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Juliusza Słowackiego theatrum mortis – wizja ułagodzona (na przykładzie Kordiana, Balladyny i Beatryks Cenci)

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Ścibek J.
Białostockie Archiwum Językowe
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2012
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issue 12
315-339
EN
A subject of the article is the presentation of the most important linguistic methods applied by J. Słowacki in order to evoke a softened vision of death in three dramas from the pre-mystic period: Kordian, Balladyna and Beatryks Cenci. The semantic-lexical analysis that the excerpted linguistic material had been subject to, comprised only real meaning contexts regarding human death. It has been found out that the tamed image of mors presented in the discussed works has been achieved due to a rich range of euphemisms naming individual Thanatos designates. What particularly deserves attention, however, is the fact that the process of decreasing Thanatos severity is pursued in two manners in J. Słowacki’s works: he either restricts himself to weakening negative emotions evoked by talking about death expressis verbis or omitting proper names is accompanied by the introduction of specified conceptualizations: metaphoric or metonymic. Nevertheless, the vision of human ultimate destiny they convey is not characterized by sophisticated originality because among “positive” depictions there prevail references to culturally elaborated traditions of taming Thanatos, even though it happens that based on them J. Słowacki creates extremely interesting poetic pictures. It should be emphasized though that “the theater of death” presented by J. Słowacki in the discussed works is of an ambivalent nature since “positive” uncovering of mortal experience is accompanied by its negative depictions. They have been described in the article: Juliusza Słowackiego “theatrum mortis” – wizja negatywna (na przykładzie “Kordiana”, “Balladyny” i “Beatryks Cenci”).
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Osobne światy. Mickiewicz i Słowacki

100%
Romaniszyn-Ziomek L.
Świat i Słowo
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2013
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vol. 11
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issue 1(20)
79-86
EN
The article postulates a fundamental disparity between the two romanticisms represented by Mickiewicz and Słowacki. The author invokes opinions of critics on the relations between the bards, introduced by Manfred Kridl and well established in popular reception. The factors influencing the discrepancy between the literary worlds of Mickiewicz and Słowacki include generational gap, involving heterogeneous life experiences, attitudes to national literature and literary models conditioned by the poets’ belonging to different generations as well as Słowacki’s original poetic imagination and his creative disposition.
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Walka o Słowo. Odpowiedź Spirydionowi Prawdzickiemu

88%
Saganiak M.
Prace Literackie
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2010
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vol. 50
51-70
EN
The article examines Psalmy przyszłości [Psalms of the Future] by Zygmunt Krasiński, Odpowiedź na “Psalmy przyszłości” [Answer to the “Psalms of the Future”] by Juliusz Słowacki and two polemic psalms added by Krasiński: Psalm of Sorrow and Psalm of Good Will. The author treats them as a dialogue and uses Bakhtin’s understanding of the dialogic word to describe it. Due to the limited scope of the publication, she focuses in particular on the second part of the dialogue, namely Answer to the “Psalms of the Future” by Juliusz Słowacki. She assumes that Bakhtin’s category of the word is related to the category of the act and resembles the Romantic philosophy of the act. Bakhtin, just like Romantic thinkers, looked at a word (utterance) from a pragmatic point of view. A word reveals an idea, which means that it is uttered responsibly as something true (this does not exclude the use of any fi ctional elements in the utterance) and as something that expresses our ideological, ethical and political choices made in this very historical moment. Bakhtin’s categories enable us to describe precisely the position of Słowacki’s reply to Krasiński’s Psalms. The author’s analysis demonstrates a very complex architecture of Answer to the “Psalms of the Future” in which we find all types of Bakhtin’s double-voiced words (unidirectional, active and parodic words) but also the author’s direct words. The analysis, carried out by means of Bakhtin’s categories, reveals both the inner complexity of historiosophical ideas of late Polish Romanticism, and intellectual, emotional and volitional relations between the two friends. There were great forces between them that connected them but also divided them. That is why Answer to the “Psalms of the Future” has its own dynamism. First we can notice its parodic and polemic elements which manifest themselves in the use of the double-voiced word. Then emerges, however, Słowacki’s single-voiced word which is presented as clearly opposite to Krasiński’s word. At the same time when the ideological opposition is revealed, we can see a strong emotional relation between the two men and Słowacki’s desire to rebuild the destroyed bond with his friend. The last part of the discussion, namely two psalms added later by Krasiński, shows the liveliness of Krasiński’s idea, flexibility of his imagination and breadth of his horizons. This is manifested in the creative transformation of his own ideas under the infl uence of the dialogue with his great adversary (and under the infl uence of historical events of the Galician Slaughter). Psalm of Sorrow and Psalm of Good Will also seem to show that the friends can sustain their bond even though they may differ in their ideas about history and action.
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„(...) Będę ci śpiewał jak mrące łabędzie (...)” – porównania z komparansem „animalistycznym” w poematach juliusza słowackiego

88%
Ścibek J.
Białostockie Archiwum Językowe
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2013
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issue 13
: 363-392
EN
A purpose of the article is to provide characteristics of comparisons appearing in Juliusz Słowacki’s poems exemplified by the constructions where comparans refers to the world of animals. Lexical material has been excerpted from eleven works written by J. Słowacki in the pre-mystic period. They include the following poems: Arab, Beniowski (songs I–V), Jan Bielecki, Lambro, Mnich, Ojciec zadżumionych, Podróż do Ziemi Świętej z Neapolu, Poema Piasta Dantyszka,Wacław, W Szwajcarii and Żmija. Non-gradation comparative structures possessing standard comparison indicators have been analyzed. The article mainly focused on: 1) discussing a formal shape of studied constructions, 2) semantic classification of comparans contained in comparisons referring us to the animal kingdom, 3) emphasizing multitude of “animal” lexis connotations used by the poet, 4) discussing basic subject areas the excerpted comparisons belong to with regard to the meaning of a descriptive chunk, and 5) the most important functions of these clues. It has been established that the analyzed comparative constructions have an explicitly anthropocentric character since they, most of all, serve a suggestive illustration of a human’s psycho-physical condition.
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