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„Żaden cud nie jest mniejszy...”. Sakralizacje w poezji Ireny Dowgielewicz

100%
Krysińska K.
In Gremium. Studia nad Historią, Kulturą i Polityką
|
2015
|
vol. 9
227-236
EN
The topic of this article is the sacred of Irena Dowgielewicz’s writings. It is visible especially in the poems from volumes Sowing parsley (1963) and Stadium for ladybird (1970). Religiosity of these texts can be seen in various aspects. The author refers to the particular conception of God and heaven, to the relationship between man and Creator, but also to the primary sacrum. Among the elements and features of religious mainstream in Dowgielewicz’ poetry, a few intertwining ones can be distinguished: perception of world’s transcendent dimension and God’s presence; items elevation; sacralization of everyday life and everyday activities; God’s creatures participation in the act of creating reality; sanctification of rich and full of contrasts nature; canonization of memory of the past; elevation of homeland and of the earth-mother; transmission of pain; relatives’ sacralization; sanctification of motherhood and marriage; interpenetration of God’s creatures and works; consideration of life in the categories of the gift and the miracle; humble looking at the world, sensitivity, simplicity of expression and personal relationship with God. The poems of Irena Dowgielewicz sanctify almost every component of the reality created by God. Such sacralization mainstream builds a space of harmony and sense.
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Miejsca zapisane i przemilczane w poezji Ireny Dowgielewicz

57%
Szott M.
In Gremium. Studia nad Historią, Kulturą i Polityką
|
2018
|
vol. 12
245-257
PL
Irena Dowgielewicz (ur . 1917 r . w Kijowie) należy do najstarszego pokolenia lubuskich poetów . Jej twórczość rozpatrywana bywa z różnych perspektyw . Dostrzec w niej można tematykę kobiecą, a także sakralną . W swoim artykule koncentruję się przede wszystkim na obrazowaniu miejsca przez lubuską poetkę . Interesuje mnie zarówno topografia, którą autorka Krajobrazu z topolą odczytuje bezpośrednio, jak i rewers miejsca (Kresy Wschodnie, Warszawa), czyli jego ukryty wymiar („Więc milczymy . Stare miasta dźwigamy”) . Innym aspektem poruszanym w artykule jest też afektywny wymiar topografii, który traktuję jako ekspresję emocji ujawnianych wobec miejsca .
EN
Irena Dowgielewicz (born in 1917 in Kyev) belongs to the oldest generation of Lubusz poets . Her literary work is looked upon from different perspectives, as it contains both female and sacral themes . In my article, I attempt to focus on her portraying places . I am interested in topography, which the author of “The Poplar Landscape” understands literally, but also as reversing the place (Eastern borderlands, Warsaw) and referring to its hidden meaning (“So we keep quiet bearing old cities”) . Another aspect I touch upon in the present article is the affective level of topography, which I see as the expression of emotions toward a place .
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