Search results

1

Nieznane drobiny epistolarne Stanisława Wyspiańskiego

100%

Bourkane M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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issue 33

351-357

EN

The work concerns two short letters by Stanisław Wyspiański, which haven’t been published before. The letters, adressed to Maria Siedlecka and Eliza Pareńska, seem to be important in context of the artist’s biography.

2

Tekst poetycki jako materiał źródłowy do poznania modernistycznych sposobów konceptualizacji świata (na przykładzie analizy semantycznej leksemu dziewanna)

92%

Kuryłowicz B.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2012

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vol. 19

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issue 2

65-85

PL

The present article discusses the role of poetic texts in recreating and reestablishing modernist means for the conceptualization of the world. The article has been divided into two parts. The first part is to present the theoretical considerations on the participation of poetic materials in revealing the meaning of lexical units and the world’s conceptualization generated by a language lexicon. The other part includes a semantic analysis of the lexeme dziewanna (mullein), whose conceptual model has been reconstructed on the basis of modernist poetic texts. The analysis of artistic texts has made it possible to demonstrate conceptually the fundamental, though not attested in systemic facts, special features of the lexeme: [dziewanna] “has golden and yellow leaves”, “has a long and straight stem”, “is tall” and “blooms in summer”. Poetic texts also attest to the attribution “grows on barren land”, which has been preserved in the Polish proverb: Gdzie rośnie dziewanna, tam bez posagu panna (literally: [homestead] where mullein grows is where a portionless maid lives) All considerations done so far also indicate that the most important place within the conceptual framework of the word is occupied by the elements that belong to the domain: PHYSICAL FEATURES, and the range of colour characteristics in particular. These elements form a strong part of the semantic core of the name and determine numerous connotations such as: “beauty”, “perfectness”, “brightness”, “purity”, “joy”, “vitality”, “biological determination”, “joy of living”, “youth” and “health”, “fertility of nature”, “fertility”, “abundance”, “richness”, “eroticism” and “sexual appeal”. The conventionalized character of the elements of the sub-framework: PLACE OF GROWTH – “grows on sands, waste grounds”, “grows in desolate places” influences the relatively well-developed structure of this section of the conceptual model of the word. The environmental features of the name justify, in turn, the following connotations: “penury”, “loneliness” and “abandonment”. Its locative characteristics also includes the image of the flower in which the connotations such as “heroic loneliness”, “perseverance despite the odds” come into the foreground.

3

O Młodej Polsce z klasą, erudycją i finezją. Rec.: Jan Tomkowski, Szkice młodopolskie. Warszawa 2016

92%

Legutko G.

Pamiętnik Literacki

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2018

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vol. 109

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issue 3

238-245

PL

Recenzja omawia "Szkice młodopolskie" Jana Tomkowskiego (2016) – zbiór interesujących tekstów historycznoliterackich, prezentujących rozmaite zjawiska życia literackiego z przełomu XIX i XX wieku. Obejmują one rozległe obszary polskiego piśmiennictwa: od krytyki literackiej, przez lirykę, powieść, nowelistykę, do felietonistyki i eseistyki, a także zagadnienia związane z periodyzacją epoki i grafiką książkową.

EN

The review discusses Jan Tomkowski’s “Szkice młodopolskie (Sketches on Young Poland)” (2016), a collection of interesting literary-historical texts presenting various phenomena of literary life at the turn of the 19th and 20th c. The texts encompass wide areas of Polish writing, from literary criticism, through lyric poetry, novel, short story to column articles and essays, as well as problems connected with the epoch periodization and book graphic art.

4

Recenzja książki Iwony E. Rusek, Pragnienie-Symbol-Mit. Studium o „Próchnie” Wacława Berenta

92%

Orczykowska P.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2015

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issue 4/2015 O Młodej Polsce mniej znanej

287-296

EN

The main purpose of the article is to analyze a book Determination, Symbol, Myth. Study of the Wacław Berent’s novel “Próchno” (“Decay”) written by Iwona E. Rusek.

5

Koncepcja dramatu wewnętrznego Szaloma Asza

81%

Sobiecka A.

Postscriptum Polonistyczne

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2019

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issue 1(23)

183 -198

EN

The aim of the paper is to present the dramatic works of Sholem Asch with reference to the basic characteristics of the Young Poland period “interior drama”, further specified by Jerzy Waligóra as a manifestation of the processes of drama subjectivisation in the late 19th/early 20th century. Departing from the traditional perception of Asch’s dramatic works in the context of the literary heritage of the Polish-Jewish borderlands or the modernist symbolic drama makes it possible to interpret his works as identity drama, based on the need to choose between what was and what will be, between the past with its tradition on the one hand, and the present with the related modernity on the other hand.

6

Polska premiera „Wesołka” Johna Millingtona Synge’a

81%

Keane B., Uniwersytet Warszawski Z. J. A. S., Barry Keane uzyskał tytuł doktora na uniwersytecie Trinity College w Dublinie a. n. u. s. p. n. D. C. U. S. O. p. n. s. a. w. Z. J. A. S. n. U. W. J. a. k. p. J. K., keaneb@wp.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2014

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vol. 24

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issue 2

EN

The article traces the history of the Polish premiere and an early reception of J.M. Synge’s The Playboy of the Western World. The author draws attention to similarities between Irish and Polish political and historical situations in which the plays premiered, respectively, in 1907 and in 1913. Firstly, Keane concentrates on analyzing the translator’s strategy in rendering the difficult Hyberno-English dialect present in Synge’s play. The translator, Florian Sobieniowski, chose to render the specific diction of the play using the poetic language of the Young Poland movement. He also modelled his translation on the language and partly the imagery of Stanislaw Wyspianski’s acclaimed play The Wedding (Wesele, 1901). Keane discusses some of the translator’s choices and provides the summary of the critical response to what he terms the acculturation policy of the translator. Analyzing fragments of most characteristic reviews of the Polish premiere of Synge’s play, Keane discusses the presence of cultural stereotyping and the reactions to acculturation in the Polish theatre and culture.

7

Une traduction qui fait un manifeste. Art poétique de Verlaine et Sztuka poetycka de Miriam

81%

Łukaszyk E.

Romanica Silesiana

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2017

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vol. 12

FR

The Polish translation of Verlaine’s Art poétique marks an important step in the process of acquisition of symbolism as a new paradigm of poetic creation. The analysis presented in this paper puts in the limelight the problem of positioning the translated text in the receptive literary system. The analytic proposal implies the employment of the term “embeddedness,” originally introduced by the historian Karl Polanyi, to render the implication of the non-economic factors in the process of production. Analogically, the production of literary texts is conditioned by factors situated at the frontier of literature. Those wishing to adopt a foreign aesthetics must vanquish the resistance of the local, traditionalist context. As a result, the translation is “embedded” as a manifesto, even if Verlaine’s Art poétique is a parody of the genre and an expression of the poet’s creative doubts rather than a truly prescriptive text. The auto-ironic dimension of the original poem disappears in the Polish translation by Miriam, which becomes a rigorous ars poetica.

8

Nieznana korespondencja Władysława Reymonta

80%

Bourkane M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2019

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issue 36

343-349

EN

This study is an edition of two unpublished letters by Władysław Reymont from January and May 1895. Both epistolary testimonies, related to the writer’sjourney to Italy, significantly expand our knowledge of the relatively early period in his literary biography.

9

Powrót z zaświatów – ewolucja motywu w twórczości Stanisława Wyspiańskiego

70%

Wedemann M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2016

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issue 28

167-181

EN

The article concerns the question of the ghost, which runs through the oeuvre of Stanislaw Wyspianski (1869-1907) from his school translation of G. A. Bürger`s Lenora until the last, unfinished drama Zygmunt August .

10

Pojęcie modernizmu w młodopolskiej krytyce literackiej

70%

Legutko G., Uniwersytet Jana Kochanowskiego w Kielcach I. F. P., grazyna.legutko@ujk.edu.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 33

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issue 3

EN

The notion of modernism in Polish literary criticism at the turn of the 20th century was characterized, as the author of the article proves, by ambiguity. The notion was understood and explained differently and was used in various contexts which quite often contradict each other. This imprecise term referred to many phenomena: from itnietzscheanism and the philosophy of Arthur Schopenhauer, by the meaning of “naked soul” and “art for art’s sake” to the decadent movement, mysticism and symbolism. Even though Young Polish critics (propagators of “new art” as well as its critics) defined modernism in a multi-faceted way (from the point of view of their ideological standpoints and preferred esthetics values) it has been linked by aversion to the name, the awareness of crisis of European culture and middle-class morality and necessity of upgrading art.

11

The play of nerves. Chopin in the era of mental disorder

70%

Okulicz-Kozaryn R.

Interdisciplinary Studies in Musicology

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2010

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issue 9

177-194

PL

This article concerns the neurotic image of Chopin that took shape in the 1880s and became popular during the Young Poland period. At that time, features highlighted from earlier descriptions of the composer’s character - over-sensitivity, over-sentimentality, excessive delicacy, emotional instability and inner complexity - were most spectacularly portrayed in the works of painters and sculptors such as Władysław Podkowiński, Wojciech Weiss, Bolesław Biegas and the designer of the monument in the Łazienki Royal Baths Park in Warsaw - Wacław Szymanowski. Critics and writers also helped to form the new portrait of the composer: Stanisław Przybyszewski, Cezary Jellenta, Wacław Nałkowski and Antoni Potocki. Their utterances allow us to grasp the dependency of the new picture on the theory of neuroses, advanced in 1881 by George Miller Beard and then developed and popularised during the last quarter of the nineteenth century by Richard Kraff-Ebing and Paolo Mantegazza, among others. Nervousness was considered to be the dominated feature of modern civilisation. These concepts were also influential in music criticism. Representatives of nervousness in music proved to be the Richards - Wagner and Strauss - and also Juliusz Zarębski and Ignacy Jan Paderewski. The latter, in a speech from 1911, depicted Chopin implicitly in terms of nervousness, which was also becoming a feature of the Polish national character. However, theories of neuroses were applied first and foremost to the individual psyche. The fundamental inner conflict of modern man, exposed to a surfeit of external stimuli, supposedly arose between the over-developed brain and the rest of the nervous system, as the centre of feelings and will. And it was the paresis of emotions and volition that brought a growth in the role of music, which, depending on a particular author’s assessment, either was itself the result and expression of nervous disturbance and contributed to the further deepening of the process of destruction (the stance of Antoni Sygietyński) or else filled the space left by subordinated emotions and enabled them to rebuild (the opinion of the novelist Eliza Orzeszkowa). The view of Chopin as a eulogist of new sensitivity was made manifest in Maurice Rollinat’s volume of poetry Les Nervoses, which caused quite a stir in the mid 1880s, and it was represented in Poland by Zenon Przesmycki’s Życie, and a philosophical treatise by Jean-Marie Guyau published in that periodical in 1887.

12

Językowy obraz duszy w młodopolskich ekfrazach inspirowanych dziełami malarskimi Arnolda Böcklina

70%

Bagińska L.

Adeptus

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2019

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issue 13

EN

The linguistic image of the soul in Polish early modernist ekphrases inspired by Arnold Böcklin’s paintingsThis article presents the results of a reconstruction of the linguistic image of the soul as an element of the represented world in the ekphrases by Kazimierz Przerwa-Tetmajer, Maria Poraska, Zuzanna Rabska, Wanda Aleksandra Stanisławska, Lucjan Rydel and Karol Łepkowski. Their genesis lies in the fascination with works by Arnold Böcklin, one of the most famous painters of the late nineteenth and early twentieth centuries. The article focuses on the axiological aspect and opens with a definition of the terms ekphrase and work of art. The analyses of the poems mainly rely on the tools of cognitive linguistics: profiling, conceptual metaphor and amalgamate. Językowy obraz duszy w młodopolskich ekfrazach inspirowanych dziełami malarskimi Arnolda BöcklinaCelem artykułu jest przedstawienie rezultatów rekonstrukcji językowego obrazu duszy jako motywu świata przedstawionego ekfraz takich autorów i autorek, jak: Kazimierz Przerwa-Tetmajer, Maria Poraska, Zuzanna Rabska, Wanda Aleksandra Stanisławska, Lucjan Rydel, Leopold Staff i Karol Łepkowski, których geneza wynika z fascynacji wymienionych twórców malarstwem Arnolda Böcklina, jednego z najpopularniejszych artystów tworzących na Zachodzie Europy na przełomie XIX i XX wieku. W odtwarzaniu językowego obrazu duszy szczególnie eksponuję aspekt aksjologiczny pojęcia. Sposoby jego konceptualizacji i wartościowania w wierszach zestawiam z objaśnieniami leksemu dusza w języku ogólnym również z przełomu XIX i XX wieku, czyli z czasu, w którym powstawały badane ekfrazy. Rozważania zaczynam od zdefiniowania terminów „ekfraza” oraz „dzieło malarskie”. W artykule pojawią się też niezbędne informacje na temat kontekstu estetyczno-filozoficznego przełomu XIX i XX wieku jako tła dla wątku aksjologicznego przedstawianego zagadnienia. W analizie wyekscerpowanego z wierszy wymienionych autorów materiału językowego (nie we wszystkich utworach wystąpiły jednostki językowe przyporządkowane analizowanemu pojęciu) wykorzystuję przede wszystkim narzędzia językoznawstwa kognitywnego: profilowanie, metaforę pojęciową i amalgamat. Stosując je, opiszę nie tylko konceptualizacje i aksjologię pojęcia ‘dusza’ w badanych wierszach wymienionych poetów, ale też ukażę takie przestrzenie poezji w interpretacji utworów literackich, które przy zastosowaniu tradycyjnej poetyki umknęłyby uwadze badacza.

13

Gdzie rozgrywa się akcja Dzieci szatana Stanisława Przybyszewskiego? Destrukcja i rekonstrukcja świata przedstawionego

70%

Wedemann M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2021

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issue 41

351-392

EN

One of the characteristics that make Stanisław Przybyszewski’s novels stand out from other contemporary works is the deliberately limited description of the outside world up to the point of blurring the identity of the location where the plot of a given work takes place. In the case of Dzieci Szatana (Satan’s Children), (German Satans Kinder, 1897; Polish edition 1899), one may even talk about ‘a total destruction of the represented world’ (Gabriela Matuszek). At the same time, the author’s numerous comments apparently allow for translating this ‘destruction’ happening in the course of the creative process into a ‘reconstruction’ that corresponds to it in the process of reading. It is through reviewing in more detail and combining various pieces of information included in Dzieci Szatana that directly or indirectly refer to the place of action, as well as confronting them with the biographical, historical and geographic contexts that one may identify with surprising precision the exact place represented in the text and, as a result, to uncover an entirely new aspect of novel axiology.

14

Problem modernizmu na łamach „Tygodnika Ilustrowanego” w latach 1898–1907

70%

Kołtoniak A.

Rocznik Historii Prasy Polskiej

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2012

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vol. 15

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issue 1(29)

41-60

EN

In the early 1890s the traditional allegiance of the readers of Tygodnik Powszechny to the realistic creed of the Polish Positivism began to falter. As the decade wore on their attention was increasingly attracted by the new, modernist approach to the arts, propagated by Ignacy Matuszewski in Tygodnik Ilustrowany. It was in fact a moderate modernist aesthetics, rooted in conservatism and tailored to fit the tabloid profile of that weekly. Unlike the more highbrow Cracow periodicals Tygodnik Ilustrowany cultivated an image of a moderately progressive magazine with a popular appeal. Its editors sympathized with the ideas of the Young Poland movement and its patriotic and romantic revivalism. Theirs was a modernism stripped of elitist aestheticism and tilted heavily towards a social and national engagement practiced by Stanisław Wyspiański and Stefan Żeromski.

15

Uwagi do Salve Regina Jana Kasprowicza

70%

Jakiel E.

Studia Pelplińskie

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2022

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vol. 56

173-182

EN

I present here two important remarks on the subject of the work by Salve Regina, not yet taken up in Kasprowiczology, discussing two issues linking this hymn by Kasprowicz with the Roman liturgy and rituals. The thematic and structural threads that I read in this work, beyond any doubt, have a liturgical and ritual origin. Apparently, the relationship between this poet’s hymn and the religious work of the same title is expressed in terms of time. As in the mass liturgy and funeral liturgy, but also in monastic piety and pia exercitia, this hymn is associated with an extreme experience. Sung or recited at the end of the mass, at the end of the funeral, at the end of the day – it is also closely related to the end of human life in this piece by Kasprowicz. That is why we are dealing here with a kind of liturgical anaclesis, and above all an anamnesis of biblical events with their liturgical context oriented soteriologically.

PL

Przedstawiam tu dwie, dotąd niepodjęte w kasprowiczologii, istotne uwagi na temat utworu Salve Regina, zestawiając ze sobą dwa zagadnienia łączące ten hymn Kasprowicza z liturgią rzymską i obrzędowością. Wątki tematyczne i strukturalne, jakie w tym utworze odczytuję, ponad wszelką wątpliwość mają rodowód liturgiczno-obrzędowy. Najwyraźniej związek tego hymnu poety z utworem religijnym o tym samym tytule wyraża się w ujęciu czasu. Tak jak w liturgii mszalnej i liturgii pogrzebowej, ale też tak jak w pobożności klasztornej i pia exercitia hymn ten wiąże się z doświadczeniem krańcowym. Śpiewany lub recytowany na koniec mszy, na koniec pogrzebu, na koniec dnia – jest i w tym utworze Kasprowicza ściśle związany z końcem ziemskiego życia człowieka. Dlatego mamy tu do czynienia z rodzajem anaklezy liturgicznej, a przede wszystkim anamnezy wydarzeń biblijnych z ich liturgicznym kontekstem zorientowanym soteriologicznie.

16

O dynamice i opozycjach XIX-wiecznej kultury

66%

Sobieraj T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2021

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issue 40

279-292

EN

Sabina Brzozowska’s monograph consists of a coherent collection of comparative and historical and literary studies of various artistic and ideological aspects found in selected works of Polish and European modernism. The author focuses on the dramas by Stanisław Wyspiański, Stanisław Przybyszewski, Tadeusz Rittner, Tadeusz Miciński and on the prose by Wacław Berent, Miciński and Thomas Mann. The interpretations of the works included in the monograph show a common area of European nineteenth-century culture, especially of the modernist period. Brzozowska’s reading experience focused on uncovering the intertextual and comparative relationships between, for instance, Wyspiański’s Wesele (The Wedding) and Mann’s Buddenbrooks, Berent’s Ozimina (Snow Crop) and Czarodziejska Góra (The Magic Mountain), Rittner and Ibsen. High art literature of the modernist period found its counterpoint in popular culture, including the new media. The author reconstructed this development dynamic of modernist culture in multiple versions.

17

Twórcze echa neurotycznej młodości Żeromskiego, czyli pisarstwo wywiedzione z Dzienników

61%

Okulicz-Kozaryn R.

Poznańskie Studia Polonistyczne. Seria Literacka

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2016

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issue 27

67-85

EN

Until now, Stanisław Żeromski’s writings have not been viewed with regard to literature common to the age of anxiety from the turn of the eighties and nineties of the 19th century, though there are numerous common aspects shared by both. These are clearly discernible in the early works of the writer, written in his youthful days, and shaped among others by J. Ochorowicz’s literary piece Z dziennika psychologa (“From a psychologist’s diary”) concerning the latter’s views on the neuropsychological system of man, the acquired habitual self-analysis and autobiographism rooted in the practical activities of a diarist; all of which surface both in the subject matter, the singularity of style, narration, as well as the composition of later works by the author. By devoting the majority of space and attention to identifying and tracing literary awareness in his intimate notes from 1882 to 1891 – of which one volume carries the title Dziennik człowieka nerwowego (“Diary of the anxious man”) – R. Okulicz-Kozaryn portrays its role in Siłaczka (“The Strongwoman”), Mogiła (“The Grave”) and Źródło (“The Source”), also in Ludzie bezdomni (“The Homeless”). He further claims that Żeromski’s Dzienniki (“Diaries”) should be presented as its laboratory sample, whereas the entire literary output of the writer ought to be interpreted as more advanced consequences of the then initiated experiment.

18

Nieznany rękopis „Śmierci” z 1888 roku. Przyczynek do biografii Ignacego Dąbrowskiego ad fontes

58%

Goniewicz J.

Pamiętnik Literacki

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2023

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vol. 114

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issue 3

189-198

PL

Artykuł poświęcono zachowanym do dziś rękopisom powieści „Śmierć” młodopolskiego autora Ignacego Dąbrowskiego. Spośród czterech manuskryptów dotychczas znane były tylko trzy, czwarty zaś – nieopracowany i niewspominany w źródłach naukowych – odnalazł się w wyniku kwerendy przeprowadzonej w Bibliotece Narodowej w Warszawie. Zarówno sam rękopis, jak i dociekania archiwalne z nim związane stanowią interesujący przyczynek do rekonstrukcji biografii Dąbrowskiego, autora utalentowanego i na przełomie XIX i XX wieku cieszącego się poczytnością, a dziś niesłusznie pomijanego. Manuskrypt ukazuje kształtowanie się jego temperamentu literackiego oraz zaprzecza opiniom, jakoby wzorował on swój utwór na powieści „Bez dogmatu” Henryka Sienkiewicza.

EN

The article is devoted to the surviving manuscripts of a novel entitled “Śmierć” (“Death”) by the Young Poland writer Ignacy Dąbrowski. Only three of the four manuscripts were previously known by researchers, while the fourth was found as a result of a search at the National Library in Warsaw. It was previously undeveloped and unmentioned in any scholarly source. Both the elements comprising the manuscript itself and the archival research related to it make an interesting contribution to the reconstruction of the biography of Dąbrowski, a gifted writer, widely read writer at the turn of the 19th-20th century, but unjustly overlooked today. The manuscript also reveals the process of formation of the artist's literary temperament and denies earlier opinions that he modeled his novel on Henryk Sienkiewicz’s “Bez dogmatu” (“Without Dogma”).

19

The place of musie in thepoetry of Kazimierz Przerwa-Tetmajer

58%

Bajda J.

Interdisciplinary Studies in Musicology

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2010

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issue 9

195-214

PL

Young Poland poetry was dominated by artistic imaging, but its associations with music are also quite often mentioned. Many examples of its “musicality” can be found in various layers of poetic works, starting with their phonological aspect and versification, through the simple usage of lexical resources, descriptions of instruments and concerts and listeners’ impressions, up to attempts at finding appropriate means for transposing particular genres or specific musical works into poetry and even creating a poetic language modelled on music. The characteristic phenomenon of poetry challenging music can be observed during that period. The oeuvre of Fryderyk Chopin is especially important, as there are many sets of works concerned with Chopin’s music or the composer himself (about 150). Kazimierz Przerwa-Tetmajer was one of the Young Poland poets to show an interest in this subject. The images created by Tetmajer’s specific artistic imagination were often defined by elements of a musical character. The best-known “musical” set of works by Tetmajer is the Preludes, considered to be his “calling-card”. Tetmajer used sounds in many different ways. Besides attempts at shaping this poetical cycle in the image of Chopin’s preludes, one should mention here the role of the music and songs of the highlanders, the repetitive distant chime of church bells, the various musical instruments, notes and tones reverberating in many poems, and the specific role of the music of nature. The works directly inspired by Fryderyk Chopin’s music (Mazurek Chopina [Chopin’s mazurka], Cień Chopina [Chopin’s shadow], Zamyślenia XVI [Thoughtfulness XVI]) are a good reflection of Tetmajer’s way of thinking and writing about the sounds of nature. They are part of the tum-of-the-century mood, since they use impressionistic, symbolic and pre-Raphaelite poetics. The poem Zamyślenia provides a sort of conclusion to Tetmajer’s poetical thinking about Chopin, and about music in general. The poet agrees here with the modernist vision of Chopin as a bard of the nation. Almost all the leitmotifs favoured by the poet and connected to his perception of music appear here: the effect of “listening” to sounds from afar, a soul filled with grief (reminiscent of the sad tones of the music), a mood encompassing the whole universe and moving deep layers of human sensitivity, specifically among Poles.

20

„Śpiewaj! – Już niknę... Twoją pieśnią żyję”. O młodopolskich kreacjach kobiety-muzyki

58%

Kamińska L.

Pamiętnik Literacki

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2021

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vol. 112

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issue 4

111-130

PL

Celem artykułu jest analiza związków między kobiecością a muzycznością w młodopolskich tekstach stworzonych przez męskich autorów. Kategorie te w literaturze epoki nader często wchodzą ze sobą w relacje semantyczne. Do analizy kreacji kobiety-muzyki wykorzystane zostały założenia krytyki feministycznej. Główne problemy, jakie pojawiają się w związku z wprowadzeniem wspomnianego motywu, to: kobieta jako upostaciowienie muzyki, procesy nabywania i utraty muzyczności, narzucanie muzyczności, związki pieśniowych kreacji kobiecych ze sferą sacrum, demoniczne aspekty muzyczności. Analizie poddane zostały m.in. teksty Jana Augusta Kisielewskiego, Kazimierza Przerwy-Tetmajera, Stanisława Przybyszewskiego, Władysława Reymonta, Jerzego Żuławskiego. Wykorzystanie motywów muzycznych w kreacjach kobiecych w większości przypadków pozwala na autonomizację bohaterek.

EN

The purpose of the paper is an analysis of the connections between femininity and musicality in Young Poland’s texts composed by male authors. The two aforementioned categories in the epoch’s literature quite frequently enter into reciprocal semantic relationships. To analyse the creation of woman-music the authoress employs the assumptions of feminist criticism. The main problems that one encounters when introducing the motif in question are woman as personification of music, the processes of gaining and losing musicality, imposing musicality, the relationships between female song creation with the sacred sphere, demonic aspects of musicality. Texts by Jan August Kisielewski, Kazimierz Przerwa-Tetmajer, Stanisław Przybyszewski, Władysław Reymont, and Jerzy Żuławski are analysed in this respect. Employing musical motifs in women creations in majority of cases allows for the heroines’ autonomisation.

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