Search results

1

Obraz kampanii chocimskiej z perspektywy litewskiego poety żołnierza Stefan Jan Ślizień: Haracz krwią turecką Turkom wypłacony

100%

Ryba R.

|

2017

|

vol. 10

|

issue 2

51-65

EN

The Khotyn victory in 1673 became an inspiration for many poets. It inspired such well-known artists as Wacław Potocki and Zbigniew Morsztyn, as well as secondary artists like Daniel Kałaj, Mateusz Kuligowski and Samuel Leszczyński. From among many creative writings about the battle of Khotyn there is one that outstands due to its length and detailed presentation. It is a work of future Lithuanian referendary Stefan Jan Ślizień: Haracz krwią turecką Turkom wypłacony first published in Vilnius in 1674. In the introductory poem Do czytelnika łaskawego, the poet adopts the attitude of the real events‘ relator who makes descriptions from the eyewitness’ perspective. Thus, he puts the poem into the circle of poetics of the native heroicum.Ślizień – who participated in the Khotyn battle – describes battle events in a meticulous way, bringing the recipient closer to the realities. On the pages of the poem, the poet expressively represented the figure of the commander-in-chief – hetman Jan Sobieski, whom he characterized according to the epic principle fortitudo et sapientia. In addition, as a soldier from Lithuania, albeit fighting along with the Crown troops, he did not forget about the merits of Lithuania on the battlefield: he praises the equipment and courage of the Lithuanian army and appreciates the attitude of the great Lithuanian hetmans, Michał Pac and Michał Radziwiłł, thus showing attachment to the native land.

2

Socjolekt szlachecki w Pacholęciu hetmańskim Wincentego Pola (rekonesans)

94%

Bryła W.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

|

2015

|

vol. 22

|

issue 1

55-68

PL

The author discusses the manifestations of the ways in which noblemen talked about and evaluated social and family life. He brings attention to the cult of a family home, respect for home tradition, brotherhood of the nobility and the will to get to know the world.

3

‘We Thank the Lord God’. A Hausa Poem from the IASAR/160 Manuscript

94%

Piłaszewicz S.

Rocznik Orientalistyczny

|

vol. Rocznik Orientalistyczny, T. 39, Z. 2 (1978)

4

Поэтический и образный строй стихотворения Е.Л. Владимировой «Я всего лишь тюремный поэт...»

94%

Girbachevsky C. A.

Acta Neophilologica

|

2019

|

vol. XXI/1

53-57

EN

Gasparov Mihail. 2001. O russkoj poèzii: Analizy, interpretacii, harakteristiki. Sankt Peterburg: Azbuka: 11-26 [Гаспаров Михаил. 2001. О русской поэзии: Анализы, интерпретации, характеристики. Санкт Петербург: Азбука: 11-26]. Grossman Vasilij. 1990. Žiznʹ i sudʹba. Moskva: Sovetskijpisatelʹ: 634 [Гроссман Василий. 1990. Жизнь и судьба. Москва: Советский писатель: 634]. Striževskij Ûrij. 2005. Zabor, zapretka, vahta, vyška. V: Poèziâ uznikov GULAGA: An-tologiâ. Cost. Vilenskij S. Moskva: MFD–Materik: 691 [Стрижевский Юрий. 2005. Забор, запретка, вахта, вышка. B: Поэзия узников ГУЛага: Антология. Cост. Виленский С. Москва: МФД–Материк: 691] Vladimirova Elena. 2005. Â vsego lišʹ tûremnyj poèt. V: Poèziâ uznikov GULAGA: An-tologiâ. Cost. Vilenskij S.Moskva: MFD–Materik: 333 [Владимирова Елена. 2005. Я всего лишь тюремный поэт. B: Поэзия узников ГУЛага: Антология. Cост. Виленский С. Москва: МФД–Материк: 333].

5

Blackout i found poetry. Od notatki i „poezji z odzysku” do interpretacji tekstów o II wojnie światowej

84%

Kania A.

Z Teorii i Praktyki Dydaktycznej Języka Polskiego

|

2019

|

vol. 28

51-65

EN

The author offers to use the creative activities of blackout poetry and found poetry to interpret works dealing with the subject of the Holocaust. She presents a detailed scheme of applying this form of work during lessons with students. She argues that such a solution can be an enrichment of traditional interpretation, it also allows to stimulate the creativity of students and engage them in the didactic process.

6

„Śmiech” w poematach Norwida

83%

Korpysz T.

Pamiętnik Literacki

|

2021

|

vol. 112

|

issue 3

91-106

PL

W artykule oglądowi poddano rodzinę słowotwórczą śmiechu w poematach Cypriana Norwida. Tworzy ją 10 leksemów: naśmiać się, pośmiewać, pośmiewisko, rozśmiać się, śmiać się, śmiech, śmieszny, wyśmiewać się, wyśmiewany i zaśmiać się, użytych łącznie 43 razy. Jedynie w części owych użyć wymienione wyrazy wiążą się z szeroko rozumianą kategorią komizmu czy radości. Nawet wówczas jednak śmiech i śmianie się stosunkowo rzadko mają charakter czysto ludyczny i są waloryzowane dodatnio. Znacznie częściej ten, kto się śmieje, jest oceniany negatywnie ze względu na to, że jego wypowiedzi i zachowania okazują się skierowane przeciwko komuś lub czemuś, stanowią przejaw naznaczonego wyższością agresywnego stosunku wobec drugiego człowieka albo też jakichś fenomenów czy zdarzeń, a samo śmianie się bywa zachowaniem nieautentycznym bądź sygnałem emocji i postaw negatywnych. W użyciach przymiotnikowych aspekt ludyczny albo w ogóle nie istnieje, albo też jest wyraźnie drugoplanowy, a leksemowi śmieszny zazwyczaj można przypisać znaczenie ‘dziwny, dziwaczny, zaskakujący’ i/lub ‘błahy, niezasługujący na uwagę’.

EN

The paper offers an insight into a family of a root word śmiech (laugh) in Cyprian Norwid’s poems. The family is composed of 10 lexemes, namely naśmiać się (have a good laugh), pośmiewać (spend some time laughing), pośmiewisko (laughing stock), rozśmiać się (make laugh), śmiać się ( laugh), śmiech (laughter), śmieszny (laughable), wyśmiewać się (laugh somebody sick), wyśmiewany (laughed) and zaśmiać się (give a laugh), used 43 times in total. In only a part of their uses, the words above refer to a broadly understood category of the comic or joy, but even in such instances laugh and laughing have only occasionally purely ludic character and are positive. Much more often the one who laughs is given negative values since their statements and behaviours prove to be against someone or something, they manifest aggressive and marked by superiority attitude towards the other person or certain wonders or occurrences, while laughing as such tends to be either non-authentic behaviour or a signal of negative emotions or stances. In their uses as adjectives, the ludic aspect is either absent or markedly of secondary importance, and the lexeme śmieszny (laughable) oftentimes is assigned the meaning ‘weird, bizarre, surprising’ and/or ‘trivial, not worthy of attention.’

7

Czeladnik i mistrz. Czesława Miłosza spotkania z Oskarem Władysławem Miłoszem

83%

Bernacki M.

Postscriptum Polonistyczne

|

2011

|

issue 2(8)

191-206

EN

The theme of the article is multi¬ facted description of Czesław Miłosz's long lasting fascina-tion by the person and deeds of his distant relative Oskar de Lubicz Miłosz. The two poets met for the first time in Paris in 1931. Ever since then Miłosz being impressed by poetic and dramatical works of his uncle, attempted to popularize them among the readers in Poland and abroad. He wrote essays about him and translated his French poems into English and Polish. The crowning of this process was a poem Czeladnik (A Journeyman) (from a volume Druga przestrzeń, 2004) and a poem Dobroć (Goodness) – according to Agnieszka Kosińska the very last poem completed by Miłosz before his death.

8

Jan Lechoń: wiatr nocy, rysunek rdzy (na marginesie wiersza Stara Warszawa)

82%

Próchniak P.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2010

|

issue 17

67-80

EN

The present sketch proposes an aspectual analysis and interpretation of the poem Stara Warszawa by Jan Lechoń. The author of the sketch is interested in architectonics of the world revealed and rendered in the poem, in a complex and intricate network of relations in which the poem establishes, maintains, develops and interacts with other cultural texts, as well as its existentialist dimension. The basic frame of reference for the last mentioned issue is the friendship shared by Lechoń and Stanisław Baliński.

9

Лили Лалауна

72%

Tošović B.

Stylistyka

|

2016

|

vol. 25

513-528

EN

The paper is dedicated to the text Lili Lalauna – most extraordinary and most enigmatic poem of Ivo Andrić. The analysis consists of two parts. The first discusses the phonetic-phonological, stylistic, versificational and semantic structure of the verses. The second part deals with their setting to music by composer Rada Radivojeviæ and interpretation of actress Vjera Mujoviæ and actors Goran Sultanoviæ and Aleksandar Sreèkoviæ Kubura.

10

„Jak wyprowadzić z ruin ludzi” – o sensie poezji po „Drugiej Apokalipsie”. O kilku utworach Zbigniewa Herberta

71%

Filipczuk M., Filipczuk M.

Prace Literaturoznawcze

|

2017

|

issue 5

107-122

EN

After the Second World War, discussions erupted concerning the character and legitimacy of art, including poetry. The famous line by Theodore Adorno, saying that writing poetry after Auschwitz is impossible, was frequently debated. However, should the silence of poetry be the answer to genocide? Polish poets also joined this international discussion. The painful paradox was most prominently displayed by the attitude of Tadeusz Różewicz, who simultaneously wrote and emphasized the moral ambiguity of “writing poems after Oświęcim”. He posited that the cultural inheritance did not prevent the moral and material ruin, and if so, then the death of fundamental values should be accompanied by the complete collapse of the higher human activities that are based on these values. Every poem that emerges after this upheaval of the world thus far participates in the creation of falsehood; it is another element upholding the appearances that everything is the same as it once was. This poet of the second half of the twentieth century stood in a morally ambiguous position, allowing himself a voice when so many people had been deprived of their own voice. Tadeusz Różewicz, noting the “death of poetry”, did not put down his pen. Zbigniew Herbert takes a completely different stance on this issue. The purpose of this study is the analysis of works that provide insight into Zbigniew Herbert’s thoughts on the subject of the role of art. This examination focuses on Herbert’s work from the 1950s (his first two collections: Chord of Light and Hermes, Dog and Star).

11

Несколько заметок о рецепции творчества Марии Павликовской-Ясножевской в «русскоязычном пространстве»

71%

Bednarczyk A.

|

2011

|

issue 4

114-123

EN

Within the framework of the studies concerning the reception of Maria Pawlikowska-Jasnorzewska’s poetry in the Soviet Union and in Russia, the author explores the issue of the political context in the target cultural and linguistic space. She also explores the problem of literal translation as a method of popularising the poems studied, and analyses the function of the Russophone Internet in the popularisation of the Polish poet.

12

Twórczość artystyczna osób niepełnosprawnych po wypadkach komunikacyjnych – studium przypadku

60%

Ostrowski M.

Seminare. Poszukiwania naukowe

|

2016

|

vol. 37

|

issue 2

127-140

EN

Artistic activity may help people with disabilities caused by traffic accidents realize themselves socially. Most often, such persons practice writing poetry, short stories and autobiographical novels. Poetry allows one to express their emotions associated with such questions as suffering, pain, the sense of life, disability, illness and God. Poetry of people with disabilities often has a religious and multifaceted character and, therefore, it plays a therapeutic role. In consequence, people become capable of accepting their disability.

PL

Osoby niepełnosprawne po wypadkach komunikacyjnych realizować się mogą społecznie poprzez aktywność artystyczną. Najczęściej osoby te realizują się poprzez pisanie wierszy, opowiadań czy autobiograficznych powieści. Wiersz pozwala na wyrażanie własnych emocji o swoich uczuciach, cierpieniu, bólu, sensu życia, niepełnosprawności, choroby i Bogu. Często poezja osób niepełnosprawnych ma charakter religijny, a także wielowątkowy, przez co spełnia rolę terapeutyczną dla tych osób, dzięki czemu następuje z czasem akceptacja własnej niepełnosprawności.

13

Актуалiзацыя спадчыны Уладзiслава Сыракомлi на сучасным этапе

60%

Варабей М.

Białorutenistyka Białostocka

|

2016

|

vol. 8

PL

Dziedzictwo W. Syrokomli jest zróżnicowane gatunkowo i tematycznie, dlatego staje się bogatym źródłem badań. Biografia, eseje, niektóre teksty poetyckie zostały szeroko omówione w pracach naukowców białoruskich i obcych. Aktualizacja zagadnień dotyczących współczesnych badań nad twórczością W. Syrokomli pozwoli wypełnić lukę w studiach nad historią literatury białoruskiej XIX wieku i historią ówczesnego białorusko-polskiego pogranicza kulturowego. Szczególną uwagę należy zwrócić na poematy historyczne i gawędy W. Syrokomli.

EN

W. Syrokomla’s heritage is diverse in genres and subjects. Therefore, it becomes a rich source of research. His biography, essays, some poetic texts are widely discussed in the works of Belarusian and foreign researchers. Updating of the issues concerning the research on W. Syrokomla’s heritage eliminates the gaps in the study of the 19th century Belarusian literature and Belarusian-Polish cultural borderland. A particular attention should be paid to W. Syrokomla’s historical poems and drawn-out stories.

14

„PODRÓŻNIK WĘDRUJĄCY DO ŹRÓDEŁ”. WYBRANE WĄTKI W TWÓRCZOŚCI ZBIGNIEWA HERBERTA W KONTEKŚCIE MYŚLI PRESOKRATYKÓW

60%

Filipczuk M., Filipczuk M.

Świat Tekstów. Rocznik Słupski

|

2017

|

issue 15

123-142

PL

Life is a journey as long as a man is set to absorb the world, to accept it in its diversi-ty and richness. Zbigniew Herbert often expresses the conviction regarding the “inex-haustible splendour of the world”, and admits that he is “seduced by the beautiful and diversified world” (A Prayer of Mr. Cogito – the Traveller). Both the real and the meta-phorical travelling understood as getting to know – exploring – learning anew, are the domain of the Ionian philosophers. No wonder that the philosophy of Ionian thinkers serves Herbert as the incessant source in his intellectual peregrinations. In this article we explore some interconnections between the aforementioned tradition and Herbert’s work.

15

Słuchać i pisać. O muzyczności wybranych utworów Ryszarda Kapuścińskiego

60%

Wiśniewska Z.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

|

2016

|

issue 5 "Reportaż literacki. Pogranicza"

121-140

EN

The subject of this article is musicality in selected reportages and one poem by Ryszard Kapuściński. In the introduction there are few words about history of coexistence between music and literature. I stick to the point of view represented by Michał Głowiński, based on his article: „Literary music – musicality of literature”. Then I do a detailed analysis of selected works, where the musicality is clearly visible. The first of these reportages – Wymarsz piątej kolumny – treats about two German women looking for their home after war. Kapuściński presents them with accompaniment of unpleasant, war music, which is the main substance in his reportage. Lumumba is a text about the African leader Patrice Lumumba. He became famous, because he fought with the Belgian regime. In this reportage the musicality is visible in a description of a reconstruction of the recording, in which the politician gives a speech. I also describe a poem about Louis Armstrong trumpet. This poem tells about Kapuściński’s impressions after the Armstrong concert in Chartum in 1960. At the end of my article, I sum up my interpretations.

16

Próba własnej filozofii we Wszystko jest poezja Edwarda Stachury

60%

Iwińska G.

Prace Literackie

|

2018

|

vol. 58

315-324

EN

This text is the presentation of Edward Stachura’s philosophy. It is not about literal philosophy, however, it concerns a system of values and views taken by the writer. The article is an attempt to read Stachura from a different side than as a poet, bard, and mediocre singer. It is a compilation of the writer’s various texts, but the leading one is a little-known work called Everything is poetry. The story-river (edited by H. Berezy, Z. Fedecki, K. Rutkowski, vol. 4, Warsaw 1984) Stachura transforms into almost a sage, into a philosopher who tries to create elementary definitions of the world, people, time and eternity. First of all, I analysed the conceptualisation of the phrase “everything is poetry” as well as attempting to explain what poetry is for the writer in general. The most important conclusion is that “everything is poetry and the least poetry is a poem; everyone is a poet and the least poet is a poet who writes poems”. Thus, he proves that he is not only an “extreme” creator, but one who seeks hope and gaps in describing and understanding the world. Ultimately, it is also a study of Stachura’s broadly understood optimism, underestimated in his work on a daily basis.

17

W poszukiwaniu odpowiedniej formy — słów kilka o utworach poetyckich i warsztacie pisarskim Stanisława Kostki Potockiego

60%

Lisicka M.

Prace Polonistyczne

|

2014

|

vol. 69

35-46

EN

This paper attempts to characterise generally the poetic legacy of Stanislaw Kostka Potocki. In several books of the Public Archives of Potocki’s family one can found mainly unpublished poetical works preserved in various forms: autographs, copies controlled by the author and his fair copies or copies made by secretaries. Some of the texts are unfinished, others are carefully refined, however, preserved number of variants and correction versions of concrete works give opportunity to analyse the author’s workshop. First of all, it seems that these are the original texts, although there are many problems associated with their attribution. On the basis of the preserved materials, it can be assumed that Stanislaw Kostka Potocki could have prepared some of his poems for publication.

18

“The Sense of Form” in the Poetry of Wisława Szymborska and Czesław Miłosz

60%

Grądziel-Wójcik J.

Prace Filologiczne. Literaturoznawstwo

|

2013

|

issue 3(6) cz.1

91-106

EN

The article addresses the sources behind the poems of Wisława Szymborska and Czesław Miłosz. The focal point of Miłosz’s poetry is the concept of Entirety, which is intertwined with his religious worldview, whereas the world in Szymborska’s poetry lacks a metaphysical structure based on a number of divine certainties. These fundamental differences are observed in the metrical decisions made as the shape of the poem becomes a test for the infinite, remaining outside reality. For both authors “the order, rhythm, form” seem to be the reasons for the existence of poetry and as such protect it from chaos and nothingness. However, Szymborska “thinks in verse” differently from Miłosz, undertaking her own “struggle with a poem.” This aspect of her work is analyzed in the article with reference to “I’m working on the world” and “Vermeer.”

19

Genesis of the mystical ecstasy in the prologue of the Parmenides’ poem

60%

Mrówka K.

Filozofia Chrześcijańska

|

2016

|

vol. 13

54-63

PL

The preserved fragments of the Parmenides’ work is one of the oldest testimonies of the mystical experience in philosophy. Mystique meets here with metaphysics. The poem’s prologue is a transcript of the mystic passage of a young man to the goddess who symbolizes the truth of being. By knowing the goddess and her message, young man learns the nature of being. The ecstatic experience opens him on the metaphysical dimension of reality. The sources of the Parmenides’ mysticism are following: the pythagorean philosophy, orphism, shamanism and the cult of Apollo at Delphi.

20

Exegi Monumentum Iwana Franki

60%

Kozak S.

Studia Polsko-Ukraińskie

|

2016

|

vol. 3

21-31

EN

The author discusses Ivan Franko’s poem Moses, regarded by Yurii Sherekh as the „Second Testament” of Ukrainian literature. This positive opinion of the Moses stimulates research interests. Using the methods of comparative contextual hermeneutics, the author analyses Ivan Franko’s specific “theology of hope” in the historical literary and philosophical theological context. He argues that the basis for hope in Franko’s philosophical reflection upon history was the Old Testament eschatology, born from God’s covenant with Israel and from the faith in a liberating-salvation mission of Moses. He draws special attention to the prophetic meaning of the Prologue and the poet’s references to the figure of Moses.

Refine search results

Obraz kampanii chocimskiej z perspektywy litewskiego poety żołnierza Stefan Jan Ślizień: Haracz krwią turecką Turkom wypłacony

Socjolekt szlachecki w Pacholęciu hetmańskim Wincentego Pola (rekonesans)

‘We Thank the Lord God’. A Hausa Poem from the IASAR/160 Manuscript

Поэтический и образный строй стихотворения Е.Л. Владимировой «Я всего лишь тюремный поэт...»

Blackout i found poetry. Od notatki i „poezji z odzysku” do interpretacji tekstów o II wojnie światowej

„Śmiech” w poematach Norwida

Czeladnik i mistrz. Czesława Miłosza spotkania z Oskarem Władysławem Miłoszem

Jan Lechoń: wiatr nocy, rysunek rdzy (na marginesie wiersza Stara Warszawa)

Лили Лалауна

„Jak wyprowadzić z ruin ludzi” – o sensie poezji po „Drugiej Apokalipsie”. O kilku utworach Zbigniewa Herberta

Несколько заметок о рецепции творчества Марии Павликовской-Ясножевской в «русскоязычном пространстве»

Twórczość artystyczna osób niepełnosprawnych po wypadkach komunikacyjnych – studium przypadku

Актуалiзацыя спадчыны Уладзiслава Сыракомлi на сучасным этапе

„PODRÓŻNIK WĘDRUJĄCY DO ŹRÓDEŁ”. WYBRANE WĄTKI W TWÓRCZOŚCI ZBIGNIEWA HERBERTA W KONTEKŚCIE MYŚLI PRESOKRATYKÓW

Słuchać i pisać. O muzyczności wybranych utworów Ryszarda Kapuścińskiego

Próba własnej filozofii we Wszystko jest poezja Edwarda Stachury

W poszukiwaniu odpowiedniej formy — słów kilka o utworach poetyckich i warsztacie pisarskim Stanisława Kostki Potockiego

“The Sense of Form” in the Poetry of Wisława Szymborska and Czesław Miłosz

Genesis of the mystical ecstasy in the prologue of the Parmenides’ poem

Exegi Monumentum Iwana Franki