Search results

1

„Ołowiana chmurka” albo melancholia Stachury

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Wroniszewski M.

Białostockie Studia Literaturoznawcze

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2014

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vol. 5

EN

The article is a review of Anna Małczyńska’s book "Z padłych wstawanie. O melancholii w pisarstwie Edwarda Stachury" [Rising from the fallen. On melancholy in the writing of Edward Stachura]. It places this publication in relation to modern interpretative melanchological inspirations.

2

Slzy si utřeme pěstí : diskusie o práve básnika na smútok v slovenskom literárnom prostredí v druhej polovici 20. storočia a ich český kultúrny kontext

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Matejovič P.

Česká literatura (Czech Literature)

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2020

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vol. 68

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issue 2

182-203

EN

The study analyzes the transformations undergone by the topic of sadness in individual decades, paying particular attention to the discussion on “the poet’s right to be sad” in poetry reacting to the dogmatically asserted ideology of Socialist Realism in the first half of the 1950s. This discussion was initiated in Slovakia by Milan Rúfus’s poetry collection Až dozrieme (When we Grow Mature). During the 1960s the discussion over the poet’s right to be sad when confronted by civilizational threats gradually transformed into a dystopian alternative. The characteristic feature of melancholic modality during this period came to be irony. Within the Czech cultural context it is represented by Kundera’s novel Žert (The Joke), which is a reaction not only to the pioneering optimism of Socialist Realism, but also to the traditional understanding of humanism. Confronting current ecological threats, the author finds some overlap with the present in the period discussion over “the right to be sad”. In this respect he notes the term “environmental grief ”, which is now being used by the Czech sociologist Hana Librová.

3

Miejsce melancholii w kulturze staropolskiej w świetle kazań pogrzebowych przełomu XVII i XVIII w.

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Bąk J.

In Gremium. Studia nad Historią, Kulturą i Polityką

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2015

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vol. 9

51-63

EN

Melancholy is a concept of a rich semantic structure. Old Polish concept of melancholy was formed under the influence of ideological currents of the era and served mainly as the expression of thought and reflection on the passing time, in which the phenomenon of death played a key role. In the Middle Ages the term of melancholy, known as acedia at that time, was perceived as a sin. For a man of the Baroque death was the harbinger of eternal life, which is why his attention was firmly focused on eschatological concepts. The matter of the funeral sermons and guidebooks of proper dying were made to persuade a man to a pious life and give him hope for a rebirth in eternity. Especially when he experienced suffering or at the time of his death. Preachers much of their attention devoted to emphasize the important role of hope as the essence of the Christian faith. It supposed to be the remedy for sadness and the melancholic trance for those families which lost their loved ones. Because melancholy led men to second thoughts about God’s creation and led to the loss of health. Melancholy was longing for the passaging time. The indescribable grief over human imperfection and its destructive nature.

4

The Black Stone of Melancholy—A Whole Lost Once and for All, or Nostalgia for that which Never Really Was?

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Wolińska A.

Dialogue and Universalism

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2018

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issue 1

195-203

EN

The subject of my analyses is the concept of melancholy developed by Alicja Kuczyńska. I am interested in the connection between the creative aspect of melancholy— understood as a certain kind of philosophical attitude—and the concept of a whole. Taking a whole to be an “ideal model in the evaluation of the world and of things” gives us an insight into the meaning of being provided by the philosophical attitude of melancholy. Kuczyńska believes the application of this model is connected both with the possibility of harmonising the parts of this whole and with the search for what varies within the same whole. As a result, melancholy comes to the fore as a state of suspension between repetition and originality—an essential requirement for creativity.

5

The Experience of Melancholy in “Domestic Comedies” by Hanoch Levin

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Figzał M.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2018

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issue 9 "Memory, Melancholy and Nostalgia"

67-78

EN

The article attempts to depict the experience of melancholy in family dramas by an Israeli playwright Hanoch Levin. With regard to their themes Levin’s domestic comedies can be divided into dramas of ‘lonely hearts’, ‘family relationships’, and ‘neighborhood’. What is common to these three groups of dramas is the gallery of the same personae – melancholy men: depressed, detached subjects, deprived of any possibility of symbolization. Firstly, melancholy appears to be a general condition of the depicted world; secondly, it is deeply related to the inner dramas of personae of the drama – their embodiment and their perception of the world. The condition of male and female characters in Levin’s domestic comedies is determined by the longing for the past and the sadness of passive existence. The basic purpose of the article is to provide an analysis of the selected issues in the context of psychoanalytical readings of melancholy, especially Sigmund Freud’s as well Julia Kristeva’s works. This perspective allows to elucidate the melancholic condition of dramatis personae, and also to describe some complicated relationships between them (especially the relation between mother-figure and the son).

6

Forms of Nostalgia in Henry James’s “The American Scene”

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Gutorow J.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2018

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issue 9 "Memory, Melancholy and Nostalgia"

123-132

EN

Henry James was not a sentimental writer. However, in his later books we can find traces of repressed emotions and melancholy. One of the most intriguing literary documents showing the nostalgic strain in James is his collection The American Scene (1907), a record of the novelist’s return to the USA after a twenty-years-old absence. It contains various manifestations of James’s nostalgia – for example, his memories of New York and his melancholic recollections of the places connected with his youth. Also, it shows James’s convoluted rhetoric of memory as a space of repression and displacement as well as his unwillingness to address these issues in a direct fashion.

7

A Melancholy Journey through Landscapes of Transience

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Pieldner J.

Acta Universitatis Sapientiae, Philologica

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2015

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vol. 7

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issue 1

65-72

EN

Saturn is the planet of melancholy, about which Walter Benjamin writes: “I came into the world under the sign of Saturn - the star of the slowest revolution, the planet of detours and delays.” W. G. Sebald’s prose poetics seems to be driven by this motion, which is more than a simple state of being: it is a way of perceiving the world as well as a way of writing, perpetual transition, walk, halt, deviation from the road, getting lost and finding the way back. The paper reflects on W. G. Sebald’s The Rings of Saturn (Die Ringe des Saturn: Eine englische Wallfahrt, 1995], a unique literary achievement deeply embedded into the history of literature, culture and the arts, which can be best construed from the direction of “the order of melancholy.” On the pages of the book the reader can traverse, together with the Sebald-narrator, a route in East Anglia, with digressions in various directions of (culture) history. The journey in the concrete physical space turns into an inner journey, into a spiritual pilgrimage; the traversed locations become documents of destruction and transience. From the perspective of the order of melancholy places are determined by their relations, temporality and role in history rather than by their concrete geographic coordinates. The infinitely rich construction of the narrative creates a continuous passage between the local and the universal, the concrete locations of the journey and the scenes of world history, between the time of the journey and the (colonial] past, between East and West. The traversed historical, cultural and medial spaces displace the perception of human existence and result in the incommensurable aesthetic experience of the Sebaldian prose.

8

The creative potential of the elderly through an example of grand masters

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Straś-Romanowska M.

Journal of Education Culture and Society

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2016

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vol. 7

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issue 1

135-143

EN

This article presents characteristics of the selected aspects of the creative potential in older persons. In addition to specific aptitudes or gifts, cognitive qualities such as intelligence, knowledge and experience have been indicated as the components of creative potential. Furthermore, the importance of a developed lifestyle at earlier stages of life has been highlighted, along with the attitude towards one’s aging, spiritual sensibility and motivation for creative work. An attempt has been made to illustrate distinguishing characteristics of works by outstanding creators in the latter parts of their lives. More often than not, critics cited the following characteristics of creative persons: individualism, inclination towards harkening back to the past, melancholic spirits and thought orientation regarding transcendent reality

9

In the clutches of melancholy. Interpretive analysis of Gilles Renard’s student film “Late Afternoon”

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Drąg F.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 24

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issue 33

179-184

EN

The aim of the analysis is to present the film (Late Afternoon) by Gilles Renard as a study of melancholy. Both the plot and the cinematographic means used to shape the form of this short film correspond with the theoretical texts by Julia Kristeva and Melanie Klein on depression in women. The author of the text considers Late Afternoon as a feminist and affirmative film, strongly inspired by the aesthetics of Krzysztof Kieślowski’s cinematic output.

10

Romantic Melancholy and Decadent Anxiety as a Trait of the Elite Distinctiveness of the Heroes of the Novel by Jarosław Iwaszkiewicz

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Zwolińska B.

Anthropos?

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2019

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issue 28 Elitarne

118-140

EN

In the article, I am interested in the way Jarosław Iwaszkiewicz makes reference to romantic models of existence, growing out of age disease, alienating a hypersensitive hero, usually an artist, a society of philistines, a mass of common bread eaters, as well as later models of decadent melancholies straight from Modernism. Both of these attitudes were perceived as elitist, alienating from non-comprehensible crowds. For a more detailed analysis, I submit the heroes of the Pasje błędomierskie from 1938: writers of two generations - Tadeusz Zamoyłło and Leopold Kanicki, as well as the hero of Czerwone tarcze (1934), Henryk Sandomierski and Edgar Szyller and Janusz Myszyński of Sława i chwała (1956-62). All these heroes are joined by a feeling of existential anxiety, resulting largely from the entanglement in time, into the consciousness of passing away and uncertainty about the meaning of human life. They do not know suicidal inclinations, the kind of balancing on the border between life and death, and the lack of rooting in existence, becoming a burden. All these features are a model of a man of unnecessary, often immoral, decadent and melancholy, who is severely affected by his mismatch to the place and time in which he came to live. On the other hand, these attitudes are rooted in the era of Romanticism and Modernism, so it seems interesting to trace the above-mentioned connections in so different, as it seems, Iwaszkiewicz's novels.

11

MЕХАНИЗМ ФОРМИРОВАНИЯ ЛИТЕРАТУРНО- -ХУДОЖЕСТВЕННОГО КОНЦЕПТА «ТОСКА» (НА МАТЕРИАЛЕ ПОЭЗИИ АННЫ АЛЕКСАНДРОВНЫ БАРКОВОЙ)

100%

Бабенко Л.

Acta Neophilologica

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2014

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vol. XVI/1

127-139

EN

The article deals with a literary and art MELANCHOLY concept’s mental entity. Poetry of Anna Barkova is chosen as a material for the study. Various modifi cations of the concept’s universal structure in conditions of the aesthetic and artistic communication are shown, discursive factors promoting these modifi cations are revealed.

12

Bowaryzm – nuda – melancholia. Uwagi o bohaterach XIX-wiecznej literatury rosyjskiej

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Kotkiewicz A.

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2018

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vol. 49

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issue 3

169-178

EN

The article examines the notion of bovarism which can be seen in the work of the most outstanding Russian writers of the second half of the 19th century, for example Leo Tolstoy, Fyodor Dostoyevsky and Anton Chekhov. It seems that the source of bovaristic attitude, which is culturally, socially and psychologically motivated, is the extremity of the Russian character prone to self-sacrifice, offering and suffering, as well as cruelty and sadism. A Russian variant of bovarism is boredom and melancholy.

13

Alegoria Melancholii w rondach Karola Orleańskiego (XV wiek)

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Gęsicka A.

Prace Filologiczne. Literaturoznawstwo

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2016

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issue 6(9)

365-375

EN

In the Middle Ages, allegory is a way of perceiving the world. Allegory is also an important figure of speech in late medieval lyric poetry. The subject of the analysis is the psychological aspect of the use of allegory of Melancholy in rondeaux by French poet of the fifteenth century, Charles d'Orléans. In the allegorical descriptions of depression, one may extract five types of reaction of persona: 1. Revolt – decision not to give up, 2. Search for consolation, 3. Total submission to melancholy, 4. Complaint, 5. Specification of an objective impact of Melancholy on human beings.

14

Kwestie „najwyższej wagi” w twórczości Magdaleny Tulli

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Dzika-Jurek K.

Śląskie Studia Polonistyczne

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2019

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vol. 13

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issue 1

241-259

EN

The author examines metaphors related to weight in the oeuvre of Magdalena Tulli, indicating the notion that elucidates and orders what has hitherto defied interpretation in her novels. It is pointed out by the essay’s author, and corroborated by numerous quotations from Tulli, that the Warsaw-based writer often described as a post-modernist weaving multi-thread narrative, in fact creates literature devoted to a single topic – the Shoah. An interesting way of indicating this fact is a painting by Hans Memling, Last Judgement, mysteriously appearing in Magdalena Tulli’s novel entitled Włoskie szpilki [Italian High-Heels].

15

Kwestie „najwyższej wagi” w twórczości Magdaleny Tulli

89%

Dzika-Jurek K.

Śląskie Studia Polonistyczne

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2019

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vol. 13

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issue 1

241-259

EN

The author examines metaphors related to weight in the oeuvre of Magdalena Tulli, indicating the notion that elucidates and orders what has hitherto defied interpretation in her novels. It is pointed out by the essay’s author, and corroborated by numerous quotations from Tulli, that the Warsaw-based writer often described as a post-modernist weaving multi-thread narrative, in fact creates literature devoted to a single topic – the Shoah. An interesting way of indicating this fact is a painting by Hans Memling, Last Judgement, mysteriously appearing in Magdalena Tulli’s novel entitled Włoskie szpilki [Italian High-Heels].

16

W poszukiwaniu straconej tożsamości. Bowaryzm i melancholia w Postrzyżynach Bohumila Hrabala

88%

Sagata M.

Acta Philologica

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2014

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issue 45

228-234

XX

Analiza relacji transtekstualnych (Genette), a w szczególności roli motta „Pani Bovary to ja” w Postrzyżynach Bohumila Hrabala, wskazuje na obecność motywów charakterystycznych dla melancholii. Cytat z Flauberta całkowicie zmienia interpretacyjną optykę i pozwala patrzeć na główną bohaterkę powieści Hrabala również jako alter ego Emmy. W tym osobowościowym rozchwianiu przejawia się bowaryzm, czyli „zdolność postrzegania siebie innym, niż się jest” (de Gaultier), w którym zawiera się narracyjna strategia czeskiego pisarza.

17

Zapach rumianku. Nostalgiczny obraz dzieciństwa w cyklu rodzinnym Danila Kiša

88%

Kocot A.

Studia Slavica

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2013

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vol. 17

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issue 1

209-216

EN

Nostalgy and melancholy are among the key concepts necessary for defining the category of memory in the family trilogy of Danilo Kiš. The description of the childhood of the main protagonist of the trilogy – Andreas Sam – is full of both. Despite the fact that the main protagonist grew up during the war, the aforementioned Kiš’ novels are filled with longing for the times past. The nostalgic childhood memories play an important part in the texts and the substance of the protagonist's reminiscences is memorised or exagerrated sensory experience – recollection of the smell of flowers, shapes, colours. This the reason why enumerations (among others) lay such an important role in Kiš’ writings – they somehow allow to store and preserve the past.

18

Melancholics on the Vistula River

88%

Piechota D.

Tematy i Konteksty

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2020

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issue 1

413-426

EN

The article discusses the theme of melancholy in Polish prose of the 21st century, using four contemporary novels – Pokolenie Ikea [The IKEA generation](2012) by Piotr C., Wszyscy jesteśmy hipsterami [We are all hipsters] (2016) by Dariusz Radecki, Melanżeria [Melangery] (2011) by Anna Klara Majewska and Za pięć rewolta [Five minutes to a revolt] (2011) by Dawid Kain – as conspicuous examples of its presence. The author suggests that due to the increased pace of social and technological changes the generation of thirty-year-olds experiences a feeling of melancholy, formerly characteristic for elderly people and analyses the protagonists of the novels selected to present how they cope with a reality that does not fulfil them.

19

Czarna przędza” Baudelaire’a

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Siwiec M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2020

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issue 37

211-230

EN

The article shows Baudelaire’s poetry as a sign of both fascination and disgust with melancholy at the same time, which paradoxically results in an over-representation of melancholic images. Black yarn is the key image in the interpretation of Fleurs du mal presented here. Blackness appears as a sign of emptiness, of what is lost, as something interiorized and appropriated by a melancholic subject. The article proves that this emptiness and abysmal desolation in Baudelaire’s texts provide the substantive weight and that blackness becomes the materialization of melancholy and the matter of poetry at the same time, which leads us directly to a melancholic poetry par excellence.

20

The Philosophy of the Not-Quite-Sufficient: On Alicja Kuczyńska's Path Through Aesthetics

75%

Borowska M.

Dialogue and Universalism

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2018

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issue 1

159-176

EN

The article explicates the main fields of hermeneutic research activity of Alicja Kuczyńska in which Neoplatonic inspirations, Renaissance models of life, and the values and traditional paradigms for understanding aesthetic categories that are dominant within them—such as image, creation, fiction, and mimesis—are viewed against the background of the phenomena, transformations, and problems that are unique to our own times, thereby providing old frameworks with new forms of philosophical relevance. Kuczyńska’s research topics, i.e. beauty, love, the anthropological dimension of creativity, the role of imagination, and deification of creative personality gain revised interpretations, in which the accent is placed on creative activity and its value-creating dimension consisting in the transcendence of everyday reality. Characteristic of her research attitude is the tendency to consider philosophy and art in the context of transcending the finite dimension of being and undertaking anew and in different ways the effort to reach what is infinite, unconditioned, lost, truly existent in the Platonic sense. Kuczyńska’s research of this tendency takes on the dimension of positive valorisation of the state of “being in between” and exploration of artistic figures of “ascending.”

Refine search results

„Ołowiana chmurka” albo melancholia Stachury

Slzy si utřeme pěstí : diskusie o práve básnika na smútok v slovenskom literárnom prostredí v druhej polovici 20. storočia a ich český kultúrny kontext

Miejsce melancholii w kulturze staropolskiej w świetle kazań pogrzebowych przełomu XVII i XVIII w.

The Black Stone of Melancholy—A Whole Lost Once and for All, or Nostalgia for that which Never Really Was?

The Experience of Melancholy in “Domestic Comedies” by Hanoch Levin

Forms of Nostalgia in Henry James’s “The American Scene”