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1

Entre l’histoire et le mythe : la Cour des Miracles dans Notre-Dame de Paris de Victor Hugo et Le Parfum de Patrick Süskind

100%

Kaczmarek A.

Romanica Wratislaviensia

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2014

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vol. 61

45 - 60

EN

The Court of Miracles, slum districts of Paris, was the refuge for thieves, criminals, prostitutes and false beggars who faked injuries and diseases to solicit people for money. The phenomenon of this ‘society of outlaws’ inspired many authors and artists. In Victor Hugo’s The Hunchback of Notre-Dame and Patrick Süskind’s Perfume, the Court of Miracles becomes not only a geographical, historical and social reference, as required in historical novels, but also a mythical space, involving rich symbolism and fulfilling a special function in the two novels’ action.

2

Ubi defuit orbis… – around the motto for “Spartakus”

100%

Górska A., Osiński P.

Studia Norwidiana

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2020

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vol. 38 English Version

171-175

EN

This article concerns the sources of the quotation ubi defuit orbis, which Cyprian Norwid used as a motto to his poem “Spartakus.” The phrase has been identified as part of an inscription carved in stone by Jean-François Regnard, a French traveller and comedy writer, and his companions during their journey through Sápmi (Lapland). Most probably, thanks to Regnard’s Voyage de Laponie, Norwid’s epigram became well-known in European culture. It was quoted by Ignacy Krasicki in the treatise O rymotwórstwie i rymotwórcach, and by Victor Hugo in the novel Notre-Dame de Paris. It seems likely that Norwid drew this phrase from the latter. The article further discusses these sources and the significance of the motto ubi defuit orbis for the interpretation of Norwid’s poem.

3

THE ARGUMENT FROM AUTHORITY IN THE DYNAMICS OF THE FRENCH CLASSIC-ROMANTIC QUARREL (1821–1831)

81%

Sukiennicka M.

Świat Tekstów. Rocznik Słupski

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2020

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vol. 18

41-52

PL

Na początku drugiej dekady XIX wieku francuscy klasycy starali się zdyskredytować estetykę romantyzmu, piętnując ją w akademickich mowach jako obcą narodowym wzorcom literackim. Oskarżali oni romantyków o zły smak i brak erudycji, ale argument ten obrócił się przeciwko nim w trakcie sporu, który wywiązał się między reprezentantami dwóch estetyk. Romantycy równie zapalczywie jak klasycy posługiwali się argumentem z autorytetu autorów antycznych. Starali się oni przywłaszczyć sobie dziedzictwo Wergiliusza, Horacego, Boileau i Corneille’a, by ugruntować w ten sposób własną estetykę. Artykuł opisuje retoryczną dynamikę tego odcinka francuskiego sporu klasyków z romantykami i ukazuje, jak autorzy związani z pismem La Muse française usiłowali zająć miejsce klasyków w nowym panteonie pisarzy pełnych klasycznej erudycji, ale też będących wyrazicielami głosu nowej epoki.

EN

In the early 1820s, French classicists tried to discredit the Romantic aesthetics, considering it foreign and anti-national in character. They accused the Romantics of bad taste and lack of classical erudition, but the Romantics turned the accusation against the classicists. In fact, both sides of the ensuing quarrel employed the argument from classical authority. French Romantics appropriated the heritage of ancient and classical literature, relying on Virgil, Horace, Boileau and Corneille in order to legitimate their own aesthetics. This paper describes the rhetorical dynamics of the French classic-Romantic quarrel to demonstrate how the authors from La Muse française were aiming to replace their opponents as actual representatives of erudite and yet modern literature.

4

„Moment elegijny” Victora Hugo

75%

Siwiec M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

103-123

EN

This article attempts to define the place of elegiac modality in the literary output of Victor Hugo. The starting point for the discussion and at the same time appropriate interpretative tool is the definition of elegy derived from the writings of German theoreticians of Romanticism: Friedrich Schiller and Friedrich Schlegel. The thing is question is the elegiac attitude based on exposing of what is ideal and lost at the same time. The above, indeed, constitutes an answer to the questions of the experience of crisis so inherent to Romanticism. Analyses of the early poetical volumes written by the author show a particular evolution of Hugo’s conception of poetry. Politically committed The Odes, being anti-elegiac by assumption, are discussed, as well as purely poetical Eastern poems overtly promoting limitless freedom which characterizes the creative imagination. The interpretation of individual poems from these volumes proves, however, that one can discern a certain elegiac tone in them, though the tone is never dominant. The volume that distinctively enhances the elegy (thus far discredited by Hugo and from then on permanently occurring in his works) turns out to be Autumn Leaves - a collection of poems of contemplative, melancholic, visionary and self-reflective character.

5

Рецепция романтических моделей в драматургии эпохи постмодерна (на материале пьесы Дмитрия Липскерова „Семья уродов”)

72%

Прохорова Т. Г.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2013

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vol. Zeszyt specjalny 2013

95-104

EN

The article shows how the romantic type of artistic mentality manifests itself in postmodern epoch. The main goal here is to study the reception of romantic plot, romantic heroes and conflict on the basis of Dmitriy Lipskerov's drama The Family of Freaks – to show their transformation, peculiarity of the structure and its intertextuality.

6

Trzy zwiędłe liście, trzy smutne wiersze (Garczyński, Lenartowicz, Asnyk)

61%

Hamerski W.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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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.

7

Ubi defuit orbis… – wokół motta do Spartakusa

58%

Górska A., Osiński P.

Studia Norwidiana

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2020

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vol. 38

177-182

EN

This paper concerns the sources of the quotation ubi defuit orbis used as a motto by Cyprian Norwid in his poem Spartakus. The authors argue that the phrase is part of the inscription carved in stone by Jean-François Regnard, a French traveller and comedy writer, and his companions during their journey through Sápmi (Lapland). Most probably, thanks to Regnard’s Voyage de Laponie Norwid’s epigram became well-known in European culture: it was quoted by Ignacy Krasicki in his work O rymotwórstwie i rymotwórcach, and by Victor Hugo in his Notre-Dame de Paris. It seems very likely that Norwid drew the phrase from Hugo’s novel. This paper discusses these sources and the significance of the motto ubi defuit orbis for the interpretation of Norwid’s poem.

PL

Artykuł dotyczy źródeł łacińskiego cytatu ubi defuit orbis, które Cyprian Norwid uczynił mottem do wiersza Spartakus. Autorzy wskazują, że przywołana przez Norwida fraza jest częścią inskrypcji, którą francuski podróżnik i komediopisarz Jean-François Regnard wraz ze swoimi towarzyszami wyrył w skale podczas podróży po Laponii. Najprawdopodobniej dzięki Voyage de Laponie Regnarda epigramat ten stał się znany w kulturze europejskiej: cytował go Ignacy Krasicki w pracy O rymotwórstwie i rymotwórcach, następnie Victor Hugo przywołał frazę ubi defuit orbis w utworze Katedra Marii Panny w Paryżu. Wydaje się bardzo prawdopodobne, że Norwid zaczerpnął tę frazę właśnie z powieści Hugo. W artykule zostały omówione wskazane źródła, a także znaczenie motta ubi defuit orbis dla interpretacji wiersza Norwida.

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2 Poznańskie Studia Polonistyczne. Seria Literacka

2 Studia Norwidiana

1 Acta Universitatis Lodziensis. Folia Litteraria Rossica

1 Romanica Wratislaviensia

1 Świat Tekstów. Rocznik Słupski

1 2021

2 2020

1 2014

1 2013

2 2011

2 Górska A.

2 Osiński P.

1 Hamerski W.

1 Kaczmarek A.

1 Siwiec M.

1 Sukiennicka M.

1 Прохорова Т. Г.

Entre l’histoire et le mythe : la Cour des Miracles dans Notre-Dame de Paris de Victor Hugo et Le Parfum de Patrick Süskind

Ubi defuit orbis… – around the motto for “Spartakus”

THE ARGUMENT FROM AUTHORITY IN THE DYNAMICS OF THE FRENCH CLASSIC-ROMANTIC QUARREL (1821–1831)

„Moment elegijny” Victora Hugo

Рецепция романтических моделей в драматургии эпохи постмодерна (на материале пьесы Дмитрия Липскерова „Семья уродов”)

Trzy zwiędłe liście, trzy smutne wiersze (Garczyński, Lenartowicz, Asnyk)

Ubi defuit orbis… – wokół motta do Spartakusa