Search results

1

Tradycja (nie)śmiertelna. Kilka słów o poetyckich „obsesjach” Wojciecha Wencla

100%

Piotrowska-Grot M.

Śląskie Studia Polonistyczne

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2015

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issue 2(7)

285-303

EN

The article attempts to read Wojciech Wencel’s poem Imago mundi, focusing mainly on the process of opening up the Polish literary tradition by the poet (both the classic genre forms and stylization, direct references to the particular authors or symbols common in the Polish literature). Moreover, the author examines the poet’s “forces of imagination,” his characteristic way of depiction, small “obsessions” and the otherness of the analysed poem.

2

Zagadnienie żywotności klasycyzmu w komentarzach Franciszka Morawskiego do „Klasyków i romantyków polskich”

88%

Timofiejew A.

Prace Polonistyczne

|

2016

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vol. LXXI

69-79

EN

The object of the article is Franciszek Morawski’s commentary on his List do klasyków (Letter to the Classicists), a part of Klasycy i romantycy polscy (Polish Classicists and Romantics 1829). The poet makes use of thought of Johannes von Müller and Émile Deschamps in order to motivate the settlement between the Classicists and the Romantics. Only the settlement, which is in fact a sign of aesthetic-literary eclecticism, can enliven Classicism of that time. The rule of imitation, quite mechanically understood, and fear of any innovation in poetry are the reason of its decay.

3

Herbert i świat Rzymu

88%

Kisiel M.

Śląskie Studia Polonistyczne

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2015

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issue 2(7)

241-248

XX

The review of Józef Maria Ruszar’s book Słońce republiki. Cywilizacja rzymska w twórczości Zbigniewa Herberta (2014) [Sun of the republic. Roman civilisation in Zbigniew Herbert’s work]. The author of the review emphasises that Ruszar convincingly inscribed Herbert’s fascination with antiquity (especially Roman antiquity) in the whole historiosophical reflection of the poet. The conviction about the progressive disintegration of the structures of civilization and society was closely related in Herbert’s writing with the sustained defence of Roman virtus. However, the thesis that in his poetic work Herbert was disputing with the programme and ideology of the literary modernism is perceived by the reviewer as questionable.

4

Trwanie klasycznego w epoce końca sztuki

88%

Solewski R.

Estetyka i Krytyka

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2013

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issue 3(30)

117-128

XX

Text analyses selected examples of photography, painting and video installations (Bernhard Prinz, Bill Viola, Peter Holl, Adrian Gottlieb, Marcin Liber) stressing classical rules and inspirations, as well as elaborating context of visual turn (parallel to the end of art concept). Not only classical patterns and rules are presented but also weighty philosophical ideas are discovered with the use of transdisciplinary methods. Finally, the fundamental questions concerning aesthetic and metaphysical determinants of art in contemporary works are raised (Plato, Kant, Scheler) in context of human identity discovered in hermeneutic interpretation and experience of beauty.

5

Ludomir Sleńdziński’s Trips to Italy 1923–1925

88%

Nowakowska-Sito K.

Roczniki Humanistyczne

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2019

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vol. 67

|

issue 4: Historia sztuki - Selected Papers in English

81-101

EN

The Polish version of the article was published in Roczniki Humanistyczne vol. 60, issue 4 (2012). Ludomir Sleńdziński was the main representative of classicism in Polish art in the period between the two World Wars. The article discusses his two trips to Italy in 1922/24 and 1924/25. They have not been yet researched in the context of the origin and character of his work, albeit impulses coming from Italy were thought to have been an important catalyst for the birth of the so-called “return to order.” Sleńdziński was Dmitry Kardovsky’s student at the Academy of Fine Arts in Sankt Petersburg, and it was in his class that he acquired a worship of the old masters and a perfect command of his trade, first of all perfect drawing skills. Apart from the Sankt Petersburg school, classicist trends came to Polish art from Paris where they were first noticed in the circles connected with the Museion magazine (1911-1913) and among artists belonging to the Polish colony, such as Henryk Kuna, Edward Wittig and Eugeniusz Żak. In the article, I reconstruct Sleńdziński’s tour of Italy, and I remind about the exhibition of Polish modern art that he staged in 1925 as part of the 3rd Roman Biennale. His personal contact with old and modern Italian art became an important moment in his artistic formation, stimulating his departure from academic towards modern classicism, in which the artist starts playing a game with the present day and with tradition, consciously using stylistic elements that belong to different epochs. In conclusion it must be said that Ludomir’s trips inclined him to introduce many new solutions (sometimes surprisingly close to works by well-known Italian artists of similar outlook) and determined the final shape of his mature work.

6

Les stratégies d’adaptation de quelques tragédies de Pierre Corneille dans le courant classiciste en Pologne (XVIIIe et XIXe siècles)

87%

Bajer M.

Studia Romanica Posnaniensia

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2014

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vol. 41

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issue 2

125-139

EN

The study discusses general rules of transforming Pierre Corneille’s texts in the transposition process, so as to fit the linguistic and cultural context of Polish classicism. The analysis concerns translations and adaptations following the first reception period of Corneille’s works in seventeenth-century Poland. These include: “Otto” by Stanisław Konarski, “Herakliusz” by Tomasz Aleksandrowicz from the years 1744-1749 (the second Polish reception period of Corneille’s works), “Cynna” by Franciszek Godlewski, as well as “Cynna” and “Horacjusze” by Ludwik Osiński from the years 1802-1808 (the third reception period). In the 18th century, the strategy of emphasizing didactic elements of texts is dominant. In 19th century, the authors strengthen suspense and the element of surprise; Aleksandrowicz uses prose and Osiński simplifies classical rhetoric. All of the translators share the ambition of enriching the Polish language and creating the tragic canon.

7

Józefa Korzeniowskiego próby i kolizje romantyczne Jeszcze raz o tragedii „Mnich”

75%

Przychodniak Z., Uniwersytet im. Adama Mickiewicza w Poznaniu I. F. P., zbiniak@amu.edu.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 27

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issue 1

EN

The object of this analysis is a drama by J. Korzeniowski from his time in Krzemieniec: a tragedy called “Mnich – The Monk” (1826, published in 1830). The piece, which depicts the last days of the king Bolesław Śmiały, is distinguished by many references to earlier theatrical and dramatical traditions (from antiquity and classicism to Shakespeare and Schiller’s works), which characterizes the early period of Korzeniowski’s creation. The author of “The Monk” seeks a new formula for the historical-religious drama, combining the historicism and picturesqueness with some elements of the medieval mystery play and psychological conscience drama. The paper also deals with the ambiguous reception of Korzeniowski’s early works by the Romantic writers, the culmination of which was a prominent rejection of “The Monk” by Maurycy Mochnacki, a decision motivated with his ideological convictions.

8

Intonacja w wierszu średniowiecznym i sylabicznym. Ćwiczenia

75%

Kwiatkowska A.

Forum Poetyki

|

2015

|

issue 1

72-75

EN

Franciszek Ksawery Dmochowski’s The Art of Rhyming presents a summary of the poetic developments of its era. The author inscribed his work within the tradition, dating to antiquity, of the genre of the ars poetica, and referred to classical poetics while presenting a complete picture of Polish literature and its reigning tendencies. The poem, divided into four cantos, not only discusses general rules of poetic art, but also touches on issues of translation and literary criticism, indicates models of various genres and analyses the most outstanding Polish efforts in each of them. The first canto presents the basic rules of prosody and contains a survey of the achievements of Polish literature. The second and third cantos of Dmochowski’s poem present a survey of genre conventions. Particular attention is given to the song, the ode, the epigram, the satire, and the heroic epic poem. The article shows the modern nature of Dmochowski’s reflections, whose approach to and views on literature took into account its newest tendencies.

PL

Tekst jest propozycją ćwiczenia wersologicznego przeprowadzanego na czterech wierszach z okresu literatury staropolskiej.

9

„Miejsce” (i „obraz”) w poetyce późnego klasycyzmu

75%

Markowska H.

Białostockie Studia Literaturoznawcze

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2017

|

vol. 11

EN

This paper demonstrates how space and spatial relations where conceptualized in the Polish poetics of the early nineteenth century. The author concentrates mainly on different uses of the term “place” in theoretical treaties of the period. Comparing how this term is used in reference to drama and to other genres which represent the epoch leads to the following conclusion. Namely, in literary criticism of the times the concept of literature understood as the practice of “painting with words” was in fact a substitute for the concept of literature as spatiotemporal structure.

10

„Słyszę ich głosy”. Hymnus trium puerorum Jarosława Iwaszkiewicza wobec Dziadów wileńsko-kowieńskich Adama Mickiewicza

75%

Spólna A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2013

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vol. 1

76-88

EN

The article compares the poem by Jarosław Iwaszkiewicz Hymnus trium puerorum with Dziady by Adam Mickiewicz to show how processed and personalized heritage of romanticism becomes a part of the modern classical attitude and the language of existential experience for a contemporary poet.

11

Рецепция французской версии традиционного сюжета об Амуре и Психее в поэме И. Ф. Богдановича «Душенька» (1783)

75%

Kotaridi Y.

Przegląd Wschodnioeuropejski

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2019

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vol. 1

325-335

EN

The subject of this paper is the transformation of poetics of Cupid and Psyche plot in its national and historical modifications in French and Russian literatures of the 17th–18th centuries. The methodology of the analysis is based on mythological studies (K. Levi-Strauss, J. Frazer, A. N. Veselovsky, A. F. Losev) and genre studies (M. M. Bakhtin, S. S. Averintsev, E. M. Meletinsky, etc.). This paper examines the genre of J. de La Fontaine’s and his follower Ippolit Bogdanovich’s versions of the plot and the interrelation of various literary styles in their poetics. The genre of the French and Russian versions absorbs the elements of Classicism, Baroque and Rococo which are combined in syncretic unity. The transformation of the tale of Cupid and Psyche leads La Fontaine and Bogdanovich to the creation of a hybrid genre in which the initial version of the plot is exposed to travesty and revaluation.

12

AN EVIDENCE OF CREATIVE SPIRIT. ARCHITECTURE OF MUSEUM EDIFICES IN AN INDEPENDENT REPUBLIC OF POLAND

75%

Ciarkowski B.

Muzealnictwo

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2018

|

vol. 59

146-156

EN

May this Parthenon of arts (…) be a heart consoling evidence of greatness of an immortal, everlastingly creative spirit of Poland. Words written in the foundation act for construction of the National Museum in Warsaw leave no doubt – culture was perceived by the authorities of the Second Polish Republic (1918–1945) as extremely important factor in building the identity of a reborn state. Soon after regaining independence, constructions of edifices for theatres and museums were being planned and conducted; moreover, new institutions were in the process of being established. It is enough to mention that in the mid-1930s there were 135 public museums, half of which founded after 1918. A culture-forming role of public edifices’ construction was to reinforce an image of the Second Polish Republic as, firstly, an inheritor of Poland from the time before the Partitions period, and secondly – a modern state with ambitions of a regional leadership. First projects directly continued a style from the turn of the 19th and 20th centuries. Theatres’ buildings designed in 1924: national theatre in Warsaw and municipal one in Łódź (the latter never executed) by Czesław Przybylski featured simplified classical forms. Similarly, first projects of the National Museum in Warsaw (Marian Nikodemowicz, 1924) or the Museum of Pomerania in Toruń (Czesław Przybylski, 1926) followed the 19th-century tradition of the “museum-palace” and the “museum – temple of arts”. The late 1920s and the early1930s marked a significant turning point; projects of that time are an evidence of the search for a new style, which combined an individual reception of modernity with an expression of national identity. The architects of the Silesian Museum (Karol Schayer) and the National Museum in Warsaw (Tadeusz Tołwiński) tried to find their own creative way, so that both the modern and the “state-building” character of the edifices could be equally expressed.

13

Preteksty Mickiewiczowskie, czyli uwagi na marginesie poszukiwań archiwalnych

71%

Markowska-Fulara H.

Forum Poetyki

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2020

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issue 22

86-99

EN

The article analyses manuscripts and other archival documents as pre-texts of literary texts, with a view to demonstrating how they may be used most effectively in literary studies. An examination report with questions that Adam Mickiewicz was asked during his diploma examination at Vilnius University is discussed. The author analyses other archival and printed sources as well, trying to reconstruct the desired answers to the questions, and then outlines the benefits of employing such an archival procedure in the analysis of Mickiewicz’s works.

PL

Artykuł podejmuje kwestię roli rękopisów i innych dokumentów archiwalnych jako przed-tekstów utworów literackich. Stawia pytanie o to, w jakiej perspektywie badawczej ich wykorzystanie w badaniach literaturoznawczych może okazać się najowocniejsze. Zagadnienie to zostało przedstawione na przykładzie protokołu egzaminacyjnego zawierającego pytania zadane Adamowi Mickiewiczowi podczas egzaminu dyplomowego na Uniwersytecie Wileńskim. Na podstawie innych źródeł archiwalnych oraz drukowanych autorka podejmuje próbę rekonstrukcji pożądanych odpowiedzi na zadane pytania, a następnie wskazuje na korzyści, które mogą płynąć z uwzględnienia ich w analizie utworów literackich Mickiewicza.

14

Zapomniani tłumacze starożytnych greckich tragedii

71%

Bibik B.

Porównania

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2020

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vol. 26

|

issue 1

123-138

EN

There is an ample number of Polish renditions of ancient Greek tragedies. Unfortunately, only a few names of those Polish translators are commonly known. The rest, written especially in the 19th century, is still waiting for someone to be interested in their works. Therefore, in my paper I would like to focus on the unrecognizedtranslators from this century. They are widely forgotten today, yet they did great work at the time to acquaint the Polish public with Greek tragedies. My aim is also to recognize the tragedies they chose to translate which often seem not to be an obvious choice.

PL

Z licznego, jak się okazuje, korpusu polskich przekładów greckich tragedii powszechnie funkcjonuje zaledwie kilka nazwisk tłumaczy. Na rozpoznanie wciąż czekają kolejni tak dziewiętnasto-, jak i dwudziestowieczni tłumacze. Jako przyczynek do zarysu historii polskiej literatury tłumaczonej chciałabym w niniejszym artykuleskoncentrować się przede wszystkim na tych mniej znanych, dziewiętnastowiecznych tłumaczach starożytnej literatury dramatycznej. Są oni dzisiaj często zapomniani, a przecież torowali drogę starożytnym dramatom w polskiej kulturze w nie mniejszym stopniu niż te zapamiętane, wielkie nazwiska. Dodatkowo chciałabymsię przyjrzeć proponowanym przez nich ówczesnej publiczności tekstom, nie zawsze stanowiącym oczywisty wybór spośród zachowanego korpusu starożytnych tragedii.

15

Paweł Hertz. Pochwała dziewiętnastowieczności

71%

Czajkowska A.

Tematy i Konteksty

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2017

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vol. 12

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issue 7

466-484

EN

This article shows the output of Paweł Hertz – a poet, translator, editor, publicist as an example of current today Polish literature from the 19th century viewed in both domestic context and on the background of well-known European literature. Arguments supporting the thesis are the fact that he showed the output of the 19th-century writers as a uniform entity without division into particular epochs (contemporary career of the 19th-century-ness), ahistorical understanding of esthetic categories (e.g. classicism) practising reading in anthropological categories (as experience), pointing at the emotional reaction between the reader and the work, activist understanding of culture, revalorization of literature of various circulations, exceeding strictly national categories in thinking about literature, signals of material feedback in humanist science, humanism. The mentioned elements of the project of reading Paweł Hertz indicate current character and raise the attractiveness of his writings.

16

Starożytny ideał i wyzwania nowoczesności. Antyk w cywilnej edukacji architektonicznej konstytucyjnego Królestwa Polskiego (1815–1830)

63%

Getka-Kenig M.

Rozprawy z Dziejów Oświaty

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2020

|

vol. 57

107-129

EN

Although the period of the constitutional Kingdom of Poland (Congress Poland) between 1815 and 1830 was relatively short, it was marked by significant events in the history of the reception of classical antiquity in Polish architectural education. The government of ‘resurrected’ Poland was interested in a wide-ranging reform of the country and society, including the development of the local built environment. Such architectural officials as Chrystian Piotr Aigner, educated and trained at aristocratic courts, proved to be well-prepared for the most prestigious public commissions. However, their specific competencies and experiences made them rather unfit for contemporary university careers since the lecturers were expected to teach not artists but ordinary building engineers. The public demand for architects conversant with classical orders and their exquisite ornamentation was much smaller than for those who specialised in plain but technically correct constructions. It was the development and wide dissemination of ordinary building which was of prime importance to the Kingdom’s government. Consequently, the classical architectural heritage was rather disregarded in contemporary academic curricula. Nevertheless, the growing number of affluent landowners after 1825 contributed to the rising interest in the classical heritage in the academic discourse already before the dissolution of the constitutional Kingdom. Initially, it was an academic manual by Henryk Marconi, published in 1828, which promoted the idea of classical orders as the pillar of good architecture. The book was followed by a treatise by Adam Idźkowski, originally announced in 1830, but eventually published only after the November Uprising, in 1832. The book also underscored the validity of the classical heritage, simultaneously presenting a more pluralistic idea of beauty in architecture by treating classicism on equal terms with the medieval tradition.

17

Per una traduzione italiana delle Medidas del romano di Diego de Sagredo (1526)

63%

Lepri N.

Translationes

|

2014

|

vol. 6

|

issue 1

65-77

IT

Le Medidas del romano, ‗Misure dell'edificio romano‘, sono un manuale per riprodurre proporzioni, ordini, modanature degli edifici antichi: il primo trattato architettonico scritto e pubblicato fuori d'Italia, nel 1526, da Diego de Sagredo (Burgos, 1490-Toledo, 1528 ca.). Basate sul Vitruvio latino di Giocondo da Verona, sulla volgarizzazione del Ciseriano, sul De re aedificatoria di Alberti, propongono il classicismo rinascimentale italiano come risorsa decorativa, non concettuale. Fra tante traduzioni, nessuna comparve in Italia, dove si rifuggí tale atteggiamento culturale, presto generalizzato in Europa, reintrodotto di fatto in Italia dagli artisti stranieri e valutabile oggi come effettivo fenomeno storico di ―globalizzazione.

EN

The Medidas del romano [Measurements of a Roman building], is a manual for the reproduction of proportions, orders, moldings of ancient buildings: the first architectural treaties written and published outside Italy in 1526, by Diego de Sagredo (Burgos, 1490-Toledo, 1528 ca.). Based on the Latin Vitruvio of Giocondo da Verona, the vulgarization of Ciseriano, the De re aedificatoria [On the art of building] by Alberti, it depicts the Italian Renaissance classicism as a decorative, not conceptual resource. Though translated in many languages, it was never published in Italian because its cultural ideology, soon to be popular all over Europe, was resented in Italy. Later on, it was reintroduced in the Peninsula by foreign artists as part of a historical phenomenon that today can be identified as a ―globalization‖ process.

18

Umiarkowana pochwała klasycyzmu

63%

Nowak W.

Logos i Ethos

|

2017

|

vol. 45

EN

The paper considers the notion of temperance, which is said to be one of the main virtues. Firstly, the multi‑aspectual character of temperance is emphasized. Temperance may be considered, among others, from philosophical, psychological, aesthetical point of view. Next, different definitions of temperance are referred to and various forms and types of temperance are presented. Finally, the author emphasizes the relation between classicism and temperance in opposition to romantic conception of life and world.

PL

Artykuł jest poświęcony relacji między pięknem i umiarem w estetyce klasycyzmu i romantyzmu. Dobierając przykłady, staram się pokazać, że umiar był kluczowym pojęciem estetyki klasycznej, a także sztuki życia w dobie antyku. W drugiej części artykułu traktuję klasycyzm i romantyzm jako paradygmatyczne postawy życiowe i staram się ocenić ich przydatność w warunkach życia współczesnego.Słowa klucze

19

Образ автора у щоденнику та повістях Тараса Шевченка: еволюція розуміння

63%

Pakharenko V.

Studia Polsko-Ukraińskie

|

2020

|

vol. 7

38-58

XX

In his article, Vasyl Pakharenko explores the logic of deepening literary interpretations of Taras Shevchenko’s image in the prose of the artist and discovers the differences of this image in poetry and prose. If the lyrical hero of the poetic texts demonstrates a determined, uncompromising nationalism, then the narrator in the diary and short stories is rather a territorial patriot. And yet, he thinks of himself as located in the socio-cultural space of the Russian Empire, expresses critical views on the Koliivshchina, resorts to the Russian language, emphasises Enlightenment values, and demonstrates the masculine type of writing. All this testifies to the deviation from the romantic to the previous, classicist, tradition. That type of prose refinement is caused by the forced compromise of the artist with the empire in the conditions of brutal terror during the exile. There are several interpretations of such a position of an author in literary studies: Shevchenko’s diplomatic attempt to re-educate liberal Russian and Ukrainian intelligentsia (P. Zaitsev), psychological dualism of the “adapted” and “unadapted” personalities of the writer (G. Grabovich), distinctive forms of expression of the holistic image of the author (V. Smilyancka). Each of these positions has its own logic, but is characterised by a certain one-sidedness. The nature of Shevchenko’s compromise becomes clear if we take into account the peculiarities of carnival tactics of the spiritual survival of the artist in the conditions of the world. This is a creation of a kind of author’s mask, a game with stereotypes of the dominant culture and public consciousness.

20

Zmierzch bezpieczeństwa oświeceniowych paradygmatów i jutrzenka stereotypu popkultury: gotycyzm i preromantyzm

63%

Nawrocki R.

|

2013

|

vol. 11

|

issue 2(21)

83-94

EN

The article aims to depict the phenomenon of cultural changes at the turn of the 18th and 19th century. Gothicism characterized by that time is widely considered as a herald of Romanticism. However, the article approaches Gothicism as a decadent form of Classicism. The reason behind the appearance of Gothicism was in fact Enlightenment paradigms having become inefficient, and more precisely – as discussed in the article: - the end of seeking security in nature, - the end of trust in human mind, - the change of the position of women in society, - the change in perception of literature. The conclusion of the article links the first appearances of Gothicism with the later development of pop culture.

Refine search results

Tradycja (nie)śmiertelna. Kilka słów o poetyckich „obsesjach” Wojciecha Wencla

Zagadnienie żywotności klasycyzmu w komentarzach Franciszka Morawskiego do „Klasyków i romantyków polskich”

Herbert i świat Rzymu

Trwanie klasycznego w epoce końca sztuki

Ludomir Sleńdziński’s Trips to Italy 1923–1925

Les stratégies d’adaptation de quelques tragédies de Pierre Corneille dans le courant classiciste en Pologne (XVIIIe et XIXe siècles)

Józefa Korzeniowskiego próby i kolizje romantyczne Jeszcze raz o tragedii „Mnich”

Intonacja w wierszu średniowiecznym i sylabicznym. Ćwiczenia

„Miejsce” (i „obraz”) w poetyce późnego klasycyzmu

„Słyszę ich głosy”. Hymnus trium puerorum Jarosława Iwaszkiewicza wobec Dziadów wileńsko-kowieńskich Adama Mickiewicza

Рецепция французской версии традиционного сюжета об Амуре и Психее в поэме И. Ф. Богдановича «Душенька» (1783)

AN EVIDENCE OF CREATIVE SPIRIT. ARCHITECTURE OF MUSEUM EDIFICES IN AN INDEPENDENT REPUBLIC OF POLAND

Preteksty Mickiewiczowskie, czyli uwagi na marginesie poszukiwań archiwalnych

Zapomniani tłumacze starożytnych greckich tragedii

Paweł Hertz. Pochwała dziewiętnastowieczności

Starożytny ideał i wyzwania nowoczesności. Antyk w cywilnej edukacji architektonicznej konstytucyjnego Królestwa Polskiego (1815–1830)

Per una traduzione italiana delle Medidas del romano di Diego de Sagredo (1526)

Umiarkowana pochwała klasycyzmu

Образ автора у щоденнику та повістях Тараса Шевченка: еволюція розуміння

Zmierzch bezpieczeństwa oświeceniowych paradygmatów i jutrzenka stereotypu popkultury: gotycyzm i preromantyzm