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1

Premodernizm, dekonstrukcjonizm, „proteuszowość” Norwida

100%

Samsel K.

Świat Tekstów. Rocznik Słupski

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2015

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issue 13

101-120

EN

Summary The study focuses on the specific way of seeing Norwid and his works in the light of four Wiesław Rzońca’s treatises, significant and controversial among all Polish norwidologists’ studies: Norwid. The Poet of Writing. The Attempt of the Work Deconstruction (1995), Witkacy – Norwid. The Draft for the Deconstructional Comparatistics (1998), Norwid and Romantism in Poland (2005) and eventually Norwid’s Premodernism – on the Backgrounds of Literary Symbolism of the Second Half of the Nineteenth Century (2013). Author of this sketch attempts to visualise the internal evolution of Rzońca as a scientist, the evolution that reflects his (Rzońca’s) permanent admiration to the deconstructional comparatistics. This one choice of research – strongly declarative – leaded Rzońca to the highly uncertain and riskful as well as to the inevitably inspiring and regenerating (explicitly for norwidology, implicitly for comparatistics) conclusions. The last Rzońca’s book concentrated on tracing the reminiscent motifs of Norwid’s writing, which may bring him together with the well-known masterpieces of European premodernism and modernism, finally confirms and simultaneously (in some meaning) ultimately ends the Rzońca’s postmodernist path of reading Norwid.

2

Krytyczne wydanie Promethidiona

86%

Buś M.

Studia Norwidiana

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2011

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vol. 29

219-229

EN

The article is concerned with the edition of Cyprian Norwid's Promethidion prepared by Stefan Sawicki. The recognized theoretician, historian and interpreter of literature appears here both as the author of a comprehensive monograph of Promethidion and as an experienced editor embracing the central categories of the poet's viewpoint and artistry, and, on the other hand, with a linguistic precision analyzing particular expressions and tropes. His discerning analysis, careful textological edition of the text and comprehensive interpretation of the poem serve each other. The edition, albeit designed for a broad group of readers, meets the requirements of a critical edition, gives a lot of precisely justified amendments, the necessary explanations, and a list of variants of the text. In the sphere of meanings and structures the poem glitters with variety and shows many aspects of the problems. “Concepts-keys” that are central to the poem are the concept of art (“with no limits”) whose definition is in many ways completed by the concepts of beauty, love, work, good and truth, “constantly approached as if from the side of the conscience”. They are made manifest in utterances by many subjects that have differentiated styles and genres, which is done by means of peculiar techniques (amplifications, approximations, speaking by negation assuming the form of a dialogue, the “counterpoint” technique, evoking the value “by negating anti-values”). However, the whole forms a cohesive “Norwidian collage”, and the image of a “superior speaking subject” appearing as an “image of a prophet of the contemporary Church” has a clear author's stamp. Hence, the message of the poem is perceived “as the voice of a poet: a real one, convinced that what he wants to convey to the society is just”

3

Этническая травестия в романе Давида Маркиша Белый круг

81%

Shafranskaya E.

Iudaica Russica

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2020

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issue 2(5)

28-44

EN

The author tries to explain the riddle presented in the novel by the modern writer David Markish, The White Circle, about the ethnic identity of the character Matvey Katz, whose prototype is the avantgarde artist Sergey Kalmykov (1891–1967). The name and lifestyle of this artist became the reason for the birth of a personal myth, which formed the basis of the novel semi-detective plot. If in the discourse of the second half of the XX century and in the XXI century (mythology, cinema, a number of literary texts), Sergey Kalmykov, a Russian by origin, appears as a half-mysterious, half-mad person, an Alma-Ata freak, but under his real name, then, in Markish’s novel, he is a Russian artist of “Jewish origin”, living in the fictitious Central Asian topos named Kzylgrad. To explain the ethnic travesty that runs counter to historical reality, to “decipher” the location of the novel associated with the last years of the artist’s life are the tasks solved by the author of the article.

PL

Autorka artykułu próbuje wyjaśnić zagadkę zawartą w powieści współczesnego pisarza Dawida Markisza Biały krąg, traktującej o tożsamości etnicznej Matwieja Katza, postaci wzorowanej na awangardowym artyście Siergieju Kałmykowie (1891–1967). Nazwisko i styl życia Kałmykowa spowodowały powstanie szczególnego rodzaju mitologii, na której opiera się na poły detektywistyczna fabuła powieści. O ile w dyskursie drugiej połowy XX wieku i w wieku obecnym (mitologia, kino, literatura) Kałmykow, Rosjanin z pochodzenia, jawi się jako osoba na wpół enigmatyczna, na wpół szalona, dziwak z Ałma-Aty, który występuje pod swoim prawdziwym nazwiskiem, to w powieści Markisza zamienia się on w rosyjskiego artystę „żydowskiego pochodzenia”, żyjącego w umownym toposie środkowoazjatyckiego Kyzyłgradu. Artykuł ma na celu wyjaśnienie trawestacji etnicznej, sprzecznej z realiami historycznymi, jak również „rozszyfrowanie” miejsca akcji, związanego z ostatnimi latami życia artysty.

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1 Iudaica Russica

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1 Buś M.

1 Samsel K.

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Premodernizm, dekonstrukcjonizm, „proteuszowość” Norwida

Krytyczne wydanie Promethidiona

Этническая травестия в романе Давида Маркиша Белый круг