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1

Ancient Forest Idols on Polish Soil. Based on the Poem Ja jestem satyr [I am a Satyr] by Wacław Rolicz-Lieder and the Painting Hołd sztuce i muzie [Homage to Art and Muse] by Jacek Malczewski

100%
Igliński G.
Prace Literaturoznawcze
|
2019
|
issue 7
105-122
EN
The works analysed in this paper – Wacław Rolicz-Lieder’s poem Ja jestem satyr [I am a Satyr](from the volume Nowe wiersze [New poems, 1903] and Jacek Malczewski’s painting Hołdsztuce i muzie [Homage to Art and Muse, 1910] – relate to the theme of art. They cover a subjectof key importance to the Young Poland movement, simultaneously using the motif of a forest idol(faun, satyr) fashionable at the turn of the 20th century. The difference between these two works isnot limited to the nature of artistic expression (poetic vision – the painter’s vision). In the poem byRolicz, it is narrowed to the individual (the individual’s experiences) – basically, it is the confessionof an individual finding satisfaction in the image of what is native. In the painting by Malczewski,the perspective seems wider and more universal. The former reveals what could be the source ofinspiration for an artist, while the latter presents what art can aspire to. Regardless of this directionof influence, both works contain the suggestion that art is conditioned by culture and that it has theright to bear the mark of “homeliness”.
2

Fauniczna gra przeciwieństw. Inspiracje böcklinowskie w wierszu Wieczór wiosenny Zofii Gordziałkowskiej

100%
Igliński G.
Prace Literaturoznawcze
|
2018
|
issue 6
137-148
EN
This paper presents an analysis and interpretation of Zofia Gordziałkowska’s poem The SpringEvening [Wieczór wiosenny] from her volume Böcklin in poetry [Böcklin w poezji] (1911). It aimsto describe one of Gordziałkowska’s methods of utilising the works of arts which were the inspirationfor her works. As almost all the texts in the volume were created because of the paintingsby the Swiss artist Arnold Böcklin, popular at the turn of the 19th and 20th centuries, his works providea fundamental context for those considerations.The conducted analyses indicate that, in some of her works, the poetess clearly does not faithfullyreproduce all the details of the described paintings but offers her own development of the themepresented by Böcklin.
3
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Ondyny i meluzyny we współczesnej niemieckojęzycznej literaturze kobiet (Bachmann, Neuwirth, Frischmuth)

43%
Nowara-Matusik N.
Wortfolge. Szyk Słów
|
2018
|
issue 2
9-29
EN
The article is an attempt at a gender reading of the motif of undine and melusine in three texts by contemporary Austrian writers: Ingeborg Bachmann (Undine Goes), Barbara Neuwirth (Nimm diese Rosen, Schöne) and Barbara Frischmuth (Otter). In the introduction, the author describes the mythological and literary context in which this motif functions, and then places the analyses of the above mentioned works against this background. Another important issue is the question of the feminist progressiveness of the texts under examination: basing on the assumption that Bachmann’s work is characterised by (pre)feminist thinking, the author places in its context the texts by Neuwirth and Frischmuth, written several decades later.
DE
Im Beitrag wird der Versuch unternommen, eine genderorientierte Analyse des Motivs der Undine und Melusine in drei Texten zeitgenössischer österreichischer Autorinnen (Ingeborg Bachmanns Undine geht, Barbara Neuwirths Nimm diese Rosen, Schöne und Barbara Frischmuths Otter) zu liefern. Im einleitenden Teil des Beitrags wird der mythologische und literarische Kontext, in welchem das Motiv funktioniert, skizziert. Vor diesem Hintergrund wird anschließend die Analyse der genannten Werke vorgenommen. Nicht weniger wichtig ist die Frage nach der feministischen Progressivität der zu untersuchenden Texte: von der Annahme ausgehend, dass sich der Text Bachmanns durch ein (prä)feministisches Denken auszeichnet, werden in seinem Kontext die Texte Neuwirths und Frischmuths situiert, welche einige Jahrzehnte später entstanden sind.
PL
Artykuł jest próbą genderowego odczytania motywu ondyny i meluzyny w trzech tekstach autorstwa współczesnych pisarek austriackich: Ingeborg Bachmann (Ondyna odchodzi), Barbary Neuwirth (Nimm diese Rosen, Schöne) oraz Barbary Frischmuth (Otter). We wstępie autorka artykułu przybliża kontekst mitologiczny i literacki, w jakim motyw ów funkcjonuje, by następnie na tym tle umiejscowić analizy wymienionych wyżej utworów. Nie mniej ważne jest pytanie o feministyczną progresywność badanych tekstów: wychodząc z założenia, że utwór Bachmann odznacza się myśleniem (pre)feministycznym, autorka sytuuje w jego kontekście teksty Neuwirth i Frischmuth, powstałe kilkadziesiąt lat później.
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