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1

О философской лирике Гавилы Державинa

100%

Mildon W.

Slavica Wratislaviensia

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2013

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vol. 157

27 - 40

EN

The author examines Derzhavin as the first Russian poet who expressed the main problems of social being. He may be considered a creator of the philosophic tradition in Russian lyric poetry. Derzhavin turned poetic creation into an esthetic phenomenon instead of a service to the czar. It became independent from monarch’s mood and political interests. Russian poetry from Pushkin to Zabolotsky used his experience.

2

Poeci emigracji rosyjskiej i ich zainteresowanie literaturą polską (rekonesans)

100%

Zienkiewicz T.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

265-276

EN

The analysis of writing by Russian poets-emigrants used to live in Poland in mid-war period shows, that part of their pieces were inspired by Polish literature. In Russian newspapers and collections of poetry can be found poems, which are translations from Polish literaturę and contain themes from poems by Polish poets. Writers like: D. Bochan, I. Kulisz, K. Olenin. L. Sienicka, G. Sorgonin, J. Wadimow, L. Gomolicki, P. Kolski, S. Koncewicz and others, often reach to Polish poets writings - both old pieces and contemporary. Their interests were often focus on romantic poetry (A. Mickiewicz, J. Słowacki, Z. Krasiński and their poems written during the emigration). The main reason of this particular interests was the resemblance of Polish and Russian emigrants fate.

3

W woskowym wianku a Flagi Borysa Popławskiego - statystyka i interpretacja

100%

Tabaka E.

Acta Polono-Ruthenica

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2009

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vol. Tom 1 Nr XIV

275-284

EN

The present article is a result of a research on the poetics of Boris Poplavsky and the observation accomplished in the subsequent poetic work of Boris Poplavsky.of the development of his poetics in time. The subjects of this research were two volumes of verse: From a Garland of Wax, containing the earliest poems of the poet written in the years 1922-1930 and Flags containing poems written in the years 1923-1930. During the research on both volumes of verse a quantitative-qualitative method of analysis was used, thanks to which we defined the parameters of Boris Poplavsky’s poetics „in its pure form”, i.e. without taking into account his biography. Furthermore, we showed similarities between both texts and marked out the way of the evolution accomplished in the subsequent poetic work of Boris Poplavsky.

4

Świat poezji Ełły Krylowej

100%

Nikadem-Malinowska E.

Acta Polono-Ruthenica

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2006

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vol. Tom 1 Nr XI

239-248

EN

Ella Krylova belongs to the generation of Russian poets whose creative path started almost simultaneously with the birth of new Russia. Today she is the author of over ten poetry collections, she regularly publishes her poems on the Internet, she is well-known abroad. She is searching for her own form of expression, adequate to the thought which can be ironic or philosophical, but always present in the words. Her oversensitive lyrical ego, listening carefully to the world problems, fights with adversities with the help of irony. The world of her poetry is deeply humane, it is the world of universal values and spiritual rebirth of man.

5

Apollona Korinfskiego wiersze wojenne o Polsce

100%

Orłowski J.

Acta Polono-Ruthenica

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2006

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vol. Tom 1 Nr XI

105-115

EN

Almost totally forgotten these days Russian poet Apollon Korinfsky (1868-1973) had published main collections of his poems in early XXth century (In the Beams o f a Dream, Under the Burden o f the Cross, Late Flames). He continued epigon tradition of the XIXth century poetry while at the same time in his ballads and poems dealt with heroic past of Russia and other Slavonic nations. Korinfsky can be described as a polonophile. Polish themes and motifs appeared in a series of poems On the Banks o f the Vistula (1908) and in several poems he wrote during WorldWar One (Raise Arms!, Reąuiescant In Pace..., It Shall not Be so, The Battle o f Tannenberg and other).Korinfsky was the champion of the idea of Slav’s brotherhood resulting from fighting by Russia and other Slavonic nations against Germany and Austria. The idea of Polish and Russian reunion was especially appealing to him, because he held it necessary to gain victory in the 1914-1918 war and to establish future relations between Russia and other Slavs. After Russia’s military defeat in 1917, Korinfsky’s idea of Slavonic alliance led by Russia turned out an illusion. Perhaps that is the reason why his poetic work, full of Slavonic motifs, virtually ceased after 1917.

6

Metafora lustra w poezji Inny Lisnianskiej (na podstawie cyklu wierszy Старое зеркало)

100%

Nikadem-Malinowska E.

Acta Polono-Ruthenica

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2009

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vol. Tom 1 Nr XIV

159-166

EN

Metaphor, as a basic tool of our mind, allows us to tap the potential of a language grounding on the knowledge and imagination of its user; ascertain the new through the old and unknown through the known. Poetic metaphor, which is a carrier of information and tool of communication, is the object of this study. Poetry of Inna Lisnianskaya could be holistically treated as a metaphor of a mirror. The subject of this analysis is the cycle of poems Старое зеркало. Inna Lisnianskaya, by identifying living with being a living mirror extends the meaning of this metaphor to: I AM A MIRROR.

7

Między Wschodem a Zachodem. Polska Josifa Brodskiego

100%

Tarkowska J.

Acta Polono-Ruthenica

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2006

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vol. Tom 1 Nr XI

229-238

EN

The article aims at a discussion of Iosip Brodsky’s literary, artistic as well as personal connections with Poland and Poles. The poet’s admiration for Polish language and especially his fascination with the literature of the Renaissance period (Kochanowski, Sęp-Szarzyński, Rej and others) and modern poetry (Miłosz, Herbert, Szymborska and others) have been one of the main focuses of the article. The author highlights that fact that thanks to the presence of Polish motifs the poetry of Iosip Brodsky, in the times of important events in the history of Poland, had a special appeal for Polish readers. Brodsky’s eminent friends associated with the Solidarity movement, such as Barańczak, Drawicz and Woroszylski, pointed to its intertextual and, at times, documentary character. The article offers also an insight into Brodsky’s friendship with Miłosz, the friendship which greatly contributed to the Russian poet’s fascination with Polish culture.

8

Горизонты интерпретации литературного текста в фольклорных вариантах: Умирающий В. И. Немировича-Данченко

100%

Трубицына В.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2012

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issue 5

48-54

EN

This article defines the originality of the poem by Nemirovich-Danchenko Dying (1882) in the context of literary traditions of Russian gaol songs and poems about imprisonment. The directions of the reception and variation have been analyzed. The focus is also on the aesthetic principles and techniques of reproduction of a literary source in folk song culture in the Kemerovo region and its folklore.

9

Гражданские мотивы в творчестве русских "аполитичных" поэтов 70-80-х годов

88%

Бараш О.

Conversatoria Litteraria

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2018

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issue 12

127-133

PL

The article tackles upon the work of Russian poets of the group “Moskovskoyevremya” (“Moscow Time”). These poets positioned themselves as unengaged inpolitics, they were neither official nor dissident authors, nevertheless, they tookcivic issues close to heart. The article discusses their attitude towards the countryand the society ans means of their depiction.

10

Barwy w liryce Fiodora Glinki

75%

Lis-Czapiga A.

Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny

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2014

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vol. 13

115-125

EN

The article discusses functions of colours in the poetry of Feodor Glinka – 19th century Russian poet. The colour range of his poetry is filled with chromatic and achromatic colours mainly. Not only clear colours but also their shades have been analysed in the present survey. Red and blue appear most frequently in Glinka’s poetry, yellow, white and black coming next, and green as the least frequent. High tones predominate in the poetry, the colours are usually intense, rich and vivid. Their symbolic function is usually to link with the culture and archetypes. Rich colours help to create vividness, build atmosphere, display informative, expressive and evaluative functions. With the help of linguistic means of expression the author imitates the techniques characteristic for painting, what confirms his high poetic artistry.

11

Nově o sovětské poezii: k otázce vědecké práce

75%

Machoninová A.

Česká literatura (Czech Literature)

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2012

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vol. 60

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issue 1

111-118

12

Metafora snu w cyklu wierszy Inny Lisnianskiej Sny starej Ewy

75%

Nikadem-Malinowska E.

Acta Polono-Ruthenica

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2008

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vol. Tom 1 Nr XIII

307-318

EN

Inna Lisnianskaya’s writings, very private and intimate, often motivated with autobiographical reasons is saturated with universal truth about life. Lisnianskaya has created her poetic world on the basis of very strict and clear hierarchy of values. All of the problems of the mankind the poetess throw on her character who, with a great conscientiousness, carries her burden. The global responsibility she feels makes the linear world stop existing.In consisting of eighteen poems threnody series Inna Lisnianskaya experiences past and future in the presence by impersonating her character - ageing biblical Eve. The presence constitutes of her dreams. Dream is metaphorical by its nature. We do not treat pictures from our dreams literally. We analyze and interpret them no matter how real they are. A specific picture transferred from reality to a dream loses its connections with its context and become a polysemantic sign of another specific picture. In this way a dream manifests its metaphorical character.Metaphorical picture of a dream dreamt by lyrical I, created by Inna Lisnianskaya in the series of poems Сны старой Евы (Dreams of Old Eve), let the poetess for unique consolidation of emotions and reflections on life and death.

13

The Koran in the Poetry of Alexander Pushkin and Ivan Bunin: Inspiration, Citation and Intertextuality

75%

Sh’hadeh, Yousef

Folia Orientalia

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2018

14

Ольфакторий Сергея Есенина и особенности его воспроизведения в переводах на польский язык (на примере избранных произведений)

63%

Curkan-Dróżka E.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2022

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issue 15

85-100

EN

Sergei Yesenin is one of the most popular Russian poets in Poland. Interest in his poetry has been undiminished ever since the first translations of Inoniya (Otherland) and Tovarishch into Polish appeared in 1922. Although the literary heritage of Yesenin has been professionally researched by Polish scholars and has attracted a large following of Polish readers for a century, there are gaps in his poetry that need to be filled. The author of this article investigates the role of scents in the poems of Sergei Yesenin, taking into account their changes throughout the creative process, from his juvenile works to his final texts. This approach allows us to present not only the poet’s worldview and his deep connection to the Russian culture, but also to trace the reflection of his individual linguistic worldview in his works. The article also presents a relatively new perspective on the reception of Yesenin’s poetry in Poland, namely the peculiarities and difficulties of translating into Polish the olfactory images used by the poet to convey profound emotions.

RU

Сергей Есенин – один из самых популярных русских поэтов в Польше. Интерес к его поэзии не угасает с момента появления первых переводов произведений Инония и Товарищ на польский язык в 1922 г. Несмотря на то, что вот уже на протяжении века литературное наследие Есенина профессионально исследуется польскими учеными, а также не перестает привлекать внимание реципиентов, в творчестве русского поэта продолжают оставаться лакуны, требующие изучения. Автор статьи исследует роль запахов в стихотворениях Сергея Есенина, учитывая их изменения на протяжении всех этапов творчества – от юношеских произведений до последних текстов. Данный подход дает возможность представить не только мировоззрение поэта, его глубокую связь с русской культурой, но и проследить отражение в творчестве индивидуальной языковой картины мира. В статье также представлен относительно новый взгляд на рецепцию поэзии Есенина в Польше, а именно особенности и сложности перевода на польский язык ольфакторных образов, используемых поэтом для передачи глубоких эмоций.

15

W POSZUKIWANIU CIERPIENIA ZWIERZĄT. O POLSKIEJ I ROSYJSKIEJ NAJNOWSZEJ POEZJI KOBIET

62%

Kwiatkowska A.

Porównania

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2017

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vol. 21

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issue 2

EN

The crisis of hermeneutics and the turnabout in anthropological research are conducive to the development of non-anthropocentric, post-humanist perspective and the reconstruction of the animal viewpoint and experience in animal literature, among others, suffering. The most recently published Polish women’s poetry (among others by Justyna Bargielska and Wisława Szymborska) portrays animals as the victims of human oppression and beings similar to humans. Empathy is often accompanied by anthropomorphism. In the women’s poetry written in Russian, the motif of animal suffering appears rather infrequently. A global (not individual) perspective dominates in poems, while the category of suffering is reserved for the collectivity (society or nation). Suffering is a human and not animal trait in the poetry of Olga Siedakowa, Regina Dieriewa, Lubow Salomon, Olga Lewicka and others.

PL

Kryzys hermeneutyki i zwrot w badaniach antropologicznych sprzyjają budowaniu nieantropocentrycznej, posthumanistycznej perspektywy, rekonstruowaniu w literaturze zwierzęcej percepcji i zwierzęcych doświadczeń, między innymi cierpienia. Polska najnowsza poezja kobiet (między innymi Justyny Bargielskiej i Wisławy Szymborskiej) ukazuje zwierzęta jako ofiary ludzkiej opresji oraz istoty do człowieka podobne. Empatii często towarzyszy antropomorfizacja. W poezji kobiet pisanej w języku rosyjskim motyw cierpienia zwierząt występuje stosunkowo rzadko. Dominuje w niej perspektywa globalna (nie jednostkowa), a kategoria cierpienia zarezerwowana jest dla zbiorowości (społeczeństwa, narodu). Cierpienie jest przymiotem ludzi, a nie zwierząt między innymi w poezji Olgi Siedakowej, Reginy Dieriewej, Lubow Salomon czy Olgi Lewickiej.

16

О мандельштамовских подтекстах у И. Бродского: „Колыбельная Трескового мыса”

45%

Бараш О.

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2020

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issue 13

43-55

EN

The article identifies the set of texts by Osip Mandelshtam which served as possible sources of allusions for Iosif Brodsky’s poem “Lullaby of Cape Cod” (also related works by Bethea, Akhapkin and Ranchin are taken into account). The interrelations of the texts by the two authors are considered at the levels of lexis and motives. An attempt is made to analyze Brodsky’s quoting technique, as well as to interpret the “Lullaby of Cape Cod” in the context of Mandelshtam’s poetic world.

RU

В статье вычленяется круг текстов О. Мандельштама, послуживших возможными источниками аллюзий для стихотворения И. Бродского Колыбельная Трескового мыса (с учетом работ на эту тему Д. Бетеа, Д. Ахапкина, А. Ранчина). Взаимосвязи текстов двух авторов рассматриваются на лексическом и мотивном уровнях. Предпринимается попытка анализа техники цитирования И. Бродского, а также высказываются замечания к интерпретации стихотворения Колыбельная Трескового мыса в контексте поэтического мира О. Мандельштама.

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О философской лирике Гавилы Державинa

Poeci emigracji rosyjskiej i ich zainteresowanie literaturą polską (rekonesans)

W woskowym wianku a Flagi Borysa Popławskiego - statystyka i interpretacja

Świat poezji Ełły Krylowej

Apollona Korinfskiego wiersze wojenne o Polsce

Metafora lustra w poezji Inny Lisnianskiej (na podstawie cyklu wierszy Старое зеркало)

Między Wschodem a Zachodem. Polska Josifa Brodskiego

Горизонты интерпретации литературного текста в фольклорных вариантах: Умирающий В. И. Немировича-Данченко

Гражданские мотивы в творчестве русских "аполитичных" поэтов 70-80-х годов

Barwy w liryce Fiodora Glinki

Nově o sovětské poezii: k otázce vědecké práce

Metafora snu w cyklu wierszy Inny Lisnianskiej Sny starej Ewy

The Koran in the Poetry of Alexander Pushkin and Ivan Bunin: Inspiration, Citation and Intertextuality

Ольфакторий Сергея Есенина и особенности его воспроизведения в переводах на польский язык (на примере избранных произведений)

W POSZUKIWANIU CIERPIENIA ZWIERZĄT. O POLSKIEJ I ROSYJSKIEJ NAJNOWSZEJ POEZJI KOBIET

О мандельштамовских подтекстах у И. Бродского: „Колыбельная Трескового мыса”