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1
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„i / ta wielka łapka / na ludzi” – o podmiocie w poezji Ewy Lipskiej

100%
Marciniak P.
Przestrzenie Teorii
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2021
|
issue 35
83-101
EN
The article concerns the idea of the subject’s evolution in the poetry of Ewa Lipska. The article presents the unexplored path of subjectivity’s development in selected poems by this Cracovian poet. The main research concept regards the interpretation of particular poems from the perspective of current philosophical problems, connected with posthumanism, which is understood here as the ability to go beyond the bounds of humanism, a revision of previous humanistic assumptions. The essential change of direction in the reception of Ewa Lipska’s writings could be perceived as a result of the interpretation contained in this article.
2
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„Negatyw świata”. Inspiracje techniką graficzną jako źródło refleksji metaliterackiej – na przykładzie wiersza Ewy Lipskiej Albatros i grawer

100%
Szewczyk-Haake K.
Przestrzenie Teorii
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2022
|
issue 37
83-95
EN
The paper presents an analysis of Ewa Lipska’s poem Albatros i grawer [‘The Albatross and the Engraver’], which is a rare example of evoking a work of graphic art in a poem. The metaphors used in the text, exploiting the field of meaning related to graphics, become the basis for metaliterary reflection. Important interpretative contexts indicated in the article are, on one hand, the history of graphic art and its technical arcana, and on the other, the poem The Albatross by Charles Baudelaire, alluded to in the poem and, by the same token, modernist ideas about the art and the artist. The poem’s consideration of the problem of ‘a negative’ and ‘an imprint’ leads to questions about the relationship between art and reality, a relationship which, radically transformed in the modern era, demands an ethical evaluation, just as the poem suggests.
3
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Cyzelowanie. Proces twórczy w stanie podejrzenia w poezji Ewy Lipskiej

89%
Suszek E.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2021
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vol. 63
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issue 4
29-68
EN
The paper provides an analysis and interpretation of selected literary texts by Ewa Lipska, with particular focus on poems: 11 września 2001 [September 11th, 2001] and Kopalnia [The Mine]. In these metapoetic poems, Lipska makes use of jewellery imagery (seemingly unfamiliar to her output) in order to emphasise the processuality of an act of creation, its ethical ambivalence, and its complex sources. The offered interpretations refer, among other things, to theses by Carl Gustav Jung and Pierre Marc de Biasi. Analysing the way in which the poet uses motifs of gemstones and metaphors with a jewel – and also demonstrating strategies of the literary refining of poems – the author of this paper challenges the hypothesis of the end of the ‘goldsmith convention’ in contemporary Polish poetry.
PL
Artykuł dostarcza analizę i interpretację wybranych tekstów literackich Ewy Lipskiej, ze szczególnym uwzględnieniem wierszy: 11 września 2001 oraz Kopalnia. W utworach o tematyce metapoetyckiej Lipska wykorzystuje pozornie obcą jej metaforykę biżuteryjną, by zaakcentować procesualność aktu kreacji, jego ambiwalencję etyczną oraz jego skomplikowane źródła. Przeprowadzone interpretacje zawierają odniesienia między innymi do twierdzeń Carla Gustava Junga oraz Pierre’a Marca de Biasiego. Autorka artykułu, analizując sposób użycia przez poetkę motywów klejnotów oraz metaforyki jubilerskiej, a także wskazując na strategie literackiego cyzelowania wierszy, podważa tezę o kresie konwencji „złotniczej” w polskiej poezji współczesnej.
4
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Imiona pustki w poezji współczesnej

88%
Lubas-Bartoszyńska R.
Przestrzenie Teorii
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2011
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issue 15
324-328
EN
S. Jasionowicz, Pustka we współczesnym doświadczeniu poetyckim, Wydawnictwo Naukowe Uniwersytetu Pedagogicznego, Kraków 2009
PL
Recenzja książki Stanisława Jasionowicza - "Pustka we współczesnym doświadczeniu poetyckim", Wydawnictwo Naukowe Uniwersytetu Pedagogicznego, Kraków 2009.
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Ewa Lipska jako pisarka polityczna

88%
Morawiec A.
Przestrzenie Teorii
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2011
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issue 15
35-54
EN
The article deals with the image of Ewa Lipska as a political writer, a committed person, and also discusses her attitude to Poland. In the studies conducted so far this aspect of her work was merely indicated, and also was sometimes a subject of manipulation. From the point of view of today it can be clearly seen that, along with the “private” motif, it crucially co-creates Lipska’s oeuvre. It is also important that the writer has expressed her social and political commitment not only in poetry (which she has published from 1961) and poetic drama (Nie o śmierć tutaj chodzi, lecz o biały kordonek [Death is Not at Stake, But the White Cord] of 1981), but also, and even most of all, in her prose (which so far has been neglected by researchers), especially Żywa śmierć [Living Death] (2009), Sefer (2009) and the columns published since 2004 in the “Kraków” monthly.
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Doświadczenie kulturowe w poezji Ewy Lipskiej (Zarys problematyki)

88%
Legeżyńska A.
Przestrzenie Teorii
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2011
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issue 15
55-70
EN
The author pays attention to the need to search new keys of interpretation of the ouevre of Ewa Lipska, recognising that the constant distinguishing feature is the anthropological aspect. The main thesis of the article is as follows: Lipska’s poetry may be treated as a particularly important evidence of cultural experiences. Also attention is focused by the author on the poetic phenomenology of sensual perception, its reflection in the awareness and memory of the subject, and also distinguishes “cultural memory” as an effect of experience. She also states that Ewa Lipska’s works are a criticism of culture – both of the so called PRL’s (Polish People’s Republic’s) culture and the later one, called the postmodern culture. The poet exposes myths and threats of post-modernity, however, the cultural experience as recorded in her works is of ambivalent character: on the one hand, it contains a negative feeling of domination of man’s existence by cyberculture, and on the other, shows the deepening and sharpening of the critical awareness of the subject, who defends himself against the inauthenticity of experience.
7
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„L’eco di un cuore altrui”. Poezja Ewy Lipskiej we Włoszech

87%
Ślarzyńska M.
Tematy i Konteksty
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2020
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vol. 15
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issue 10
145-159
EN
The article focuses on the critical reception of Ewa Lipska’s poetry in Italy. It takes into consideration the volumes translated by Marina Ciccarini (2013, 2017), Paolo Statuti (2014), as well as the translated poems that appeared in literary magazines (Marco Bruno, 2019). The analyzed material includes the commentaries on Lipska by Italian literary critics published in newspapers and on the Internet. The article presents how the previously translated Wisława Szymborska’s poetry and its success in Italy has influenced the way in which Lipska is perceived in critical reception. The analysis takes into consideration also editorial factors such as the role of the publisher in the diffusion and perception of foreign poetry.
PL
Artykuł koncentruje się na krytycznej recepcji poezji Ewy Lipskiej we Włoszech. Uwzględnia tomy przetłumaczone przez Marinę Ciccarini (2013, 2017), Paolo Statuti (2014), a także przetłumaczone wiersze, które ukazały się w czasopismach literackich (Marco Bruno, 2019). Analizowany materiał zawiera komentarze włoskich krytyków literackich do Lipskiej publikowane w prasie i internecie. Artykuł pokazuje, jak przetłumaczona wcześniej poezja Wisławy Szymborskiej i jej sukces we Włoszech wpłynął na sposób postrzegania Lipskiej w krytycznym odbiorze. W analizie uwzględniono także czynniki redakcyjne, takie jak rola wydawcy w rozpowszechnianiu i odbiorze poezji zagranicznej.
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„Nie opłaca się inwestować w poezję”? Poetycka krytyka popkultury w wybranych wierszach Lipskiej z lat 2007–2015

75%
Sapa J.
Facta Ficta. Journal of Theory, Narrative & Media
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2020
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vol. 5
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issue 1
95-112
EN
In the article "'Investing in poetry isn't worth it'? The poetical criticism of popculture in Lipska's chosen poems from the years 2007-2015", Joanna Sapa proposes an analysis of the way in which the lyrical subject estimates and comments on the present cultural transformations that result from mass culture drawing in almost all elements of reality. The author's considerations begin with a reminder of Eagleton’s observations on the contemporary diminished importance of the real content of culture (understood as the material, ethical, and moral goods of a society) as compared to the meanings it is attributed by the society. The development of mass culture – including the reproduction of works, consumerism, globalization, and Theodor Adorno's „cultural industry” – caused a transformation of cultural goods into commodities. Zygmunt Bauman also writes about the special "consumer syndrome” being the effect of an ubiquitous and importunate marketization of human workings. The aim of the presented analysis is to highlight the poems from Lipska's newest poetical volumes: Newton's orange (2007), Aftersound (2010), Reader of papillary lines (2015) in which the lyrical I subject narrates the consequences of the chaotic, mass circulation of culture and of the mixing that occurs between the sphere of elitist culture and mass culture. In these poems, the lyrical I additionally talks about aging and death in the context of popular culture, and exposes various ways of valuing reality in media records. The Key according to which the author arranged Lipska’s poems into different sections is based on the metaphors they use (from diverse thematic circles). These are: the combination of high art and colloquial language ("MacHamlet’s on stage”); the consumers' uncritical acceptance of media's idealized world ("in apartments of television the pleb with the stars”); aging and dying as described by metaphors related to fashion and clothes ("in wide woollen shoulders of death”).
9
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„Trudne” wiersze. Wokół lingwistycznej poezji kobiet

65%
Grądziel-Wójcik J.
Przestrzenie Teorii
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2018
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issue 30
187-204
EN
The article addresses the problem of absence of women’s poetry in the linguistic current of 20th-century Polish poetry. It analyses its causes, amongst which the pivotal role is played by the stereotypical vision of women’s poetry, deeply ingrained in general awareness. The vision in question does not admit “difficult” forms and thus places women’s poetic work outside the avant-garde tendencies, linguistic experiment and metareflection. The authoress calls for inclusion of the omitted or forgotten poetesses who play with language in their poems and she articulates the need to redefine our understanding of linguistic poetry.
10
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„Film nowofalowy”. Rola kina w poezji pokolenia ’68

62%
Czaja K.
Forum Poetyki
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2021
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issue 23
50-71
EN
The paper presents the role of film in the poetry of Generation ’68 – mostly by Stanisław Barańczak, but also Julian Kornhauser, Ewa Lipska, and Adam Zagajewski. The New Wave poets referred to actors (such as Humphrey Bogart, Gary Cooper, the duo Laurel and Hardy, Charlie Chaplin, Ali McGraw), characters, titles, scenes, as well as experiences and conclusions related to film genres from cinema and (less commonly) TV productions. It allowed to verbalize or even “translate” issues regarding ethical choices, the condition of a man lost in a clash with the world, (and often doomed to fail in that clash), evanescence, and attempts at escaping from its ruthless rules into sensual categories.
PL
Artykuł prezentuje rolę filmu w poezji pokolenia ’68 – głównie Stanisława Barańczaka, ale także Juliana Kornhausera, Ewy Lipskiej i Adama Zagajewskiego. Nowofalowi twórcy sięgali w wierszach po postacie aktorów (m.in. Humphrey Bogart, Gary Cooper, duet Laurel i Hardy, Charlie Chaplin, Ali McGraw), bohaterów, tytuły, sceny, gatunki filmowe oraz związane z kinem czy, rzadziej, produkcjami telewizyjnymi przeżycia i wnioski. Pozwalało to werbalizować, wręcz „tłumaczyć” na zmysłowe kategorie kwestie dotyczące wyborów etycznych, kondycji człowieka zagubionego w zderzeniu ze światem i nieraz z góry skazanego w tym starciu na porażkę, przemijania oraz prób ominięcia jego bezlitosnych praw.
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