Search results

1

Ballada i „balladowość” w poezji śpiewanej Jacka Kaczmarskiego

100%

Lisecka M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 16

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issue 2

121-126

EN

The article concerns selected aspects of genre of ballade and ballada form in singing poetry by Jacek Kaczmarski. The main object of analysis are some lyrics of this author (The Cow, The Ballad on Exclamations, The Ballad on the Burnt Synagogue), in the sphere of the text as well as the guitar and piano music. 11

2

Narrator czy… poeta oralny? Mickiewiczowski „Powrót taty” w opracowaniu muzycznym Henryka Jareckiego i Jana Gołębiowskiego

100%

Piotrowska M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2022

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issue 42

157-169

EN

The article discusses the opera-ballad Powrót taty (Father’s return) in a musical edition by Henryk Jarecki with a libretto by Jan Gołębiowski. Its goal is to present the manners of building the character and the narrative. Apart from the characteristic features of a ballad, the text also discusses the category of an oral poet, a “storyteller” and the dialogue relation (“speaking” instead of “talking”.) These are the means that gave Mickiewicz’s ballad a new dimension. Helpful in its reception are texts on cultural practices, especially those referring to oral culture (compare with e.g. Jack Goody, Albert B. Lord, Eric A. Havelock, Walter J. Ong.).

3

Barva, jas, kontrast. Ilustrace Erbenovy Kytice jako interpretace; ukázka z většího celku

88%

Jedličková A.

Poznańskie Studia Slawistyczne

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2023

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issue 25

209-231

EN

The paper is a sample of the author´s current intermedial research into the illustrations of Karel Jaromír Erben’s volume of ballads Kytice (1853). Visual transmediations of a literary pretext may be understood as interpretations sui generis: while illustrations reveal the individual attitude of the visual artist, the illustrated book bears traces of the conditions in which it was published. In case of a classical work such as Kytice, numerous illustrated editions inevitably reflect also the concept of cultural tradition in the period concerned. Relevant social, creative and spiritual problems and needs of the time may be projected onto the illustrations resulting in a meaning-making process related to and parallel to the textual one. The focus of this enquiry is expressed by the optical categories of colour, brightness, and contrast as related to the visual representations and traits of the pretext. Featured illustrators: Zdeněk Sklenář, Alén Diviš, Helena Konstantinová.

4

Widzieć siebie - z czasu minionego (Tamten Bolesława Leśmianai Kilkunastoletnia Wisławy Szymborskiej)

76%

Głowiński M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2009

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issue 16

63-70

EN

The article presents a juxtaposition of the following two brilliant poems Tamten (from the collection of poems entitled Napój cienisty, 1936) and Kilkunastoletnia (from the collection of poems entitled Tutaj, 2009) that employ the same idea of an encounter with oneself – an adolescent person (in the former poem) and a teenage girl (in the latter). The poems exceed the literary convention of just a lyrical reminiscence of the past, they rather form a particular dialogue with the narrator as he/she was years ago, or even propose a kind of a confrontation. Both poems indirectly feature reflections on the passing time and on the author’s identity. The poem written by Leśmian fits perfectly into his poetical system, both in terms of the introduction of metaphysical threads and the application of the elements of a love poem and in terms of the plot outline, somewhat reminiscent of his ballads. Szymborska’s poem also concurs with her own poetics mostly due to the characteristic subtle auto-irony.

5

Powrót z zaświatów – ewolucja motywu w twórczości Stanisława Wyspiańskiego

76%

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 .

6

The Dark Shade of Lincoln Green: Violence, Cruelty, and Snger in the Robin Hood Legend

75%

Szwed-Śliwowska J.

Anglica. An International Journal of English Studies

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2012

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issue 21/1

117-132

EN

The article discusses the themes of violence, aggression and cruelty in Robin Hood texts of various provenance. First, it focuses on the earliest ballads, the original source of the motif which has for various reasons been abandoned and neglected in later retellings until the second half of the twentieth century. The second part discusses the above mentioned themes in modern ‘texts’ – two novels by Angus Donald, Outlaw (2009) and Holy Warrior (2010), as well as two film adaptations of the legend, one by John Irvin (1991) and the other by Ridley Scott (2010), both of which explore the medieval origins of the story in a classic Hollywood frame. The paper analyses the above mentioned themes in the context of legal authority, presenting Robin as the ultimate agent of justice. It also disputes the authors’ use of the coercion mechanism as the factor influencing the outlaw’s distinctions between right and wrong.

7

Przemiana martwego w żywe w balladach Karela Jaromíra Erbena

75%

Pająk P.

Prace Filologiczne. Literaturoznawstwo

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2013

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issue 3(6) cz.2

309-329

EN

In the mid-nineteenth century a Czech writer and folklorist, Karel Jaromı´r Erben, publishes a collection under the title Bouquet, which consists of thirteen ballads inspired by oral folk literature. The leading theme of the collection is the metamorphosis of the dead into the living, which is derived from the primordial conceptions about monistic nature of all phenomena. Erben presents various options for reviving the dead: a metamorphosis into a vampire, a tree, a flower, a bird, and rebirth in a physical form before death. In each case, the metamorphosis involves the action of the elements of nature, which are a tool of moral instruction in the ballads. Reviving the dead is a consequence or a cause of sin, which is the exposure of human life in the name of selfish motives. Erben identifies selfishness with the betrayal of the family. From this point of view, the metamorphosis of the dead into the living reminds us of the value of human life, which is confirmed in family life conducted in accordance with Christian precepts. Erben allegorically extends this Biedermeier message, expressing faith in the rebirth of the Czech nation, which has been politically buried by the Habsburg regime.

8

„Украинские мелодии” Н. Маркевича: между Томасом Муром и Афанасием Фетом

75%

Ляпина Л., Российский государственный педагогический университет и. А. И. Г.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

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vol. 07

EN

The aim of the article is to analyze the poetics of Mykola Markevych’s main book of lyric poems (“Ukrainskiia melodii”, 1831). It belongs to a particular neo-genre called melody, which formed its own tradition. Its beginnings are connected with the followers of Thomas Moore and George Byron, while its climax in the Russian poetry came with Afanasy Fet’s “Melodies”. Within this genre Markevych formed an interesting folk-ballad type of “melody”, using special versifying methods; he made his texts both rhythmical and expressive and gave his book a complex unified composition.

9

Morality as a form of human socio-cultural being in oral folk poetry

75%

Kopanytsia L., Pavlova A.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2023

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issue 9(2)

47-52

EN

The article examines moral responsibility as a specific subjective-objective phenomenon of oral folk art using the example of folklore non-ritual lyric-epic texts. It is analyzed the conceptual dilemma of responsibility – irresponsibility and its role in implementing the functions of oral traditional culture. The authors focus on the correlation between the concepts of individual and social responsibility. In addition, the problem of social responsibility as an evident form of the relations between the individual and society driven by the need to comply with coexistence rules is actualized. Folk consciousness accumulates knowledge about responsibility as one of the forms of social relations, which objectively exists, is reflected in the psychological and spiritual aspects, and hence is an internal (towards oneself) and external (towards the community and humanity as a whole) manifestation of responsibility. Essential characteristics and forms of textualization of moral responsibility in folk songs are outlined: every time a practical act is compared with a proper one in real life, i.e., a moral ideal, through the reflection of the characters of a folklore work and the manifestation of behavior in a particular life situation. It is established that morality in oral literature appears simultaneously as a regulatory structure and a system of meanings of the subject and society as a whole. The imperativeness inherent in the belief system of a traditional work becomes not only a statement of a particular position but also a request for understanding the idea of life purpose at the author-audience level. The tragic event reinterpreted by folk consciousness transfers the axiological content of the depicted act to the collective memory. The essence of the responsibility–irresponsibility dilemma unfolds through a specific human reality. The analysis of non-ritual lyric-epic songs highlights a crucial axiom: moral responsibility is, first of all, the affirmation of the view of life, beliefs, and principles of a person who perceives these moments as own, imagined, and suffered. Having separated temptations of the empirical world, the essential from the insignificant, a person isolates the dominant landmarks of their existence, often leveling out the possibility of personal happiness, acting for the benefit of others. A folklore work conceives the relevance of individual and social consciousness since the depicted folk event raises the current problem to the level of collective comprehension, highlighting the imperative of human life value.

10

O Leśmianowskiej „Niedzieli” raz jeszcze

71%

Pietrych K.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2018

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issue 7

129-145

EN

The paper represents an attempt at a multi-aspect analysis and interpretation of Leśmian’s poem entitled Niedziela (Sunday) through putting it firstly in the context of the cycle W chmur odbiciu (In the reflection of clouds) in which it was placed, and then through extracting some immanent meaning contained in the poem. Particular attention was paid to the ballads semantics, the symbolism of Sunday (spelt with a capital letter), Biblical intertextual references and Schopenhauer’s inspirations. Careful analysis of these issues leads to conclusions concerning tasks and obligations of poetry in the world subdued to suffering and death.

PL

Artykuł stanowi próbę wieloaspektowej analizy i interpretacji wiersza Leśmiana Niedziela, poprzez usytuowanie go, najpierw, w kontekście cyklu W chmur odbiciu, w którym został umieszczony, a następnie – poprzez wydobycie znaczeń immanentnie zawartych w utworze. Szczególną uwagę zwrócono na: semantykę ballady, symbolikę Niedzieli (pisanej wielką literą), biblijne nawiązania intertekstualne, Schopenhauerowskie inspiracje. Wnikliwe rozważania dotyczące tych kwestii prowadzą do konkluzji, tyczących zadań i powinności poezji w świecie podporządkowanym cierpieniu i śmierci.

11

Erbenovy balady jako odraz hylozoistické podstaty romantického mytopoetismu

63%

Čolakova Ž.

Slovo a smysl - Word & Sense

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2015

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vol. 12

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issue 23

141-152

EN

The hylozoistic idea of matter as the visible side of everything there is attractive for the Romanticism’s mythopoetic concept of animated and dynamic nature of the universe and man as its projection. In this paper, the hylozoistic idea is interpreted in relation to Erben’s ballads. Two main research directions are outlined: the depiction of the Romantic landscape and its anthropomorphic incarnation through metaphorical rhetorics, and the genre specifics of the literary ballad. Its dominant place in the poetry of the first half of the 19th century is a reflection of the return to folklore and the mythological perceptions of the spiritual constants of life, so typical for this time. In the context of Erben’s poetry, the first aspect is visible most cleary in his ballad Záhořovo lože, while the latter one can be found in nearly all of his ballads where the real and the supernatural worlds meet. Instead of interpreting Erben’s poetry in the specific national context of the Czech Renaissance (an aspect that has been studied in detail by Czech scholars), our aim is to situate Erben’s poetic world and the genre model of his ballads within the European context. It is in this space that the hylozoistic idea proves very fruitful both for the Romantic writers’ concept of landscape and for their genre preference of ballad.

12

Олег, волхвы и два Александра (политический подтекст пушкинской баллады Песнь о вещем Олеге)

63%

Clayton J. D., Звиняцковский В.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2022

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issue 15

211-219

EN

Alexander Pushkin wrote his ballad “The Song of the Wise Oleg” (1822) in Kishinev during his forced administrative presence in the South (1820–1824). The poem retells, with meaningful differences, a legend in Nikolay Karamzin’s History of the Russian State that describes the miraculous death of the Kievan Prince Oleg, who is bitten by a snake hiding in the skull of the hero’s dead horse. The poem was inspired by Pushkin’s visit to Kamenka and Kiev in 1821 and his acquaintance there with the assembled members of the future Decembrist uprising, as well as his visit to the supposed site of Oleg’s grave. An examination of the work in the context of Pushkin’s Southern Text reveals that the poem is an allegory of the poet’s relationship with Alexander I and reflects his fears about the coming political upheaval in Russia and the potential death of the Tsar. The ballad contains the first instance of a motif that becomes familiar in his subsequent work, namely the miracle (chudo) as a sudden, unexpected, and life-changing event. The poetics of the poem represents an important step towards Pushkin’s masterpiece The Comedy of Tsar Boris and Grishka Otrepyev (1825; published in 1831 with the title Boris Godunov).

RU

Баллада Александра Пушкина Песнь о вещем Олеге (1822) была написана в Кишиневе во время ссылки поэта под видом служебной поездки на юг России (1820–1824). Баллада пересказывает, но со значительными изменениями, легенду из Истории государства Российского Николая Карамзина о смерти киевского князя Олега от укуса змеи, которая выползла из черепа его любимого коня. На создание стихотворения поэта вдохновило посещение Каменки и Киева в 1821 г. Здесь он познакомился с будущими декабристами, членами так называемого «Союза благоденствия», и увидел предполагаемое место могилы Олега. Анализ баллады как части Южного текста показывает, что произведение является аллегорией, в которой поэт выражает свои опасения по поводу возможности политического переворота в России и скорого ухода из жизни Александра I. В Песни… встречается мотив (прием), ставший важным элементом в последующих произведениях поэта, а именно чудо как внезапное, неожиданное событие, меняющее ход жизни. В целом Песнь… – важный шаг в развитии творчества поэта, который привел его к созданию Комедии о царе Борисе и Гришке Отрепьеве (1825), опубликованной в 1831 г. под заглавием Борис Годунов.

13

„Czułe morderstwa”. Marta Podgórnik w przestrzeni kultury

63%

Czyżak A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2022

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vol. 10

14-25

EN

The article contains interpretations of poetry written by Marta Podgórnik during last years, especially poems placed in her volume titled Mordercze ballady [“Tender homicides”] (published in 2018). This analysis of Silesian writer’s output lead to recognitions of aspects, themes, images and intertextual connections it includes. Podgórnik creates pictures of individualistic women who must exist out of main discourses: patriarchal and feministic, but have to live in mass-culture reality. But the most important in this poetry is language used for poetic but subversive descriptions of painful experiences. This lyric faculty of speech allows Podgórnik to use a specific strategy that may be called “produce of presence”, seeming full of intertextual references, taken frequently from literary tradition and mass-culture texts, motifs and themes.

PL

Artykuł zawiera interpretacje utworów poetyckich Marty Podgórnik z ostatnich lat, przede wszystkim zebranych w tomie Mordercze ballady (opublikowanym w roku 2018). Analizy twórczości śląskiej poetki prowadzą ku rozpoznaniu jej rozmaitych aspektów, tematów, wizji oraz zawartych w niej nawiązań intertekstualnych. Podgórnik kreuje portrety kobiet indywidualistek, funkcjonujących poza głównymi dyskursami: patriarchalnym i feministycznym, natomiast zanurzonych w przestrzeni komunikacji zdominowanej przez kulturę masową. Najważniejszy w jej artystycznych wyborach okazuje się przepełniony buntem poetycki język, służący przekazywaniu wszelkich, najbardziej nawet bolesnych doświadczeń. Ta szczególna liryczna dykcja umożliwia poetce wykorzystywanie strategii, którą można nazwać „produkcją obecności”, pełną międzytekstowych odniesień, czerpanych głównie z tekstów, tematów i motywów kultury (także masowej).

14

Narodziny romantycznej pamięci. Komentarz do lektury „Ballad i romansów”

63%

Trybuś K.

Pamiętnik Literacki

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2022

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vol. 113

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issue 3

45-57

PL

Autor artykułu wyjaśnia, jaką rolę odegrała problematyka pamięci w „Balladach i romansach”. Pyta także o jej znaczenie dla dokonującego się przełomu romantycznego w literaturze polskiej, dyskutując z dotychczasowym stanem badań nad balladowym cyklem Mickiewicza (zwłaszcza z pracami Zgorzelskiego, Stefanowskiej, Fiegutha i Miłosza). Posługuje się pojęciem pamięci romantycznej z wykorzystaniem refleksji kulturoznawczej Aleidy i Jana Assmannów. Uwzględnia zarówno tradycję retoryczną refleksji o pamięci, jak i tradycję epistemologiczną („oko pamięci”). W swojej lekturze ballad koncentruje uwagę przede wszystkim na podmiocie romantycznej pamięci oraz na miejscach pamięci, wskazując na pamięciotwórcze doświadczenie śmierci. Całość rozważań stanowi uzasadnienie sformułowanej w artykule hipotezy o dwóch punktach kulminacyjnych rozwoju problematyki pamięci w twórczości Mickiewicza – w „Balladach i romansach” oraz w kolejnych częściach „Dziadów”.

EN

The author of the paper explains the role that the problem of memory plays in “Ballady i romanse” (“Ballads and Romances”). He also poses a question about the significance of the romantic turn which is taking place in Polish literature, and in doing so he challenges the state of research completed to this day in Mickiewicz’s cycle of ballads (especially with the works by Zgorzelski, Stefanowska, Fieguth, and Miłosz). Trybuś exploits the issue of romantic memory, resorts to Aleida and Jan Assmann’s cultural studies reflection, as well as allows both for the rhetoric tradition of memory reflection, and the epistemological tradition (“eye of memory”). In his reading of the ballads he concentrates mainly on the subject of romantic memory and on the places of memory, indicating memory-forming experience of death. The considerations are thought of as justification of the paper’s hypothesis about two culminating points of the development of memory problems in Mickiewicz’s creativity—in “Ballady i romanse” and in the consecutive parts of “Dziady” (“Forefathers’ Eve”).

15

„Сік українських пісень народних”, „перетворений в кипучу кров поета”: Франкове прочитання Шевченкового Перебенді

51%

Пилипчук С.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2015

|

issue 1

207-217

RU

В статье проанализирована Франковская концепция прочтения поэзии Шевченко Перебендя. Отмечено, насколько органично ввел Тарас Шевченко в текстуру произведения устно-словесные злементы разного уровня, и насколыко глубоко Ивану Франко удалось прочесть фольклорный код поэтического мира Кобзаря. Подчеркнуто особенное присутствие жанра баллады в творчестве Шевченко. Акцентировано на правильности балладных инкрустаций, которые выполняют важную функцию психологических маркеров.

EN

The article analyzes Franko's conceptual reception of Shevchenko's poem Perebendia. It has been remarked how organically Shevchenko wove oral elements belonging to different levels into the text canvas and how scrupulously Franko managed to trace the folklore code of Kobzar's poetic world. It has been emphasized that the ballad genre performed a special role in Shevchenkols oeuvre. Focus has been placed on the effect of ballad components, which are significant psychological markers.

16

Językowy obraz śmierci na Słowacji

45%

Profantová Z.

Etnolingwistyka. Problemy Języka i Kultury

|

1997-1998

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vol. 9-10

111– 120

PL

Tradycyjny obraz śmierci jest w ludowej kulturze słowackiej odmienny od obrazu naukowego, opiera się bowiem na podstawach religijnych i mitologicznych. Jego korzenie sięgają tradycji prasłowiańskich (śmierć personifikowana jako postać kobiety w bieli) oraz chrześcijańskiej kultury okresu baroku. Obraz śmierci jest kształtowany środkami językowymi w wielogatunkowych tekstach folkloru, a także uobecniany poprzez obrzędy (topienie na wiosnę kukły zwanej Marzanną) i wierzenia (postać demoniczna zwana Smrtką, zoomorficzne przedstawienia śmierci w postaci kota, zająca, kozy itp.). W pieśniach pogrzebowych i balladach śmierć występuje jako postać ukształtowana hiperbolicznie, akcentowana jest jej brzydota i nieprzekupność. Słowackie przysłowia i frazeologizmy kształtują wizję śmierci w zgodzie z tradycją ogólnoeuropejską, o źródłach łacińskich i chrześcijańskich.

EN

Because it is based on religious and mythological foundations, the traditional picture of death in Slovakian culture is different from the scientific one. Its roots go back to pre-Slavonic traditions (death personified as a woman in white) and the Christian culture of the Baroque. The picture of death is shaped through linguistic means in multi-genre folk texts and incarnated through customs (the spring drowning of the doll called Marzanna, the name being derived form mary 'bier') and beliefs (a demonic figure known as Smrlka, the root of the name being the same as that of the word meaning 'death', or zoomorphic representations of death as a cat, hare, goat etc.). In ballads and funeral songs death is portrayed hyperbolically with the stress on its ugliness and indifference to attempts of bribery. Slovakian proverbs and phraseological units shape the image of death in accordance with the European tradition built on Latin and Christian foundations.

17

Hamleś Skolimowskiego jako parodia

45%

Hendrykowski M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 14

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issue 23

143-151

EN

Hamleś is a brilliant etude made in 1960 by young film-maker Jerzy Skolimowski during his studies in famous Film School in Łódź. In ballad form this mysterious and dark story tells about lost hopes of freedom and strange situation of Polish intelligentsia of the late 1950s in connection with characters of Shakespeare’s tragedy. Skolimowski’s parody has typical for this artistic obsessive-compulsive dimension (Don Fredericksen’s term). Skolimowski took the title and protagonists from the classic drama and transmitted the main subject in a way that is much darker and ironic than the original.

PL

Hamleś is a brilliant etude made in 1960 by young film-maker Jerzy Skolimowski during his studies in famous Film School in Łódź. In ballad form this mysterious and dark story tells about lost hopes of freedom and strange situation of Polish intelligentsia of the late 1950s in connection with characters of Shakespeare’s tragedy. Skolimowski’s parody has typical for this artistic obsessive-compulsive dimension (Don Fredericksen’s term). Skolimowski took the title and protagonists from the classic drama and transmitted the main subject in a way that is much darker and ironic than the original.

Refine search results

Ballada i „balladowość” w poezji śpiewanej Jacka Kaczmarskiego

Narrator czy… poeta oralny? Mickiewiczowski „Powrót taty” w opracowaniu muzycznym Henryka Jareckiego i Jana Gołębiowskiego

Barva, jas, kontrast. Ilustrace Erbenovy Kytice jako interpretace; ukázka z většího celku

Widzieć siebie - z czasu minionego (Tamten Bolesława Leśmianai Kilkunastoletnia Wisławy Szymborskiej)

Powrót z zaświatów – ewolucja motywu w twórczości Stanisława Wyspiańskiego

The Dark Shade of Lincoln Green: Violence, Cruelty, and Snger in the Robin Hood Legend

Przemiana martwego w żywe w balladach Karela Jaromíra Erbena

„Украинские мелодии” Н. Маркевича: между Томасом Муром и Афанасием Фетом

Morality as a form of human socio-cultural being in oral folk poetry

O Leśmianowskiej „Niedzieli” raz jeszcze

Erbenovy balady jako odraz hylozoistické podstaty romantického mytopoetismu

Олег, волхвы и два Александра (политический подтекст пушкинской баллады Песнь о вещем Олеге)

„Czułe morderstwa”. Marta Podgórnik w przestrzeni kultury

Narodziny romantycznej pamięci. Komentarz do lektury „Ballad i romansów”

„Сік українських пісень народних”, „перетворений в кипучу кров поета”: Франкове прочитання Шевченкового Перебенді

Językowy obraz śmierci na Słowacji

Hamleś Skolimowskiego jako parodia