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Awangardowa cyberpoezja?

100%
Świeściak A.
Postscriptum Polonistyczne
|
2014
|
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.
2

Świat mały, ciasny… ale czy własny? Próba interpretacji jednego utworu Krystyny Miłobędzkiej

100%
Barski K.
Prace Literaturoznawcze
|
2020
|
issue 8
45-56
EN
Although dwanaście wierszy w kolorze by Krystyna Miłobędzka was released a few years ago, in 2012, it has not provoked much discussion. This article is a cautious attempt to interpret oneof these poems in the context of the whole collection. It emphasizes certain issues addressed therein, such as man’s separation from the world, the transience of life and the problem of internal conflict.
3
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Poetika hibridnih multižanrovskih pesničkih tekstova Ljubomira Micića i Branka Ve Poljanskog

88%
Đurić D.
Poznańskie Studia Slawistyczne
|
2012
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issue 2
EN
In the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre  texts  as important  items  in  the  national poetry  canon.  I  will  contextualize  the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde.
SR
In the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre  texts  as important  items  in  the  national poetry  canon.  I  will  contextualize  the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde. 
4
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Ideologema de la modernidaden el discurso de l asvanguardias cubanas

88%
Flisek A.
Zagadnienia Rodzajów Literackich
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2017
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vol. 60
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issue 2 (122)
81-98
EN
Under the common denomination of Cuban avant-garde, the present article gathers texts of versatile subject matters and poetics: Regino Pedroso’s “Salutación fraterna del taller mecánico” (1927), Manuel Navarro Luna’s Surco (1928), Mariano Brull’s Poemas en menguante (1928) and Ramón Guirao’s Bailadora de rumba (1928). Nevertheless, all of them are characterised by the same avant-garde attitude consisting in searching for novelty and, above all, they reveal a similar “structure of feeling” (Williams 1977). The euphoria, proper for the first decades of independence (always controlled by the “the giant with seven-league boots”) was replaced by confusion and disorientation experienced after the economic depression of 1920, disagreement with corruption, clientelism and other blights on the Republic’s political life, and with the idea of modernity reduced to material progress. The article studies the ways in which modern avant-garde Cuban literature gains insights into objective factors of modernity. It also aims at explaining why Cuban avant-garde writers, instead of internalizing modern fantasies and dreams (Berman 1988), try to generate compensatory constructions which pretend to abolish them (Cros 1997).
5
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NARODZINY AWANGARDY. LATA OSIEMDZIESIĄTE JAKO DEKADA ZWROTNA W POEZJI CHIŃSKIEJ

71%
Krenz J.
Porównania
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2018
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vol. 23
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issue 2
297-316
EN
The paper sketches the history of Chinese poetry in the 1980s, taking into account transformations of implicit and explicit poetics, social-political context, and interpersonal and institutional relations between various actors on the dynamically changing poetry scene of the Middle Kingdom. It is in the 1980s that the structures of the Chinese contemporary poetry scene were substantially shaped, and the most consequential ruptures began to appear. In the following two decades, these were to result in deepening conflicts between authors which culminated in a famous national poetry conference in the Panfeng Hotel in Beijing in 1999. Their legacy has carried until today.
PL
Artykuł stanowi zarys losów poezji chińskiej w latach osiemdziesiątych XX wieku, z uwzględnieniem przemian zachodzących w języku poetyckim, zagadnień poetyki sformułowanej, kontekstu socjopolitycznego, a także stosunków interpersonalnych i instytucjonalnych między aktorami na dynamicznie ewoluującej w tym okresie scenie poetyckiej Kraju Środka. To właśnie w latach osiemdziesiątych zaczęły kształtować się jej struktury i zalążki najdotkliwszych podziałów, które w kolejnych dekadach skutkować miały pogłębiającym się rozłamem wśród autorów i konfliktami, których kulminacja nastąpiła w 1999 roku podczas legendarnej już konferencji poetyckiej w pekińskim hotelu Panfeng. Tekst ma pełnić funkcję swego rodzaju przewodnika po poetyckiej krainie rzek i jezior, jak nazywają chińscy poeci i komentatorzy życia literackiego tę szczególną część chińskiego pola produkcji kulturalnej, i przygotować grunt dla polskich badaczy, którzy chcieliby zająć się najnowszą poezją chińską.
6
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„Najciekawsza wydaje mi się właśnie osobność” (Charles Reznikoff i przekłady Piotra Sommera)

63%
Orska J.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2017
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vol. 40
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issue 2
5-32
EN
The focus of this paper is the Polish translation of Charles Reznikoff poetry. Firstly, there goes an overall characteristic of the work by the American writer, whose conceptions became a core of the objectivist group-program of young poets connected to the Jewish diaspora in the 1930’s. Later, the main focus shifts to the conditions and presumable reasons for certain choices made by Piotr Sommer, Reznikoff’s Polish translator. Sommer’s choice – focusing predominantly on Reznikoff’s poetic miniatures – sheds light on the translator’s artistic preferences. Those poems by Reznikoff that have been translated into Polish do not carry as rich a historical, social, and cultural context – so important for an artist of the Jewish background – as his longer works, saturated with the religious allusions. However, Sommer’s translator’s craft – full of care and responsive to detail – allows his translations to frequently signal the strangeness and liminality of the passer-by subject, roaming the streets of New York.
7
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Le jazz fut-il la première forme du surréalisme ? – la poésie du jazz selon Robert Goffin

51%
Kukuryk A.
Academic Journal of Modern Philology
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2023
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issue 20
261-272
EN
This article is an attempt to parallel literature and jazz music, which, according to the Belgian poet Robert Goffi created new trends at the beginning of the 20th century. Touched by the cosmopolitanism of Blaise Cendrars, the simultaneous poetry of Guillaume Apollinaire, the author tries to synthesize a new spirit in a new poetry in syncopated rhythm. He sees musical improvisation as an element that can shape creative writing in various aspects, from narrative to structure, reflecting the surrealist-inspired need to create outside the traditional ontological framework. According to him, jazz not only illustrates the quest for independence in the artistic and social spheres, but is also a means to reach the unconscious.
8

Peiper w Bauhausie. Wokół dyskursu architektonicznego lat dwudziestych XX wieku i literatury nowoczesnej

51%
Swoboda B.
Pamiętnik Literacki
|
2024
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vol. 115
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issue 2
5-23
PL
Artykuł dotyczy związków literatury nowoczesnej z dyskursem architektonicznym pierwszej dekady Dwudziestolecia międzywojennego. Źródłem rozważań jest opublikowany w czerwcu 1927 na łamach „Zwrotnicy” artykuł Tadeusza Peipera „W Bauhausie”. Stanowi on punkt wyjścia do przedstawienia założeń architektury funkcjonalistycznej oraz jej recepcji w warunkach II Rzeczpospolitej, z uwzględnieniem przede wszystkim prac Szymona Syrkusa, jednego z czołowych reprezentantów funkcjonalizmu w rodzimej architekturze. Bliskie Peiperowi awangardowa wola przekształcania rzeczywistości oraz przekonanie o konieczności świadomego współudziału artysty w budowaniu nowej rzeczywistości i kształtowaniu nowoczesnego życia sprzyjają nawiązaniu swoistego dialogu między tekstami programowymi i twórczością poetycką Peipera a dyskursem urbanistycznym oraz architektonicznym lat dwudziestych XX wieku, szczególnie założeniami estetycznymi funkcjonalizmu architektonicznego sformułowanymi przez Waltera Gropiusa. Autor proponuje wytyczyć obszar wspólnej refleksji badawczej pomiędzy architekturą modernistyczną a literaturą awangardową.
EN
The paper refers to relations that hold between modern literature and the architectural discourse of the first decade of the Inter-War Years. Tadeusz Peiper’s 1927 article “W Bauhausie” (“In the Bauhaus”) published in “Zwrotnica” (“The Switch”) is made subject of considerations. The piece forms a starting point for presenting the assumptions of functionalistic architecture and its reception in the Second Polish Republic, referring mainly to the works of Szymon Syrkus, one of the leading representatives of functionalism in the native architecture. The avant-garde’s will to transform reality and conviction about the artist’s deliberate need to take part in building new reality besides shaping modern life, both close to Peiper, are conductive in entering into a dialogue between the program texts and Peiper’s poetic creation on the one hand and the 1920s architectural and urbanistic discourse, especially with architectural functionalism assumptions formulated by Walter Gropius on the other hand. The author of the paper suggests developing a space for common research reflection between modernist architecture and avant-garde literature.
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