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„DER REDE INTERIEUR“. ZUR FRAGE DER INTRA - UND INTERTEXTUALITÄT IN OSWALD EGGERS POEM „HERDE DER REDE“

100%
FELIP E. d.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2011
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vol. 3
57-82
EN
This essay analyses and reflects upon the numerous intra- and intertextual references in Oswald Egger’s long poem “Herde der Rede” (1999). The recourse to prior literary models in terms of surprising reversals of form and content, self-quotations as well as reversals of his own figures of speech are counted among Egger’s distinctive poetic strategies. Alert − like a widely open ear – to voices from different religious and poetical traditions, the text perceives, integrates and plays with different poetic registers and language worlds (such as the Song of Solomon, the ancient Corpus Hermeticum, Hesiod, Vergil, Hölderlin, Rilke …). “Herde der Rede” is a highly dialogic and polyphonic text (in the sense used by M. M. Bakhtin). Ultimately, quotations, repetitions and reversals become strategies of a poetic discourse which uses literary and religious traditions as subtexts for a metapoetic speech.
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Konstelacje neoawangardy w poezji kobiet na przykładzie twórczości Julii Fiedorczuk

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Grądziel-Wójcik J.
Zagadnienia Rodzajów Literackich
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2018
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vol. 61
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issue 2(126)
117-132
EN
The paper challenges the common view within the history of Polish literature that schematically places women’s poetry outside modernism and avant-garde. The authoress employs the concept of neo-avant-garde to characterize the so-far omitted poetic projects by women, dismissed to date as marginal or “quasi-avant-garde”. In the article, she demonstrates ways in which Julia Fiedorczuk’s intellectual, self-reflexive and experimental poetry draws upon and refashions the avant-garde tradition.
3
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Функции ссылочно-сносночного аппарата в поэзии Льва Лосева

100%
Павловец М.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2012
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issue 5
142-148
EN
Poems which contain footnotes, including those with references, are paramount in the poetry by Lev Loseff. They add “philologism” to his poetry and determine the special ways which the poet uses to create the lyrical subject in his works. The lyrical subject in Loseff's poetry has two hypostases: the one of a poet and the one of a commentator. Lyrical discourse is organically combined with the philological one, and the subject’s selfreflection is combined with meta-reflection of the text.
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Ejercicios de traición: intertextualidad, culturalismo y traducción en la poesía contemporánea española

86%
Álvarez Ramos E.
Estudios Hispánicos
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2016
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vol. 24
23-35
EN
Though the classical influence and the culturalist poetry cannot be reduced solely to the use of transtextual procedures, this practice represents a device that fits perfectly within the poetic uses; it helps to build theaestheticinherent to the postmodernthought; and it is raised as the prin­cipal representative of this poetic style. In this succinct approach, two metapoetic reflections on the inclusion of intertexts are shown as a paradigm, to make clear that the positions of the poets against intertextuality are mixed, but are equally successful in the postmodern ideology in which much of theproduction of contemporary Spanish poetry is included.
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The Conceptual Art of Translation

72%
Brzoskowska-Tereszkiewicz T.
Prace Filologiczne. Literaturoznawstwo
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2013
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issue 3(6) cz.1
107-124
EN
The paper presents a variety of expressly anti-illusionist practices in literary translation which derived their inspiration from the neo-avant-garde’s radical artistic proposal known as conceptual art. As self-referential and self-reflexive literary experiments, conceptual translations tend to lean towards visual, installation and performance art, while privileging aleatoric and combinatory procedures for the construction of target texts. They are also likely to be marked by an intense preoccupation with intermediality and “synesthesia” an inherent tension between sensory and intellectual cognition in the translation process and a promotion of the translator’s conceptual idea instead of translational mimetism.
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Mam jakiegoś ciebie, masz jakiegoś mnie”. Autotematyzm a podmiot wierszy Stanisława Barańczaka

58%
Dźwinel K.
Prace Polonistyczne
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2014
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vol. 69
83-101
EN
The author of the article is focused on those of the places in Stanisław Barańczak’s poetry, in which the subject is revealed and the fact that the sender is the poet, who creates in statu nascendi and at the same time reflects on the essence of this process, is emphasize. These are obviously the self-reference procedures, directly related to perfecting his own poetic workshop. In the case of Barańczak those threads are also transferred on the self epistemology area, which means that they are involved with the identification of the subjects own identity, which is worth of interpreting precisely as an self-reference procedure. Self-reference at this point is being expanded only in a manner of pretense: it is absolutely important to remember that the “self-recognition” making subject is exactly the poet. The key figure to the topic taken in this way will be the doppelganger (and bond to this issue mirror theme). The exemplification material will be given by both early Korekta twarzy, and the subsequent volumes of Barańczak’s poetry.
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Opis autotematyczny na przykładzie poezji kobiet. Przypadek Joanny Pollakówny

51%
Grądziel-Wójcik J.
Forum Poetyki
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2020
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issue 20
34-49
EN
The article discusses autothematic description as a technique of metapoetic reflection. On the one hand, it is analyzed in the context of the structuralist theory of description and on the other hand, in the context of poetry by women, where meta-reflection is an important but underresearched phenomenon. Many poets use autothematic writing not because they want to problematize the poetic medium, which is to create Barthes’s “reality effect,” but because they want to construct their individual epistemological projects and inform the speaking “I.” I analyze poems by Wisława Szymborska, Julia Hartwig, Bogumiła Latawiec and Halina Poświatowska and interpret a poem by Joanna Pollakówna anew.
PL
W artykule wyodrębniony zostaje opis autotematyczny jako technika metapoetyckiej refleksji, z jednej strony odniesiona do strukturalistycznej teorii opisu, z drugiej – do praktyki poetyckiej kobiet, w której metarefleksja jest ważnym, ale niedostatecznie omówionym zjawiskiem. Stosowane przez poetki zabiegi autotematyczne nakierowane są często nie tyle na problematyzowanie poetyckiego medium, mającego wywołać Barthes’owski „efekt rzeczywistości”, ile na samopoznanie podmiotu i konstruowanie indywidualnych projektów epistemologicznych. Przykładowo przywołana zostaje poezja Wisławy Szymborskiej, Julii Hartwig, Bogumiły Latawiec i Haliny Poświatowskiej, a osobną interpretację zyskuje wiersz Joanny Pollakówny.
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„...dum Capitolium scandet cum tacita virgine pontifex”. Funkcja figury pochodu w pieśni III, 30 Exegi monumentum Horacego

44%
Kopek W.
Roczniki Humanistyczne
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2021
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vol. 69
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issue 3
63-93
EN
This article contains a semiotic analysis of the “dancing procession” motif in Carm. III 30 Exegi monumentum (vv. 7–14) in the perspective of the topos of a meeting with a deity in the Horacian lyric, that was defined as a form of a rite of passage. The author also sought to answer the question of the function of the said motif in the composition of the text and in shaping the figure of the author’s subject, shown as a “poet” (vates). The posed research problem required the use of a semiotic definition of the text and forced an approach to the topos of a meeting with a deity as a cultural text. Which, in turn, bear in on reference to anthropology (the concept of ritual) and cultural studies (κῶμος, χορός), as well as linguistics in terms of semantics and the aspect of a verb. After the analysis the author concluded that the “dancing procession” motif in the ode Exegi monumentum is shown in two phases as a cyclical, ritual χορός, which became a sign of the one-time κῶμος. In this sense, the motif was shown as a figure of memory, referring to the fact that Horace combined Aeolian meters with Roman literature. In reply to the question regarding the figure of the subject, the author indicated that on the basis of the above figure of memory the vates was deified and as such he took the place of the deity in the literary transformation of the topos of the meeting with a deity, aspiring to a role analogous to the figure of “Anacreont” in Anacreontic poetry.
PL
Celem artykułu jest semiotyczna analiza motywu „pochodu tanecznego” w Carm. III, 30 Exegi monumentum (w. 7-14) w perspektywie toposu spotkania z bóstwem w liryce Horacjańskiej, rozumianego jako forma rytuału przejścia. Autor poszukuje również odpowiedzi na pytanie, jaką funkcję pełni przywołany motyw w kompozycji tekstu oraz w ukształtowaniu figury podmiotu odautorskiego, ukazanego w roli „poety” (vates). Postawiona problematyka wymagała odniesienia się do semiotycznej definicji tekstu oraz ujęcia toposu spotkania z bóstwem jako tekstu kultury. To z kolei wpłynęło na odniesienie się do badań antropologicznych (pojęcie rytuału) oraz kulturoznawczych (κῶμος, χορός), a także językoznawczych w zakresie semantyki i aspektu czasownika. Po przeprowadzonej analizie autor doszedł do wniosku, że motyw „pochodu tanecznego” w pieśni Exegi monumentum został ukazany dwufazowo jako cykliczny, rytualny χορός, który stał się znakiem jednorazowego κῶμος. W tym sensie motyw ten został ukazany jako figura pamięci, odnosząca się do faktu połączenia przez Horacego miar eolskich z literaturą rzymską. W odpowiedzi na pytanie o konstrukcję podmiotu autor wskazał, że na bazie powyższej figury pamięci nastąpiło ubóstwienie wieszcza, który w przeformułowanym toposie spotkania z bóstwem zajmuje miejsce samego bóstwa, aspirując do roli analogicznej do figury „Anakreonta” w poezji anakreontejskiej (Carm. Anacr. 1 W, 1-3, 11-17).
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