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1

Spotkanie z Wielka Matka. Sztuka paleolityczna w tworczosci Wislawy Szymborskiej i Zbigniewa Herberta

100%
Tomasik T.
Pamiętnik Literacki
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2012
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vol. 103
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issue 1
129-145
EN
A feature of 20th century art was an attempt at reaching the cultural tradition older than Greek-Roman Antiquity. Worth noticing is the artists’ confrontation with the products of paleolithic culture that offers a unique kind of hermeneutic experience since it consists in a journey to the beginnings of the art. Wislawa Szymborska’s and Zbigniew Herbert’s writings contain pieces which recall the most widely known paleolithic culture artifacts: rock paintings and women figurines (Great Mother). Confronting the relics of prehistoric art, the authors tried to return to the most primordial forms of thinking. Szymborska, through her philosophical investigations, reaches the attitude of wisdom, while Herbert, shaping his statements into a prayer, conforms to religious one. Both cases prove that the two Polish poets strived to oppose instrumental reason’s arrogation which reifies a man’s relation to the world.
2

Widok (?) z ziarnkiem piasku. Estetyczność, etyczność, wspólnotowość, czyli zapiski o kulturze tworzenia przestrzeni wspólnej

100%
Korusiewicz M.
Świat i Słowo
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2012
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vol. 10
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issue 2(19)
105-117
EN
The transformations of the contemporary world force us to rethink the traditional notions and concepts which have been perceived as the pillars of so-called Western world view and a new evaluation of complex relations of the spheres of reality which Western traditions tend to present as separate. Among them reside the visions of the ethical and the aesthetical, and the rapidly changing idea of the commons. Contemporary discourses developing relative models of reality accentuate mutual conditioning of what is labeled the ethical and the aesthetical as operating in the common space of our everyday experience and crucial for the community-making processes. The article is an attempt to delineate these relations projecting them into social space of a ‘small city’ as having a particular potential of creating a communal space.
3

„Filutka z filigranu”, czyli o przekładzie językowego naśladownictwa z ekfrastycznych wierszy Wislawy Szymborskiej

75%
Brajerska-Mazur A.
Pamiętnik Literacki
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2012
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vol. 103
|
issue 1
EN
The article considers the problem of translating linguistic imitation as based on Wislawa Szymborska’s ekphrastic poems. Resorting to the notion of katena, it examines the original and the translations of the poem Coloratura (Koloratura) as well as offers a detailed discussion on the originals and translations of other poems, i.e. Rubens’ Women (Kobiety Rubensa), A Byzantine Mosaic (Mozaika bizantyjska), Landscape (Pejzaz), and A Medieval Miniature (Miniatura sredniowieczna). Brajerska-Mazur does not settle the theoretical controversies on arts correspondence, ekphrasis, or the borderline between the literary translation and the intersemiotic one. By contrast, she is interested in a more practical issue, namely to which level of the linguistic imitation the translator is expected to be faithful: to the ekphrastic poem, to the art the poem imitates, or to the reality imitated by the art. The research shows that translating ekphrasis it is best to copy the art imitated by the original. Baranczak and Cavanagh followed the idea and their translations of ekphrastic poems proved perfect, especially those which imitated the style characterized by excess, glamour and comedy (Coloratura, Rubens’ Women, A Byzantine Mosaic). The translations of poems expressing simplicity in art are slightly worse (Landscape, A Medieval Miniature), which could be explained by the translators’ tendency to “improve” the poem and “amend” the author by additional play on words and sounds, and by comic effects.
4

11 wrzesnia 2001 w poezji

75%
Wadolny-Tatar K.
Pamiętnik Literacki
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2012
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vol. 103
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issue 4
101-113
EN
The article relates to the events of September 11th, 2001 recorded in the poems by Wislawa Szymborska, Ewa Lipska, and Julia Hartwig. The date indicates as well as encodes the dramatic events connected with World Trade Center terrorist attack. It can be interpreted and described using Jacques Derrida’s term “shibboleth.” The arrangement of the poems under analysis reveals a temporal aspect expressing a different distance to the tragedy, namely “here and now” (Szymborska), “shortly after” (Lipska) and “some time later” (Hartwig). In Szymborska, the medium of photography determines the verbal projections of images, while literature settles the photography’s scope of reference. The photography, to continue, can be seen as a fake ekphrasis. Referring to the methods of communication about the events in question, Lipska juxtaposes two perspectives, namely the vision (per)formed in mass media and by various social commentators, and that of an ordinary man (a tailor). Both form contrasting commentaries on the reality. Hartwig’s poem does not indicate its connections to September 11th, 2001; it is only later that the presented lyrical situation and geographical-topographical details allow for the disclosure. Wieze (Towers) prompt into reflection on the absence of those monumental buildings in New York’s urban landscape which, when destroyed, caused the deaths of many people. The poetics of eye and memory is a literary restoration of the old picture as well as everyday habits after the disaster. The poetic experience of the date is realised with different creative strategies, all of them being the results of searching for the modes of speaking about the tragedy. Three poems shape a shibboleth composition with the date in its semantic centre.
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