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Idea epopei żałobnej. Późna twórczość Wincentego Pola w świetle „Pacholęcia hetmańskiego”

100%
Makuch D. W.
Pamiętnik Literacki
|
2020
|
vol. 111
|
issue 3
21-37
PL
Autor artykułu przedstawia w nowym świetle późną twórczość Wincentego Pola, wychodząc od zapomnianego poematu „Pacholę hetmańskie”. Analizując wypowiedzi poety i zestawiając je z negatywnymi opiniami krytyków i późniejszych badaczy, udowadnia, że dla samego pisarza utwór miał znaczenie przełomowe w trzech płaszczyznach: idealistycznego postrzegania sztuki (i kultury); autorskich poszukiwań współczesnego pamiętnikarskiego eposu; postawy wobec najnowszej tradycji narodu, którą cechuje przywoływanie przeszłości w geście żałoby. W ten sposób artykuł nie tylko pozwala zinterpretować na nowo późne dzieła poety, lecz także przybliża zapomnianą kartę refleksji metaliterackiej z lat sześćdziesiątych XIX wieku.
EN
The author of the article presents the late work of Wincenty Pol in a new light, and his starting point is the forgotten poem “Pacholę hetmańskie” (“Hetman’s Infant)”. He analyses the poet’s statements and compares them with the negative opinions of critics and modern researchers in order to prove that for Pol the work had a critical meaning in three dimensions: idealistic perception of art (and culture), the author’s search for a contemporary diarist epic poem, and his own attitude towards the newest tradition of the nation characterized by mourning of the past. Therefore, the article explains late works of Pol as well as introduces a forgotten part of metaliterary reflection of the 1860s.
2
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Problemy z konstrukcją odbiorcy w polskich przekładach poematu Song of Myself Walta Whitmana

86%
Studniarz S.
Acta Neophilologica
|
2013
|
issue XV/2
191-202
EN
The subject of the article is the question of rendering the addressee in the Polish translations of Song of Myself by Walt Whitman, in which a certain indeterminacy in the shaping of the recipient can be observed. The crucial distinction between the intratextual addressee and the extratextual addressee projected by the text, based on the typology proposed by David Herman, allows taking into consideration the personal reader as the communicative partner of the speaker in the poem. Initially, the Polish translation of the poem by Andrzej Szuba projects a community as the addressee, whereas from the translation by Ludmiła Marjańska the image of the individual recipient emerges. However, further on in the translation by Szuba the collective addressee changes into the single one, whereas in the translation by Marjańska the opposite process takes place because in the final section the individual addressee turns into the collective one. But it is not an unspecified community that is the participant of the communicative situation projected by the text; it is an individual, it is each personal reader. It is the individual extratextual addressee that is the beneficiary of the poetic undertaking. Unfortunately, the existing Polish translations are not conducive to the understanding of the role assigned to the extratextual addressee by the text, and make it hard for the Polish reader to form a proper mental image of the recipient projected by the poem.
3
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Rzeka w czarnoromantycznym imaginarium: „Zamek kaniowski” Seweryna Goszczyńskiego

72%
Ławski J.
Prace Filologiczne. Literaturoznawstwo
|
2015
|
issue 5(8)
455-478
EN
The subject of the present study is the image of river in the epic poem by Seweryn Goszczyński (1801−1876) The Castle of Kaniv (1828), which falls in line with the so called Dark Romanticism. The said current developed in the literature of English, German, French and Polish Romanticism. It was characterized mainly by extreme aesthetic effects, the symbolism of day and night, frenetic effects, pessimistic vision of human beings, nature, and history. Goszczyński significantly deepens this image of the world in Dark Romanticism by introducing considerably extensive aquatic symbolism, above all, river symbolism. It is mainly related to the geographical and cultural reality of Ukrainian lands, where the poet comes from. Thus the augmentation of the poetic role of the river, the Dnieper in particular.
4
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„Nie znalem was – Żydy". Powstanie judejskie i postać Barchoba w Quidamie Norwida

58%
Fieguth R., Karłowicz T.
Studia Norwidiana
|
2008
|
vol. 26
49-68
EN
The action of Quidam is set in Hadrian's Rome. Public and private hysteria rises due to the Jewish war 132-135 p. Chr., but also to a conflict between Hadrian's religion policy and its Greek, Jewish and Christian opponents. The Jewish uprising is confronted to Greek non opposition and to the Christian way of opposition by public faithwitnesses. It is raised to the role of a `motor' in a ruined epic machine, and hints to modern Polish (or other nations') uprisings. Barchob (Bar-Kokhba?) is shown as a Roman Jew's disciple, secret admirer of Christian courage, friend of Alexander, the poem's main person; as a messianic fighter in Judea; and finally as an advocate of interreligious solidarity. Quidam is a „przy-powieść”, a „para-novel” with a ruined narrative time and action structure, and a „parable” which answers strangely to Chateaubriand's demand for Christianity epics, forming an allegory also of modern civilisation, police state, public opinion, modern conflictual cultural and religious pluralism, modern individualism, scepticism and altruism.
5
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O rokokowej realizacji Tassowego wątku w "Erotykach" Franciszka Dionizego Kniaźnina

58%
Mazurkowa B., Uniwersytet Śląski w Katowicach W. F., pytia1@wp.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2016
|
vol. 34
|
issue 4
EN
The author devotes attention to four pieces from the poetic cycle Erotics (Erotyki, 1779) of Franciszek Dionizy Kniaźnin, cleary inspired by a few scenes from romantic thread of Tancred and Clorinda in epic poem Godfrey or Jerusalem Delivered (Gofred abo Jeruzalem wyzwolona, 1618) by Tasso‑Kochanowski. The context of consideration are reflections which concern interest in baroque work and characteristic cult of Italian artist, lively in Poland until romanticism. The goal of detailed analysis is to capture multiple signals of connections between Kniaźnin’s rococo lyrics and paralel fragments of seventeenth‑century translation. In the poem’s plot these relations concern meetings of Christian knight with beautiful pagan, his behaviour in these situations, statements which he addressed to both living and departed Clorinda and also the dream in which he was haunted by ghost of the loved woman. Comparative steps aim at determining how epic material was used and processed in the amorous poetry of good taste”.
6
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Pierwszy poetycki traktat wojskowy z mapą – Jana Kunowskiego Odsiecz smoleńska. Wykorzystanie kartografii w działaniach operacyjnych (1616–1617)

51%
Łopatecki K.
Rocznik Lituanistyczny
|
2018
|
vol. 4
EN
Artykuł prezentuje poemat epicki pt. Odsiecz smoleńska przez sławnie wielmożnego Jego Mości Pana Aleksandra Korwina Gosiewskiego autorstwa Jana Kunowskiego (1617). Do niego została dołączona mapa, która posłużyła do zobrazowania wydarzeń opisanych w utworze. Wyjaśniono okoliczności jej powstania i rolę kartografii podczas planowania operacji wojskowych. Przedstawiono nowatorski sposób prowadzenia działań wojennych przez oddziały litewskie pod dowództwem Aleksandra Gosiewskiego. Scharakteryzowano etapy, fazy i czynności podejmowane podczas odsieczy Smoleńska (1616–1617). The article presents an epic poem entitled The Succour of Smolensk by Eminent Sir Aleksander Korwin Gosiewski (Odsiecz smoleńska przez sławnie wielmożnego Jego Mości Pana Aleksandra Korwina Gosiewskiego) by Jan Kunowski (1617). A map was attached to it to illustrate the events described in verse. The article explains the role of the map in the poem and cartography in general for military operations. Then, it presents Aleksander Gosiewski’s novel approach to conducting warfare as well as the stages, phases and actions taken during the Smolensk relief (1616–1617).
7
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O rokokowej realizacji Tassowego wątku w "Erotykach" Franciszka Dionizego Kniaźnina

51%
Mazurkowa B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 34
|
issue 4
83-102
EN
The author devotes attention to four pieces from the poetic cycle Erotics (Erotyki, 1779) of Franciszek Dionizy Kniaźnin, cleary inspired by a few scenes from romantic thread of Tancred and Clorinda in epic poem Godfrey or Jerusalem Delivered (Gofred abo Jeruzalem wyzwolona, 1618) by Tasso‑Kochanowski. The context of consideration are reflections which concern interest in baroque work and characteristic cult of Italian artist, lively in Poland until romanticism. The goal of detailed analysis is to capture multiple signals of connections between Kniaźnin’s rococo lyrics and paralel fragments of seventeenth‑century translation. In the poem’s plot these relations concern meetings of Christian knight with beautiful pagan, his behaviour in these situations, statements which he addressed to both living and departed Clorinda and also the dream in which he was haunted by ghost of the loved woman. Comparative steps aim at determining how epic material was used and processed in the amorous poetry of good taste”.
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