec poetyki żywych obrazów. Przyczynek do genologii poematu

71%
Chlebowski P.
Studia Norwidiana
|
2013
|
vol. 31
117-135
EN
The article points to a genological clue that has not yet been noticed in studies of Quidam. The clue – situating the pictorial art of description on the side of tableaux vivants – leads genological findings in a direction that is different from the one that has been followed up till now: it allows one to see the structure of the work in a different perspective, first of all connected with the idea of a synthesis of arts, with a strong visual and theatrical emphasis. The author, pointing to a connection between Quidam and the poetics of tableaux vivants, not only wants to broaden the genological spectrum by adding new, unknown areas, but also tries to understand its enigmatic plot structure, within which there are two contradictory factors: power and atrophy, synthesis and analysis, fragmentation of the plot and concentration on one event, reduction and excess.
10
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Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

62%
Chlebowski P.
Studia Norwidiana
|
2014
|
vol. 32
131-146
EN
The article tries to revise the views that are established in the study of Norwid, the ones concerning the introduction to the poem Quidam, which was written in the form of a letter. Up till now – almost univocally – researchers have stated that this fragment of the poem is the poet’s real letter written to Zygmunt Krasiński. The present interpretation starts from the facts and editors’ findings, and finally it analyzes the text, taking into consideration the broad literary context, similar forms in works by Słowacki and Krasiński (the immediate addressee of this expression).
11

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

62%
Chlebowski P.
Studia Norwidiana
|
2014
|
vol. 32
131-146
EN
The article tries to revise the views that are established in the study of Norwid, the ones concerning the introduction to the poem Quidam, which was written in the form of a letter. Up till now – almost univocally – researchers have stated that this fragment of the poem is the poet’s real letter written to Zygmunt Krasiński. The present interpretation starts from the facts and editors’ findings, and finally it analyzes the text, taking into consideration the broad literary context, similar forms in works by Słowacki and Krasiński (the immediate addressee of this expression).
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