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Jakiego «Sokratesa» nie wystawili Lenartowiczowi aktorzy warszawscy w 1884 roku?

100%
Dybizbański M.
Pamiętnik Teatralny
|
2022
|
issue 2(281)
149-170
EN
Teofil Lenartowicz’s “dramatic poem” Sędziowie ateńscy (The Judges of Athens, 1895), eventually published after his death, not only took several years to write, but was also probably rewritten from scratch a number of times, under different titles (including Socrates). Some versions have survived in printed excerpts, others in manuscripts. One of the early redactions, different from the published text based on the last autograph, was the theater version prepared in 1884. The piece was not staged, for reasons that remain unclear. The copy retrieved from the theater is presently highly incomplete (with only one of five acts extant), but its text coincides with another surviving copy; based on the latter, the present article attempts a reconstruction of the performance, as designed by Lenartowicz. Attention has been paid to the stage design, metatheatrical devices, the unstable arrangement of the acts, and the relationship between word and gesture. The article also emphasises that both the theater project and the dramatic text differ strongly from the posthumously published version of the play.
2
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Teofil Lenartowicz jako wykładowca Akademii im. Adama Mickiewicza w Bolonii

89%
Bartnikowska-Biernat M.
Prace Filologiczne. Literaturoznawstwo
|
2021
|
issue 11 (14)
365-375
EN
Teofil Lenartowicz, who spent over 30 years in exile: in Florence, was one of the wellrecognised Polish artists in nineteenth-century Italy. This thesis is supported by the fact that it was Lenartowicz that was chosen to give lectures at Accademia Adamo Mickiewicz di Storia e Letteratura Polacca e Slava, founded by Domenico Santagata in Bologne in 1879. The archives of Biblioteca Comunale dell’Archiginnasio still hold some articles, letters and other documents which imply what Italians thought of Lenartowicz as a human being, poet, sculptor and lecturer. The purpose of this paper is to dust off some of these sources.
PL
Teofil Lenartowicz, który spędził ponad 30 lat na emigracji we Florencji, należał do najbardziej rozpoznawalnych polskich artystów w dziewiętnastowiecznych Włoszech. Tezę tę można poprzeć faktem, że to właśnie jego wybrano na wykładowcę Akademii Historii Literatury Polskiej i Słowiańskiej im. Adama Mickiewicza, założonej w 1879 r. w Bolonii przez Domenica Santagatę. W archiwach Biblioteca Comunale dell’Archiginnasio zachowały się artykuły, listy oraz inne dokumenty, dzięki którym wiadomo, jak Lenartowicz był postrzegany przez Włochów − jako człowiek, poeta, rzeźbiarz i wykładowca. Przedłożony szkic ma na celu przypomnienie niektórych z tych źródeł.
3
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Polski wygnaniec. Teofil Lenartowicz w oczach Giovanniego Papiniego

89%
Ślarzyńska M.
Colloquia Litteraria
|
2023
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vol. 34
|
issue 1
99-112
EN
This article focuses on giovanni Papini’s little-known short story L’esule polacco from the volume Passato remoto (1948) and the encounter between teofil Lenartowicz and the Italian writer described in it. The meeting between the teenage Papini, who was wandering with his father through the hills around Florence, and the elderly Polish poet, who had been in Italy for years, took place in 1892. Papini’s reminiscence evoked the most important elements of the characteristics of the figure and oeuvre of Lenartowicz, in whom the Italian writer immediately recognised a true poet. Papini’s reminiscence about of Lenartowicz left a trace in the perception of later Polish emigration in Italy, as evidenced by the recalled text by Leonardo Kociemski. The article is accompanied by a translation of the short story L’esule polacco, previously not translated into Polish. 
4

Nieoczywiste ironie romantyczne. Rec.: Wojciech Hamerski, Ironie romantyczne. Warszawa 2018. „Studia Romantyczne”

75%
Trybuś K.
Pamiętnik Literacki
|
2020
|
vol. 111
|
issue 3
211-216
PL
Autor recenzujący książkę Wojciecha Hamerskiego „Ironie romantyczne” koncentruje uwagę na dokładnym przedstawieniu jej problematyki, a przede wszystkim na analizie zasadności wyodrębnienia omawianych w niej odmian ironii charakterystycznych dla literatury polskiego romantyzmu. Wskazuje na nieoczywistość obszarów ironicznych odnajdywanych przez Hamerskiego w twórczości Mickiewicza, Kraszewskiego, Lenartowicza. W tej nieoczywistości dopatruje się najważniejszych walorów recenzowanego studium. Rekonstrukcji podlega też w jego recenzji cała konstrukcja teoretyczna książki, nawiązująca do refleksji estetycznej Friedricha Schlegla.
EN
The author, reviewing Wojciech Hamerski’s book “Ironie romantyczne” (“Romantic Ironies”), focuses his attention on a detailed presentation of the book’s issues, though primarily on an analysis of validation of setting the varieties of ironies peculiar to the literature of Polish Romanticism apart. The reviewer points at unobtrusiveness of ironic spaces discovered by Hamerski in Mickiewicz’s, Kraszewski’s, and Lenartowicz’s creativity. In such unobtrusiveness he discerns the highest value of the study in question. The review also reconstructs the theoretical structure of the book that refers to Friedrich Schlegel’s aesthetic reflection.
5
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Беларускiя вершы Адама М-скага: Тэксты i кантэксты

75%
Chaustowicz M.
Acta Polono-Ruthenica
|
2021
|
vol. Tom 2 Nr XXVI
75-90
BE
У артыкуле аналізуецца кантэкст беларускамоўных вершаў Адамаскага, робіцца спроба знайсці прычыны, якія падштурхнулі паэта да беларускамоўнае творчасці. На нашую думку, Адам М-скі з дапамогаю беларускамоўных вершаў-песняў планаваў вырашыць важную задачу: паставіць заслону перад пашырэннем у краі расейскамоўнае масавае культуры і тым самым абараніць сваё, спрадвечнае, польскае. Захаваныя беларускамоўныя тэксты Адама М-скага – чатыры пераклад-ныя і адзін арыгінальны – узніклі на аснове высокамастацкіх польскіх твораў, што карысталіся вялікаю папулярнасцю. Паэт меў надзею, што ягоныя вершы-песні будуць прынятыя беларускаю вясковаю грамадою.
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‘Rzecz czarnoleska’ as perceived by the third generation of romantics: Cyprian Norwid and Teofil Lenartowicz

75%
Woźniewska-Działak M.
Studia Norwidiana
|
2016
|
vol. 34 English Version
61-80
EN
This article offers a synthetic overview of how Jan Kochanowski's artistic legacy manifested itself in the poetry of the third-generation Romantics - Cyprian Norwid and Teofil Lenartowicz. This overview of the work of the two latter poets proves that Czarnolas was perceived by them as an invaluable model of community life in the 19th-century context. The Czarnolas community ideally matched the Romantic reflection on the sense of freedom and the grandeur of the Polish nation – living in the political subjection to the partitioners. Jan Kochanowski and his oeuvre was a vital rediscovery, which allowed the 19th-century restitution of the myth of the Old Polish epoch, with its turning back to the roots of the Polish language and its debate on the fundamental problems of the time. All these motifs feature in the poetry by Norwid and Lenartowicz, who repeatedly made reference to the topos of the Czarnolas lute to show that they credit Kochanowski with being a poet of the nation.
7
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‘Rzecz czarnoleska’ as perceived by the third generation of romantics: Cyprian Norwid and Teofil Lenartowicz

71%
Woźniewska-Działak M.
Studia Norwidiana
|
2016
|
vol. 34 English Version
61-80
EN
This article offers a synthetic overview of how Jan Kochanowski's artistic legacy manifested itself in the poetry of the third-generation Romantics - Cyprian Norwid and Teofil Lenartowicz. This overview of the work of the two latter poets proves that Czarnolas was perceived by them as an invaluable model of community life in the 19th-century context. The Czarnolas community ideally matched the Romantic reflection on the sense of freedom and the grandeur of the Polish nation – living in the political subjection to the partitioners. Jan Kochanowski and his oeuvre was a vital rediscovery, which allowed the 19th-century restitution of the myth of the Old Polish epoch, with its turning back to the roots of the Polish language and its debate on the fundamental problems of the time. All these motifs feature in the poetry by Norwid and Lenartowicz, who repeatedly made reference to the topos of the Czarnolas lute to show that they credit Kochanowski with being a poet of the nation.
8

„Rzecz czarnoleska” w recepcji trzeciego pokolenia romantyzmu. Na przykładzie Norwida i Lenartowicza

71%
Woźniewska-Działak M.
Studia Norwidiana
|
2016
|
vol. 34
61-80
EN
This article offers a synthetic overview of how Jan Kochanowski's artistic legacy manifested itself in the poetry of the third-generation Romantics - Cyprian Norwid and Teofil Lenartowicz. This overview of the work of the two latter poets proves that Czarnolas was perceived by them as an invaluable model of community life in the 19th-century context. The Czarnolas community ideally matched the Romantic reflection on the sense of freedom and the grandeur of the Polish nation – living in the political subjection to the partitioners. Jan Kochanowski and his oeuvre was a vital rediscovery, which allowed the 19th-century restitution of the myth of the Old Polish epoch, with its turning back to the roots of the Polish language and its debate on the fundamental problems of the time. All these motifs feature in the poetry by Norwid and Lenartowicz, who repeatedly made reference to the topos of the Czarnolas lute to show that they credit Kochanowski with being a poet of the nation.
9
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Spotkania poetów w przestrzeni i w słowie – o wierszach Norwida do Józefa Bohdana Zaleskiego

63%
Halkiewicz-Sojak G.
Studia Norwidiana
|
2021
|
vol. 39
163-177
EN
This article offers an interpretation of two poems by Cyprian Norwid, which are addressed toJózef Bohdan Zaleski: “Do Józefa Bohdana Zaleskiego w Rzymie 1847-o” [To Józef Bohdan Zalski in Rome, in the year 1847] and “Na przyjazd Teofila Lenartowicza do Fontainbleau” [On the Arrival of Teofil Lenartowicz in Fontainbleau] The latter is a poetic letter that recommends to Lenartowicz that he should pay a visit to the Zaleski family. These poems allow us a glimpse into the relationship between three nineteenth-century poets. The article elaborates on certain biographical elements but primarily reveals how the Norwid regarded the differences between his own imagination and poetic stance on the one hand and the works of his two friends on the other. Further, it shows how the awareness of this opposition led the poet to recognize aspects of his own place on the map of Polish poetry. Microanalysis of selected themes also facilitates indicating certain features they all share.
PL
Tematem artykułu jest interpretacja dwóch wierszy Cypriana Norwida, których adresatem był Józef Bohdan Zaleski: Do Józefa Bohdana Zaleskiego w Rzymie 1847-o oraz Na przyjazd Teofila Lenartowicza do Fontainbleau. Ten drugi utwór ma charakter poetyckiego listu rekomendującego wizytę Lenartowicza u Zaleskich. Wiersze pozwalają na wgląd w relacje łączące trzech dziewiętnastowiecznych poetów. Artykuł wydobywa aspekty biograficzne, ale przede wszystkim odsłania, w jaki sposób autor wierszy postrzegał różnice między swoją wyobraźnią i postawą poetycką a poezją obu przyjaciół, i jak świadomość tej opozycji prowadziła do rozpoznawania cech własnej sytuacji na mapie polskiej poezji. Mikroanaliza wybranych motywów pozwala również wskazać pewne miejsca wspólne.
10
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‘Not just simply Chopin’: Polish poets and critics of the 19th-century on the guitarist Stanisław Szczepanowski

51%
Bartnikowska-Biernat M., Bartnikowska-Biernat M.
Ruch Literacki
|
2020
|
issue 4
11
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Trzy zwiędłe liście, trzy smutne wiersze (Garczyński, Lenartowicz, Asnyk)

38%
Hamerski W.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2011
|
issue 18
125-145
EN
This text provides an interpretation of three poems, written by nineteenth century poets, that share a common theme of Autumn, with a particular attention given to the motif of a withered leaf. The author is interested how the poems in question match the elegiac convention of autumn lyric poetry and, at the same time, how each in its own way tries to overcome this convention. In Odpowiedź na list written by Stefan Garczyński, the acceptance of passing is concurrently met with defiance, expressed in a language of paradoxical metaphor. Teofil Lenartowicz in his Liście zwiędłe breaches the formal elegiac tone with the application of underlying vitalistic overtones included in the poem. Adam Asnyk’s Zwiędły listek, through a superposition of metonymies, achieves the effect of multilayered mediation and erasure of the trace of experience. The reading and understanding of the three poems, composed in Romanticism and post-Romanticism periods, make it possible to observe, fragmentarily of course, the multiplicity of different poetic attitudes that accompany the process of re-enchantment of the world.
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