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Ornitologia, ornitomancja. Sokołowski i (inne) ptaki Jerzego Ficowskiego

100%

Jarzyna A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

2016

vol. 16

191-209

Ornithology, ornithomancy. Sokołowski and (other) birds of Jerzy Ficowski The starting point for my article was Jerzy Ficowski’s poem Do autora “Ptaków ziem polskich”. The poem, found in the poet’s penultimate volume – Zawczas z poniewczasem (2004) is commemorating Jan Sokołowski (1899–1982). He was a prominent ornithologist, one of the contemporary forerunners of the field, a pioneer of bird protection in Poland, and, above all, a visionary who in his work exhibited an innovatively personal approach to animals. The language he used was commonly regarded as anthropomorphic, since he attributed animals with emotions. In the article, I deal with poetic traces of both deliberate and accidental relations between Ficowski’s work and the ornithological work of Sokołowki. At the same time I attempt at a reconstruction of the advice that the author of Pantarei gained from the so to speak indirect consultations with the scholar. This allowed him to set the birds free in terms of cultural code of symbolic meaning. By referring to fairly numerous poems of Ficowski in which animals are present as main characters I prove that in both his and Sokołowski’s representation they are in fact quite similar. This, naturally, is done in different registers, however they both paid special attention to both ornithological faithfulness and what is beyond the reach of science, i.e. attempting to reflect the inner life of birds. Key words: animal studies; ornithology; Polish poetry;

Od „śmierdzącego dudka” po banialuki. Obraz ptaków w literaturze renesansu i baroku – rekonesans

45%

Chemperek D.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

2020

vol. 20

76-96

Birds function in Polish literature of Renaissance and Baroque in three paradigms. Mostly they appear as creatures gifted with a symbolic (allegoric) meaning, seen through the prism of the tradition reaching to Aristotle’s Zoology, Physiologist, and later symbological compendia. The second category is describing birds as food or pests (especially in hunting and agricultural literature). Apart from this ‘practical’ paradigm, there is also a third one: birds as a source of an aesthetic thrill, fascination with them includes both lyricism and a ludic element. The first two categories fit into a more general utilitarian paradigm. Handbooks, treaties, sermons, fairy tales, paroemias and animal epigrams showcase birds almost exclusivelyas tools of moral, religious and conventional reflection, or as objects to be obtained and consumed. Interestingly, the symbological activity of the creators does not cease in the Renaissance and Baroque periods, the representatives of avifauna are burdened with new meanings, while the fantastic creatures slowly disappear from the creators’ fields of view. In the third group of works distinguished here, one can notice the phenomenon of the emancipation of birds as objects of interest just as they are, although their voice is heard mostly in the digressions scattered throughout the big epic works. The autonomy of birds in the literature of Renaissance and Baroque is not linear, the way of perceiving them is determined by the individual sensitivity of the authors, the most prominent of whom are Hieronim Morsztyn (early 17th century) and an anonymous translator of the Italian Adon (2nd half of the 17th century).

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2 Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

1 Chemperek D.

1 Jarzyna A.

1 2020

1 2016

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Ornitologia, ornitomancja. Sokołowski i (inne) ptaki Jerzego Ficowskiego

Od „śmierdzącego dudka” po banialuki. Obraz ptaków w literaturze renesansu i baroku – rekonesans