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1

La poesia non può essere amata per descrizione

100%

Marchesani P., Małyszkiewicz A.

pl.it / rassegna italiana di argomenti polacchi

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2013

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issue 4

317-329

2

L’essere umano, una strana creatura. Sulla poesia di Wisława Szymborska

100%

Ligęza W.

pl.it / rassegna italiana di argomenti polacchi

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2017

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issue 8

211-218

3

Poetyckie dźwięki i barwy Andrzeja Trzebińskiego

100%

Romanowska M.

Świat i Słowo

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2009

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vol. Świat i Słowo 2009, nr 2 (13)

167-182

EN

Andrzej Trzebiński’s creative searches included diverse areas of art, stepping into the world of music as well as painting. They were accompanied by declarations of integral treatment of all areas of life, including the ones connected with art. Song about the lilies of the valley is an important poem when it comes to contemplate musical and artistic influence on its author’s poetry. In this poem Trzebiński builds the world using both sounds and colours. Allusions to songs and contrasting colours help him to organize the vision of the world in this poem in two ways. There are two worlds existing next to each other, which have been presented here: the real world and the unreal one. They have also been organized in a specific way – space was created as the opposition of top and bottom. It all helps Trzebiński to construct an idyllic, Arcadian vision of the world, as if in contrast to the reality of war, and the poem becomes a poetical creation, literary and musical attempt to tame reality.

4

Urszuli Kozioł sen o narodzinach (lęku)

100%

Kłosiński M.

Świat i Słowo

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2009

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vol. Świat i Słowo 2009, nr 2 (13)

183-196

EN

The author presents a multi-level analysis of the meanings of Urszula Kozioł’s poem Non finito 1. The basic assumption underlying the interpretation is that the poem, which uses the dream conventions, could be explained with the use of Sigmund Freud’s psychoanalytical terms. The aquatic metaphor of the waters and metaphoric womb is contrasted with a claustrophobic fear of enclosure in time which equals the necessity of accepting the passing of time.

5

Zofia Wojnarowska. Poetka dla dzieci – poetka miłości – poetka rewolucji

87%

Zawiszewska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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issue 32

57-74

EN

The article discusses Zofia Wojnarowska’s (1881-1967) biography and poetry which were representative of the life path and artistic career of many other active Polish poetesses at the turn of the 19th century. The output of Wojnarowska, who made her debut in the period of Young Poland and reached her artistic maturity in the interwar period, expresses a typical situation of an artist–epigone whose mediocre talent looks for its own expression and place in the literary Parnassus in the time of, important for the national community, political, economic and cultural changes. Political facts like the country’s occupation, World War I and a difficult process of the restoration of an independent country influenced the judgments of Polish critics who rarely applied esthetic criteria to the evaluation of poetesses’, including Wojnarowska’s, output and instead appreciated their subordination to the following functions: didactic (in children’s poetry), expressive (in love poetry) and ideological (in the poetry of proletarian revolution). The situation in which systemic and individual factors like the emancipation of women, the crystallization of literary professions literary critics’ lenient approach to the artistic output of women and the ease of writing overlapped, the need of success and ideological engagement, on the one hand, made it difficult for women writers to improve their own work, to function in higher mainstream and to play the roles of culture creators and, on the other hand, made it easier for them to function in the popular mainstream and play a role of literary craftsmen.

6

Wprowadzenie do post-koiné: nieantropocentryczne języki poezji

87%

Jarzyna A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2017

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issue 30

107-139

EN

The article is a cross-sectional study that analyses contemporary Polish poets’ metapoetic reflections on anthroponormative language and their ways of elaborating alternative ways of representing animals. They often unveil oppressive animalistic metaphors, i.a. writting as hunting, and create less obvious ones, for example the poem as an animal. This kind of image commits both the author and the reader of the poem to care – they are both somehow obligated not to objectify animals in their interpretations. By referring to poems (written by Magdalena Bielska, Stanisław Grochowiak, Ryszard Krynicki, Piotr Matywiecki, Krystyna Miłobędzka, Jacek Podsiadło, Wisława Szymborska, Eugeniusz Tkaczyszyn-Dycki) and inspiring essays by Tadeusz Sławek, the author of this article formulates and leads out a concept of post-koin. , which is a language critical towards any too narrow idea of the community (koin. ), the language of a new interspecies community, an inclusive language devoid of violence against animals.

PL

The article is a cross-sectional study that analyses contemporary Polish poets’ metapoetic reflections on anthroponormative language and their ways of elaborating alternative ways of representing animals. They often unveil oppressive animalistic metaphors, i.a. writting as hunting, and create less obvious ones, for example the poem as an animal. This kind of image commits both the author and the reader of the poem to care – they are both somehow obligated not to objectify animals in their interpretations. By referring to poems (written by Magdalena Bielska, Stanisław Grochowiak, Ryszard Krynicki, Piotr Matywiecki, Krystyna Miłobędzka, Jacek Podsiadło, Wisława Szymborska, Eugeniusz Tkaczyszyn-Dycki) and inspiring essays by Tadeusz Sławek, the author of this article formulates and leads out a concept of post-koine, which is a language critical towards any too narrow idea of the community (koine), the language of a new interspecies community, an inclusive language devoid of violence against animals.

7

Awangardowa cyberpoezja?

80%

Świeściak A.

Postscriptum Polonistyczne

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2014

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issue 2(14)

111-123

EN

The article discusses cyberpoetry as a category of avant-garde writing. The author proves that cyberpoertry should not be regarded as modern avant-garde writing, because modern culture does not follow the avant-garde cultural and aesthetic norms (such as novelty, originality). The fact that cyberpoetry applies some avantgarde aesthetic tools (collage and montage) must be regarded as non- avant-garde continuation.

8

Andere Stimmen – Protest gegen Krieg und Gewalt in der polnischen und ukrainischen Dichtung über den Ersten Weltkrieg

80%

Woldan A.

Przegląd Humanistyczny

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2019

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vol. 63(1 (464))

7-25

EN

Polish and Ukrainian poetry on World War I have much in common: they were written mainly by soldier-poets, young men fighting in the Polish Legions or the Ukrainian Sich Riflemen. This poetry is, first of all, a patriotic legitimation of the war as a way of regaining political independence. Heroism and suffering for the fatherland are dominating issues. Nevertheless, besides this pathetic gesture, we can find voices that point out the horror of war and question it at all. Such criticisms is expressed by certain motives, which appear in both the Legions’ and the Sich Riflemens’ poetry, like: fratricide, lists from soldiers to their families at home, devastation of nature and culture, autumn and death, as well as pacifist notions. These voices do not form any dominant discourse in the poetry on World War I, but they are not to be ignored, as they mark a common place in the Polish and Ukrainian literature at this time, which has not been researched until now.

9

Awangardowe oddźwięki. Anny Świrszczyńskiej wiersze i prozy poetyckie z lat trzydziestych XX wieku

80%

Pekaniec A.

Pamiętnik Literacki

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2019

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vol. 110

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issue 3

77-89

PL

Artykuł koncentruje się na debiutanckim tomie Anny Świrszczyńskiej, a precyzyjniej: na próbach omówienia jego złożonej struktury, połączeń różnych poetyk, powracających motywów. Składająca się zarówno z liryków sensu stricto, jak i z próz poetyckich całość stanowi interesujący amalgamat nurtów awangardowego, katastroficznego i surrealistycznego (czy raczej korzystającego z osiągnięć surrealistycznych). Istotne jest również wskazanie roli, jaką odgrywa w analizowanych lirykach sztuka, nierzadko spowita aurą witalizmu, tak bliskiego dykcji skamandryckiej. Mając na uwadze przynależność poetki do tzw. Pokolenia 1910, swoistą osobność Świrszczyńskiej, funkcjonowanie poza ugrupowaniami poetyckimi, czerpanie z tradycji i ze współczesnych jej prądów literackich, autorka artykułu wydobywa specyfikę udanego, dojrzałego debiutu, w którym obok dynamizmu widoczne są coraz ciemniejsze tony, wskazujące na to, że liryczne kolaże Świrszczyńskiej nie tylko były piękne, ale i odnosiły się do kontekstów pozaliterackich – wpisywały się w nastroje katastroficzne, wyczuwalne na trzy lata przed wybuchem drugiej wojny światowej.

EN

The paper concentrates on Anna Świrszczyńska’s debut book; precisely on attempts to discuss its complex structure, combinations of various poetics, recurrent motifs. The collection, composed both of lyric sensu stricto and of poetic prose, is an interesting amalgamate of avant-garde, catastrophic, and surrealist trend (though rather employing the surrealist achievements). Important in the analysed pieces is also an indication of the role played by the art, oftentimes cloaked with the atmosphere of vitalism—so close to the Skamander diction. Bearing in mind that the poetess belonged to co-called Generation 1910, her peculiar distinctness, functioning outside literary groups, as well as her deriving from tradition and from the literary trends contemporary to her, the author of the article extracts the specificity of Świrszczyńska’s successful and mature debut in which parallel to dynamism one discerns darker tones indicating that her lyric collages were not only beautiful, but also referred to non-literary contexts: they stuck in catastrophic moods felt three years before the outbreak of the World War III.

10

Mały teatrzyk wielkiego przełomu wieków

80%

Szwed A.

Postscriptum Polonistyczne

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2013

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issue 2(12)

287-293

XX

The article presents an account of how the Polish language course taught by Polish lecturers at Sofia University at the end of the twentieth–and the beginning of the twenty-first century resulted in the establishment of the educational theatre as an unconventional, creative and extremely successful form of improving the students’ knowledge and practice of Polish lan-guage by staging literary works in a creative way with literary studies, theatrical skills and language studies coming together in this venture. In 2000 the theater staged the play A Win-dow Open to the Wind based on poems by the Polish Sappho-like poetess Maria Pawlikowska- Jasnorzewska. The play was performed to celebrate the opening of the Polish studies room at the University. The next performance staged the play Eutedemis. A Manuscript Found on the Internet based on a poem by the young poetess Małgorzatа Kapicа. These performances fulfill multiple aims and first and foremost they do help develop practical language skills.

11

Między znakami: słowo i obraz w poezji Joanny Pollakówny

80%

Górecka E.

Świat i Słowo

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2010

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vol. 2010, nr 2 (15)

15-30

EN

Reflections on the essence of the language of art play a significant role in Pollakówna’s poetry. She is intrigued by the relations between a sign and a designation, in particular a thought being followed by a word. In her consciousness a word carries a meaning which has been attributed to it by the Bible – it is identical with calling into being, yet the result is unpredictable. Pollakówna signals not only problems connected with the code itself, but also with a complicated process of creation. For Pollakówna art is an astounding record of the moment, of images, sensations and thoughts that are more readable than uncertain fate of the world. A poet and a painter share not only joy and torment of creating, but also faith in the sense of art – saving them from the hands of time

12

Piotr Szewc, Cienka szyba

80%

Bernacki M.

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2014

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vol. 12

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issue (2)23

333-336

EN

[Review: Piotr Szewc, Cienka szyba, Wydawnictwo Literackie, Kraków 2014, pp. 47.]

13

Pożegnanie Różewicza

80%

Bernacki M.

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2014

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vol. 12

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issue (1)22

231-235

EN

Review: Tadeusz Różewicz, to i owo, ed. Jan Stolarczyk, Biuro Literackie, Wrocław 2012, pp. 105

14

Dobranoc, Panie Tadeuszu

80%

Gębala S.

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2014

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vol. 12

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issue (1)22

15-18

EN

The article is a farewell to the poet Tadeusz Różewicz (1921-2014).

15

Dialog człowieka z Bogiem w poezji Stanisława Barańczaka

80%

Kosturek J.

Świat i Słowo

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2010

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vol. 2010, nr 2 (15)

185-200

EN

The author examines the poetry of Stanisław Barańczak and she tries to determine the relationship of the poet with the ultimate issues. When the plan of human happiness prepared by the Creator is subjected to an analysis in the interpretation of the poetry of Stanislaw Baranczak, it can give the impression that not everything is done in accordance with the plan. Both Podróż zimowa and Widokówka z tego świata (and subsequent works) make us look at the world differently. The loss of paradise, the lack of the plan or the illusionary hope of sacrum become the ingredients of the daily existence.

16

Odbite i wyobrażone w poezji

80%

Wilkoń T.

Świat i Słowo

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2010

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vol. 2010, nr 2 (15)

31-38

EN

In her article the author describes different types of poetic images of the nature. Putting together Pan Tadeusz by Mickiewicz and Wspomnienie by Leśmian she focuses on so-called reflected images (which realize Mickiewicz’s principle “I see and describe”). The author puts together the stylistic and linguistic devices used by the poets. In the final part she briefly discusses the images created by the poets’ imagination.

17

Wiersze „suchego pogromu” – Marzec ’68 w poezji polskiej (rekonesans) [The poetry of the “dry pogrom” - March 1968 in Polish poetry (a reconnaissance)]

80%

Kuczyńska-Koschany K.

Studia Litteraria et Historica

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2017

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issue 6

EN

The poetry of the “dry pogrom” - March 1968 in Polish poetry (a reconnaissance)The paper construes the distinctive character of March 1968 against the classical definitions of pogroms; hence the selection of Adam Michnik’s phrase “dry pogrom.” It analyzes direct responses to the events, using examples of Aesopian language (Artur Międzyrzecki) and satire (Janusz Szpotański, Natan Tenenbaum), as well as other reactions (Jerzy Ficowski, Aleksander Rymkiewicz). Further, it is concerned with poems from artists affected – to a larger or smaller extent – by the dry pogrom, such as Arnold Słucki. Views from afar – including Kazimierz Wierzyński’s Izrael [Israel] and Jacek Bierezin’s Wygnańcy [Exiles] – have also been analyzed. Michał Głowiński’s formula of “March talk” has been used to interpret the poetics of the poetry about March 1968, with reference to Orwellian Newspeak and Klemperer’s LTI. Finally, in the conclusion, a question is posed of whether the poems of the dry pogrom are a “poetry of dry despair,” a term used by Julia Hartwig to describe Paul Celan’s poems, as they speak about impossible liquids – blood and tears. Wiersze „suchego pogromu” – Marzec ’68 w poezji polskiej (rekonesans)W tekście referuję odrębność pogromu marcowego wobec klasycznych definicji pogromu: dlatego wybieram formułę Adama Michnika „suchy pogrom”. Zajmuję się reakcjami bezpośrednimi; są to przykłady języka „ezopowego” (Artur Międzyrzecki), satyry (Janusz Szpotański, Natan Tenenbaum) i inne (Jerzy Ficowski, Aleksander Rymkiewicz). Interesują mnie także wiersze dotkniętych – w szerszym i węższym sensie – „suchym pogromem” (jak Arnold Słucki). Analizuję widzenie z oddali (np. Kazimierz Wierzyń- ski, Izrael; Jacek Bierezin, Wygnańcy). Wykorzystuję formułę „marcowego gadania” Michała Głowińskiego wobec poetyki wierszy o Marcu ’68 (tu odniesienia do Orwellowskiej nowomowy oraz Klempererowskiej LTI). W zakończeniu pytam, czy wiersze „suchego pogromu” to „poezja suchej rozpaczy” (formuła Julii Hartwig użyta wobec poezji Paula Celana) – o cieczach niemożliwych: krwi i łzach.

18

Poezija kao prostor intimnog i javnog

70%

Gverić Katana P.

Przekłady Literatur Słowiańskich

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2019

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vol. 9

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issue 3

59-72

PL

The article gives a brief overview of translated Polish literature in Croatia in 2017 and considers the visibility of Polish poetry in a body of literary works translated after 1990, focusing on contemporary phenomena such as poetry in new media and the place it takes in the contemporary reception.

19

Nostalgia w poezji Stanisława Barańczaka

70%

Rydz A.

Studia Rossica Posnaniensia

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2019

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vol. 44

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issue 2

69-84

PL

The article Nostalgia in Stanisław Barańczak’s Poetry was inspired by Douwe Draaisma’s essay, a Dutch psychology theoretician, The Fabric of Nostalgia. About the Phenomenon of Mature Memory’s Age (2010). This model of nostalgia is based on the psychological phenomenon of memory reminiscence. The article presents the evolution of theme of nostalgia in Barańczak’s poetry.

20

« De la poésie polonaise » d’Auguste Lacaussade et Le cimetière du Père Lachaise de Juliusz Słowacki

70%

Pawłowska M.

Academic Journal of Modern Philology

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2022

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vol. Special Issue

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issue 17

131-139

EN

Auguste Lacaussade, in his article ‘De la poésie polonaise’, has identified the relevant features of Polish romantic poetry: the originality and harmony of the language, the favourite themes (silence, shadow, ghosts, and the tendency to rise above the real) and the fundamental dominants (mysticism, patriotism, suffering and the pain of expatriation). All of these elements can be found in the poem Le cimetière du Père Lachaise by Juliusz Slowacki. It is obvious that the French poet was able to reach a wider and more general point of view, but with a literary insight uncommon at the time.

Refine search results

La poesia non può essere amata per descrizione

L’essere umano, una strana creatura. Sulla poesia di Wisława Szymborska

Poetyckie dźwięki i barwy Andrzeja Trzebińskiego

Urszuli Kozioł sen o narodzinach (lęku)

Zofia Wojnarowska. Poetka dla dzieci – poetka miłości – poetka rewolucji

Wprowadzenie do post-koiné: nieantropocentryczne języki poezji

Awangardowa cyberpoezja?

Andere Stimmen – Protest gegen Krieg und Gewalt in der polnischen und ukrainischen Dichtung über den Ersten Weltkrieg

Awangardowe oddźwięki. Anny Świrszczyńskiej wiersze i prozy poetyckie z lat trzydziestych XX wieku

Mały teatrzyk wielkiego przełomu wieków

Między znakami: słowo i obraz w poezji Joanny Pollakówny

Piotr Szewc, Cienka szyba

Pożegnanie Różewicza

Dobranoc, Panie Tadeuszu

Dialog człowieka z Bogiem w poezji Stanisława Barańczaka

Odbite i wyobrażone w poezji

Wiersze „suchego pogromu” – Marzec ’68 w poezji polskiej (rekonesans) [The poetry of the “dry pogrom” - March 1968 in Polish poetry (a reconnaissance)]

Poezija kao prostor intimnog i javnog

Nostalgia w poezji Stanisława Barańczaka

« De la poésie polonaise » d’Auguste Lacaussade et Le cimetière du Père Lachaise de Juliusz Słowacki