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TIMUR SHAOV AND THE DEATH OF THE RUSSIAN BARD SONG

100%
Vishevsky A.
Przegląd Rusycystyczny
|
2007
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issue 4
EN
В статье рассматривается творчество Тимура Шаова на фоне более широкого вопроса обавторской песне и бардовской традиции в русской культуре. На основе анализа песен Шаова,а также их сравнительного анализа с песнями бардов 60-х–70-х годов (Булата Окуджавы,Александра Галича, Владимира Высоцкого), автор статьи предлагает отличать авторскуюпесню от песни бардовской, выделяя бардовскую традицию, как неотъемлемо связаннуюс советской эпохой, и соответственно укладывая ее в определенные временные рамки.
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Just Like a Woman. Bob Dylan o kobietach i mężczyznach

71%
Kiec I.
International Journal of Slavic Studies Transgressive, Pragmatic and Speculative Horizons of Popular Literature and Culture
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2020
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vol. 1
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issue 2
EN
The starting point to consider is the story of one of Bob Dylan’s most famous songs dedicated to a woman, but – what the author of the article is trying to show – above all defining men of the sixties generation. It is situated between the traditionally understood role of a man – a warrior and conqueror, and a new man, whose image will be born with the victory of the second wave of feminism in the 1970s. It is called the generation of Boys from the Rain (inspired by Dylan, but also Jerzy Szaniawski’s Dreams Theatre), The Savages (according to Robert Bly) or – bards, for whom the song is a drug, a substitute for femininity, the only companion follow in their wake. An image of a new woman from a non-feminist perspective is shown – it’s an evil woman who is the heroine of the Polish equivalent of Dylan’s song – Andrzej Bianusz’s Jak to dziewczyna [Like a girl].
3

„W PRZEDSZKOLU NASZYM NIE JEST ŹLE…”. MOTYW DZIECIŃSTWA W UTWORACH JACKA KACZMARSKIEGO

61%
Karwala M.
Rocznik Przemyski
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2017
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vol. 53
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issue 2(21): Literatura i Język
123-133
EN
The article is dedicated to the poetry of Jacek Kaczmarski, best known for his protest songs and often referred to as “the bard of Solidarity”. But he is a more versatile artist than he appears to be in the political songs for which he is chiefly recognized. Kaczmarski often featured children in his poetry for adult audience. The figure of the child in his poems can represent different meanings and belongs to different contexts: politics (the dominant one), family life (the source of strong emotions and noble lyricism), and philosophy (the antinomy between youth and old age as an ongoing interaction that connects spontaneity and wisdom).
4
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Dispersed messianism. Wojciech Wencel’s Epigonia and Polonia Aeterna

61%
Spólna A.
Świat i Słowo
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2020
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vol. 35(2)
109-125
EN
The article shows forms that neo-romantic messianism takes in Wojciech Wencel’s poetry volumes Epigonia and Polonia aeterna. The Polish nation, understood as a primordial community, is depicted through the prism of national-conservative clichés, taken from freely interpreted Sarmatian literature and Mickiewicz’s romanticism. The hero of Wencel’s poems has a sense of mission as a guide for his compatriots through the traps of late modernity and as a guardian of national memory. The language of this poetry, ostentatiously old-fashioned, serves to sacralize history seen as a continuum of struggle and martyrdom. Both books demonstrate a strongly internalized, martyrological-heroic concept of the messianic calling of Poland – although not expressed as directly as in the preceding volume, De profundis.
5
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Osiemnastowieczny ormiański bard Zakaukazia

57%
Szmurło Z.
Studia Gdańskie. Wizje i rzeczywistość
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2014
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vol. 11
225-243
EN
In the article is shown figure of Sayat-Nova – the outstanding an Armenian po-et, musician and ashugh who composed a number of languages, including Armeni-an, Georgian, Azeri, Persian who lived and created in Transcaucasia in 18-th cen-tury. Sayat-Nova was born as Harutyun Sayatayan in 1712 in Tiflis. His adopted name Sayat Nova meant „King of Songs”. He was skilled in writing poetry, singing, and playing the kamancheh. He performed in the court of Heraclius II King of Georgia. He lost his position at court when he fell in love with the king's sister, and the rest of the life, after the ordination, he spent on the province as the clergyman. In 1795 he was killed by the army of Agha Mohammed Khan, and is buried at the Cathedral of Saint George, Tbilisi. About 220 songs can be attributed to Sayat-Nova, although he may have written thousands more. A number of his songs are sung to this day.
6
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Dlaczego Słowacki „pisał Mickiewiczem”? O genezyjskim przesłaniu fragmentu epickiego [„Konrad Wallenrod”]

41%
Krysowski O.
Prace Filologiczne. Literaturoznawstwo
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2020
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issue 10 (13)
123-136
EN
In his epic paraphrase of Konrad Wallenrod [Konrad Wallenrod], Słowacki did not polemise with Mickiewicz’s poem. He rather discovered and explained the genesian sense of its content. It’s hard to call this “rewriting Mickiewicz”, as it has been described by Alina Witkowska. One can rather interpret it as creating a genesian narrative using the content and style of Mickiewicz’s works. In the second half of the 1840s, the author of Dziady [Forefathers’ Eve], Konrad Wallenrod [Konrad Wallenrod], and Pan Tadeusz [Sir Thaddeus] stopped interesting Słowacki as an individual of extraordinary worldview, imagination, and talent. He became instead one of many significant, homeric voices of the “spirit of the world”, spirit of the history. However, in his genesian narrative Słowacki used not only Mickiewicz’s texts, but also those of his own. Moreover, he used works of other masters in whom he recognised signs of prophetism: Homer, Dante, Ariosto, Shakespeare, Calderon, etc. In the epic fragment [Konrad Wallenrod] [Konrad Wallenrod], he presented a collective vision of Lithuanian bards – midair knights, who foretell ground-breaking events that were to happen in Lithuania. This vision is an evidence that the prophetic song, as a revelation of secrets of God or the spirit of history, does not belong to only one singer. On the contrary, reading and explaining the revealed truths is a collective task.
PL
Słowacki, parafrazując Konrada Wallenroda, nie polemizował z tym utworem, lecz odkrywał i tłumaczył genezyjski sens zawartego w nim przekazu. Trudno to nazwać „pisaniem Mickiewicza”, jak określiła osobliwą praktykę twórczą poety Alina Witkowska. Można mówić raczej o „pisaniu Mickiewiczem” − tworzeniu narracji genezyjskiej treścią i stylem jego dzieł. W drugiej połowie lat czterdziestych autor Dziadów, Konrada Wallenroda i Pana Tadeusza przestał interesować Słowackiego jako jednostka wyróżniająca się określonym światopoglądem, wyobraźnią, talentem. Stał się dla niego jednym z głosów − doniosłych, homeryckich − za pośrednictwem których przemawia „duch świata”, duch dziejów. Nie tylko jednak „Mickiewiczem” pisał poeta opowieść genezyjską, lecz także utworami własnymi. Pisał ją również dziełami innych mistrzów: Homera, Dantego, Ariosta, Szekspira, Calderona i in., w których dostrzegał oznaki profetyzmu. W epickim urywku [Konrad Wallenrod] wspólna, zbiorowa wizja wajdelotów, tj. obraz napowietrznych rycerzy − zwiastunów przełomowych zdarzeń mających w przyszłości rozegrać się na Litwie − dowodzi, że pieśń jako objawienie tajników działania Boga czy duchów w historii nie jest własnością jednego śpiewaka, że odczytywanie i tłumaczenie prawd objawionych jest zadaniem kolektywnym.
7
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O skrzypcach oraz ich muzyce w wierszu do „artysty zapomnianego” - Do Nikodema Biernackiego

36%
Łuczak B.
Studia Norwidiana
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2013
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vol. 31
91-116
EN
The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.
8

O skrzypcach oraz ich muzyce w wierszu do "artysty zapomnianego" - do Nikodema Biernackiego

36%
Łuczak B.
Studia Norwidiana
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2013
|
vol. 31
91-116
XX
The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.
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