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1

Strata, tęsknota, ciekawość

100%

Sośnicki D.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

213-221

EN

In his piece, the author of the article ponders on the experience of loss in human life. It is this particular experience, as well as the accompanying longing, that form the basic components of an elegiac attitude. However, in its broader sense, loss becomes one of the most universal experiences in literature and the arts of the twentieth century. After all, they shared the conviction that reality, no matter how looked upon, was never fully accessible to us and that man always played a losing game with it. Contrary to outward appearances, the above also applies to the creators of avant-garde movements. An analysis of the poem Do NN***, written by Miron Białoszewski, carried out first within the context of elegy and then with reference to the techniques and the program of cubism, makes us aware that Białoszewski somehow evades both elegiac mood and the avant-garde principles such as they are underlined in its program. The driving force for his writing is then curiosity. And it is curiosity, and just curiosity, independent and one that cannot be reduced to just the desire to know, that forms the only real alternative that, in a way, always remains metaphysical.

2

Elegijne dykcje Aleksandra Wata

100%

Pietrych K.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

147-162

EN

The present article tries to show and characterize Aleksander Wat’s poetic diction included in the pool of the kinds of the literary elegiac mood and mournful strains used by the writer. Wat does not employ just one language that would offer the power of expressing oneself and convey one’s own existential experience - he speaks with varied elegiac voices: be it full of sadness, melancholy and despair, be it filled with irony and sarcasm. In fact, the elegiac tone in its traditional variation is to be found only in one war poem, whereas all his post-war poetic volumes bring a rich polyphony of varied elegiac voices. Wat’s late poetic writings is underlined by a necessity to renew what has already happened, to repeat the existing pattern of expressing oneself, and thus forms a particular elegiac intertextuality. In this way, such rhetorical dimension of the word is revealed that challenges the feasibility of getting the content through in a straightforward manner. The awareness of repetition, however, does not restrict the author to silence - just the opposite, it makes him aware of a necessity to draw from codes lodged in tradition and thus to create a collage-like diction of his own.

3

„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.

4

Elegia jako gatunek filmowy. Adaptacja - inspiracja - sugestia

63%

Koschany R.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

175-188

EN

The question that this is article is concerned to answer is how the position of the film elegy can be best formally established - with its artistic representations, as well as its functioning in the genology of the genre. An attempt to provide definitive answers that emerge from interdisciplinary, film and literary discourse brings a number of substantial threads. Firstly, there is, indeed, no theoretical description of the elegy as a film genre, though the very name does appear in many titles. Secondly, it seems that a juxtaposition of available examples of film ad-aptations of elegies does not lead to any consistent conclusion, since, apart from the suggestion proposed by the author, they are different in terms of formal and thematic elements involved. Thirdly, any attempt at a genological profiling has to, somehow, refer to a more or less fixed literary genre and the relevant theory behind it. In a most general way, one can state, albeit with a number of reservations, that the elegiac film is characterized by a distinguishable style, often simply called the elegiac style, and the theme, very broadly associated with time and the theme of passing.

5

Matki odchodzą - wariacje 2009

63%

Czyżak A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

163-174

EN

This article proposes some considerations on a particular variation of the elegiac mood represented by and manifested in lyrical farewells of departing mothers. A review of the variants commences with an analysis of a particularly important work by Tadeusz Różewicz written at the beginning of this century - Matka odchodzi. The book was, at the time, a particular reference point for the following poetic volumes in which the theme of the death of the poet’s mother was paramount and significant. The article also focuses on volumes of poems, written by poets that belonged to different generations but shared the same date of publication, i.e. the year 2009. Both clear similarities and marked differences in the actual commitment in carrying out the theme and in creating the profiles of mothers that have passed away are to be found in the works of Piotr Sommer (Dni i noce), Jan Polkowski (Cantus) and Eugeniusz Tkaczyszyn-Dycki (Piosenka o zależnościach i uzależnieniach).

6

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

62%

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.

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6 Poznańskie Studia Polonistyczne. Seria Literacka

6 2011

1 Czyżak A.

1 Hamerski W.

1 Koschany R.

1 Pietrych K.

1 Siwiec M.

1 Sośnicki D.

Strata, tęsknota, ciekawość

Elegijne dykcje Aleksandra Wata

„Moment elegijny” Victora Hugo

Elegia jako gatunek filmowy. Adaptacja - inspiracja - sugestia

Matki odchodzą - wariacje 2009

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