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Romans z Balladyną

100%
Romaniszyn-Ziomek L.
Postscriptum Polonistyczne
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2013
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issue 1(11)
127-137
EN
The aim of the article is to interpret Ignacy Karpowicz’s novel Balladyny i romanse in the context of romantic literature. The concept of romantic irony becomes the main theme and here in this article it distinguishes, in Karpowicz’s work, the aesthetic features that are characteristic of such romantic texts as Balladyna or Beniowski by Juliusz Słowacki. The contradictions that are characteristic of romantic irony in Karpowicz’s novel exist as a process of creating and destroying, where interweaving and complicating cultures and orders result in creating a chaotic but deliberate reality. The digressive character of the novel, metaliterary reflections and self­reference, reveal the author’s attitude to the creative process as an intellectual, romantic and ironic game.
2

Nieoczywiste ironie romantyczne. Rec.: Wojciech Hamerski, Ironie romantyczne. Warszawa 2018. „Studia Romantyczne”

75%
Trybuś K.
Pamiętnik Literacki
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2020
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vol. 111
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issue 3
211-216
PL
Autor recenzujący książkę Wojciecha Hamerskiego „Ironie romantyczne” koncentruje uwagę na dokładnym przedstawieniu jej problematyki, a przede wszystkim na analizie zasadności wyodrębnienia omawianych w niej odmian ironii charakterystycznych dla literatury polskiego romantyzmu. Wskazuje na nieoczywistość obszarów ironicznych odnajdywanych przez Hamerskiego w twórczości Mickiewicza, Kraszewskiego, Lenartowicza. W tej nieoczywistości dopatruje się najważniejszych walorów recenzowanego studium. Rekonstrukcji podlega też w jego recenzji cała konstrukcja teoretyczna książki, nawiązująca do refleksji estetycznej Friedricha Schlegla.
EN
The author, reviewing Wojciech Hamerski’s book “Ironie romantyczne” (“Romantic Ironies”), focuses his attention on a detailed presentation of the book’s issues, though primarily on an analysis of validation of setting the varieties of ironies peculiar to the literature of Polish Romanticism apart. The reviewer points at unobtrusiveness of ironic spaces discovered by Hamerski in Mickiewicz’s, Kraszewski’s, and Lenartowicz’s creativity. In such unobtrusiveness he discerns the highest value of the study in question. The review also reconstructs the theoretical structure of the book that refers to Friedrich Schlegel’s aesthetic reflection.
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Granice ironii – granice iluzji. O ontologii postaci w „Eugeniuszu Onieginie” Aleksandra Puszkina i Piotra Czajkowskiego

75%
Borkowska-Rychlewska A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2022
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issue 42
137-155
PL
The article presents the characteristics of the romantic irony employed in Alexander Pushkin’s digressive poem Eugene Onegin and Pyotr Tchaikovsky’s opera titled alike. The analysis of selected fragments of the libretto which were based on the verses constituting the digressive (rather than storytelling) layer of Pushkin’s work allow one to conclude that the operatic version of Onegin expresses exactly the same kind of romantic irony which was used by the romantic poet. The authors of the libretto achieved something typical of Pushkin’s irony – a flow of the border between illusion and disillusion and an effortless crossing of the dialectic borders of time and space. They did so by multiplying and splitting into layers the “I” of the main character which functions both in the dramatic plane and beyond it, taking over the functions which in Pushkin’s text were performed by the narrator.
4
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Drzewo, człowiek i drobnoustroje w powieściowym laboratorium. O „Historii kołka w płocie" Józefa Ignacego Kraszewskiego

71%
Lul M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2020
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vol. 8
141-171
EN
The theme of the interpretation of Historia kołka w płocie [The Story of the peg in the fence], a novel written by Kraszewski in Zhytomyr in 1858, presented in the article is the meeting of human culture and civilisation (including the social life of Polish rural communities) with the materiality of the non-human world. This issue raises a number of questions and doubts, especially today in the context of the historical and methodological return to the world of objects and ecology. Kraszewski’s epistemological scepticism charges the reader with the duty of reading the text under the “directive of mistrust”; in other words, to be ironically suspicious of any “absolute” truths. This creates space for Socratic irony, raised by Friedrich Schlegel to the rank of the main philosophical and aesthetic rule. Under Kraszewski’s pen it becomes the mechanism of creative self-control, which prevents the author from the unequivocal didacticism, to which his readers had become accustomed in some of his previous social novels. The method of confronting the “knowledge” of non-human entities (from the world of plants) with human relations and opinions, criticism of the art of judgement, giving up on clear discourse about one’s own ideological position in favour of “a hidden philosophy”, and finally introducing into the narrative the perspective of microworlds in the form of microbes – this whole spectrum is the equipment of the laboratory into which Historia kołka w płocie [The Story of the peg in the fence] transforms.
PL
Tematem przedstawionej w artykule interpretacji Historii kołka w płocie, jednej z żytomierskich powieści Kraszewskiego z 1858 roku, jest zetknięcie ludzkiej kultury i cywilizacji (w tym społecznego bytu wsi polskiej) z materialnością świata nie-ludzkiego. Zagadnienie to wywołuje szereg pytań i wątpliwości zwłaszcza dzisiaj, w kontekście historyczno-metodologicznego zwrotu w stronę świata rzeczy i ekologii. Teoriopoznawczy sceptycyzm Kraszewskiego nakłada na odbiorcę obowiązek lektury zgodnej z „dyrektywą nieufności”, to znaczy ironicznie podejrzliwej wobec wszelkich prawd „absolutnych”. Znajduje tu pole do realizacji ironia sokratejska, podniesiona przez Schlegla do rangi głównej zasady filozoficzno-estetycznej. Pod piórem Kraszewskiego staje się ona mechanizmem twórczej samokontroli, powstrzymuje twórcę przed jednoznacznym dydaktyzmem, z którym oswoił czytelników sporej części swoich poprzednich powieści o tematyce społecznej. Metoda konfrontowania „wiedzy” bytów nie-ludzkich (pochodzących ze świata roślin) z ludzkimi relacjami i sądami, krytyka sztuki sądzenia, rezygnacja z wyraźnej dyskursywizacji własnego ideowego stanowiska na rzecz „ukrytej filozofii”, wreszcie wprowadzenie do powieści perspektywy mikroświatów w postaci drobnoustrojów – całe to spektrum stanowi wyposażenie powieściowego laboratorium, w które zamienia się Historia kołka w płocie.
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Cesty tam a zase zpátky. Kolárova novela Libuše v Americe a její hodnotová orientace

63%
Vaněk V.
Slovo a smysl - Word & Sense
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2020
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vol. 17
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issue 2
70-79
EN
This study aims to give a new perspective on Josef Jiří Kolár’s short story Libuše in America (German 1842, Czech 1854), long considered by critics and literary historians as a kind of popular adventure story without ideological or aesthetic ambitions. The study frst examines Kolár’s prose in the context of a contemporary domestic historical short story that takes liberties with its historical source material. In Libuše in America, however, such liberties are exaggerated to the point of founding an alternate parallel history in opposition to the tragic nature of actual historical events. Te next part of the study uses specifc examples to show how the efect of this discrepancy between the fantasy and the real world is intensifed by the original use of compositional, lexical, grammatical and poetic means (i.e. plot parallels, ‘inappropriate’ relationships between characters, linguistic exclusivity and expressiveness, contrasting poetics, and vulgarity). The fnal section shows the mutual refection of an idealized Czech society in America and the real situation in Bohemia as a manifestation of romantic irony and product of the author’s bitter refections on the decline of the Czech world.
6
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Heroikomika w poematach dygresyjnych Juliusza Słowackiego

63%
Dąbrowski R.
Prace Polonistyczne
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2016
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vol. LXXI
57-67
EN
The starting point of the considerations which constitute the core of the article is the similarity between two genres: mock heroic poem and digressive poem. As mock heroic category is vital for the former, the question is whether it plays a part in the latter. The aim of this article is to scrutinise this issue on the basis of The voyage to the Holy Land from Naples by J. Słowacki. The focus is put on those fragments of the poem in which mock heroic category manifests itself clearly. The poet`s stance on the evoked conventional elements of epic tradition, such as invocation to Muse, introduction or Homeric simile, and their place in the poem is crucial. The presented analyses in the article lead to a conclusion that in a Romantic digressive poem, mock heroism functions as a subject of ironical poet`s play, who in this way demonstrates the power of his talent.
7
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Hráč, spáč, stvořitel, vypravěč. Borgesovo dílo pohledem (romantické) ironie

63%
Kazmar V.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
80-85
EN
The article tries to offer a reading of Borges’ fiction through the theory of romantic irony. First, it briefly outlines the “history of irony”, beginning with the approach of Plato’s Socrates, continuing with the late antiquity and its mostly rhetorical interpretation of irony as a means of expressing a thought through its opposite. The real focus of the article is the romantic irony, in particular the views of Friedrich Schlegel, who was one of the chief theoreticians of German romanticism. The reading of Borges’ short stories is attempted, the point of departure being two Shekel’s fragments that offer contrasting and complementary possibilities of interpretation. The first explains romantic irony in the context of the notion of chaos and possibility, the second draws on the concept of parabasis, known from the theory of Ancient Greek drama. The first interpretation tries to show Borges’ poetics as a poetics of possibility; the short story Library of Babel serves as an example. The second interpretation shows how the motives of waking up, creation and game can all be connected through the concept of parabasis and shows a group of Borges’ text, including some poems, that can be considered ironic in this special sense.
8
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W szklanej kuli tradycji

38%
Woźniewska-Działak M.
Studia Norwidiana
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2020
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vol. 38
252-264
EN
The article is a review of Agata Seweryn’s book Between the Worlds. Studies in the Literature of the Enlightenment and Romanticism. The review’s author presents the composition of the book and examines the research problems raised in it in greater detail. She comments on the studies included in the publication as interesting suggestions for interpretive supplements of selected romantic poems and works. She draws attention to those aspects that reveal the richness inherent in the works, and not yet described enough. They are introduced by references to the Baroque tradition or reflection on normative poetics and rhetorics.
PL
Artykuł jest recenzją książki Agaty Seweryn Pomiędzy światami. Studia z literatury oświecenia i romantyzmu. Autorka omawia kompozycję książki oraz szczegółowiej przygląda się problemom badawczym w niej poruszonym. Zamieszczone w publikacji studia komentuje jako interesujące propozycje uzupełnień interpretacyjnych wybranych wierszy i dzieł romantycznych. Zwraca uwagę na te aspekty, które odsłaniają tkwiące w utworach a nie wystarczająco dotąd opisane bogactwo. Wprowadzają je odniesienia do tradycji barokowej i refleksja nad poetyką normatywną i retoryką.
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