Search results

1

Bariery i możliwości. O haiku na gruncie polskim

100%

Stusek M.

Forum Poetyki

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2018

|

issue 14

74-85

EN

An excellent exemplum of a thus-understood synaesthetic sensitivity to texts is the inter-sensual prose penned by Vladimir Nabokov, an author gifted with a perceptive form of synaesthesia – both as a writer and a translator the man behind Lolita took care to chew on his words, carefully giving them their measure, shape, sound and identity. In Nabokov’s criticism as well as his translation practice, much as in Douglas Robinson’s translatological ideas (The Somatics of Translation), it is this synaesthetically sensed materiality of language which becomes the key criteria in choosing the lexical and syntactic means at the translators’ disposal. In both cases synaesthesia turns out to be – a more or less conscious – principle underlying the linguistic translators’ instincts. Inter-sensual, corporeal contact with language comes into being during the creative process, which should also include literary translation, but also a (Barthean) reception of the literary arts, as well as meta-reflection in literary studies. Synaesthesia seems to feed its own unique poetics of reading and translating the authors under analysis.

PL

Artykuł stanowi omówienie adaptacji haiku w Polsce. Autorka ukazuje problemy dotyczące recepcji i przekładu japońskiej miniatury oraz wątpliwości w rozumieniu istoty gatunku. W drugiej części pracy wskazane zostają możliwości twórczego wykorzystania haiku w celu osiągnięcia nowych efektów artystycznych. Analizie poddane zostały m.in. utwory Jadwigi Stańczakowej, Ryszarda Krynickiego, Leszka Engelkinga.

2

Japanische Impressionen in finnischer Poesie. Haiku- Gedichte von Risto Rasa

92%

Szmytkowska A.

Folia Scandinavica Posnaniensia

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2010

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vol. 11

59-65

EN

German advocate and writer of haiku Wolfgang Weyrauch has stated: “My poem is my knife”. The definition conveys the essence of haiku: maximal amount of content in only three lines. The traditional Japanese haiku consisted of 17 syllables. For the modern European haiku, the number of syllables is secondary. What remains invariable is the lack of rhyme and title, close relationship between the lyrical subject and nature, and reflection. City and mass media are new themes in modern haiku. From the country of anime and manga, haiku have spread to almost every corner of Europe, including the country of the Moomins and mobile phones. In February 2010, Finnish philology students of the Adam Mickiewicz University had the opportunity to meet Risto Rasa, one of the present-day writers of haiku in Finland. In Rasa’s poetry, you can find admiration of nature and the unusualness of seemingly usual every day phenomena. Rasa’s production is infiltrated by the Zen philosophy already present in the works of the 17th century Japanese haiku writers, such as Matsuo Basho. Rasa’s verses appear in three lines. They don’t have rhymes, yet maintain inner harmony.

3

„Widzialny porządek” czy „ukryty wymiar”? Haiku-images Stanisława Grochowiaka

92%

Krawczyk A.

Postscriptum Polonistyczne

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2012

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issue 1(9)

197-214

EN

The article is dedicated to Haiku-images, the last poetic work of Stanisław Grochowiak. The author attempts to show how difficult it is to read oriental type of poetry, even if we know its structure and philosophical base. The only thing that we can do is to find common places between haiku and European tradition. The author points to grotesque, surrealism, imagism and magic realism. There are similarities between Grochowiak’s last poetic work and Jacek Yerka’s magic realism in painting. This leads to conclusion that Haiku-images is still an im-portant poetic voice concerning reality and world we live in.

4

FASCYNACJE KULTURĄ DALEKOWSCHODNIĄ W TWÓRCZOŚCI WŁODZIMIERZA KOTOŃSKIEGO

92%

Świdnicka I.

Ars inter Culturas

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2015

|

issue 4

249-262

EN

Among those most enchanted by Eastern art in the interwar Poland were: Piotr Perkowski, Aleksander Tansman, Jerzy Gablenz, and Jan Maklakiewicz. The inspiration from Japanese culture was initiated in the late 20th century by Włodzimierz Kotoński – a composer specializing in computer and electronic music. Fascinated by Matsuo Bashŏ’s poetry, Kotoński composed 7 Haiku For Female Voice and Seven Instruments and dedicated the piece to the British soprano, Jane Manning. Not only does Kotoński’s cycle portray the contemplation of nature and the surrounding world, but it also has a touch of subtle sacrum.

5

Fikcje cudzoziemczyzny, czyli paradoks „obcobrzmiącości”

82%

Bellos D.

Forum Poetyki

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2018

|

issue 14

62-73

EN

Artykuł stanowi omówienie adaptacji haiku w Polsce. Autorka ukazuje problemy dotyczące recepcji i przekładu japońskiej miniatury oraz wątpliwości w rozumieniu istoty gatunku. W drugiej części pracy wskazane zostają możliwości twórczego wykorzystania haiku w celu osiągnięcia nowych efektów artystycznych. Analizie poddane zostały m.in. utwory Jadwigi Stańczakowej, Ryszarda Krynickiego, Leszka Engelkinga.

PL

Publikowany w tym numerze „Forum Poetyki” esej Davida Bellosa jest rozdziałem z jego książki pt. Is That a Fish in Your Ear (2011) i dotyczy zagadnień egzotyzacji w przekładzie oraz obcości przekładu. Autor zadaje tu m.in. pytanie o zasadność i sposoby zachowania śladów obcości tekstu źródłowego w tekście docelowym. Porusza także kwestię imitowania obcej mowy za pomocą różnych środków stylistycznych, ilustrując ją przykładami z dziedziny literatury, filmu i piosenki.

6

Poezja uważności – Czesław Miłosz i haiku

82%

Śniecikowska B.

Zagadnienia Rodzajów Literackich

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2014

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vol. 57/113 z. 1

9-26

PL

Artykuł proponuje wieloaspektową analizę twórczości Czesława Miłosza w kontekście poetyki i filozoficznego zaplecza klasycznych haiku. Autorka rozpoczyna od wskazania zbliżeń i różnic między prezentującą intensywne doświadczenia sensualne poezją polskiego autora a kompozycjami japońskich haijinów. Kolejny etap analizy dotyczy już tylko miniatur Miłosza oglądanych w perspektywie obrazowania zmysłowego w haiku. Dalsza część tekstu poświęcona jest reinterpretacji metaliterackich sądów autora Ocalenia dotyczących poezji Dalekiego Wschodu. Artykuł zamyka komparatystyczna analiza dokonanych przez polskiego poetę przekładów klasycznych japońskich haiku i haiku współczesnych.

EN

The article presents a multifaceted analysis of the underresearched complex relations of the works by Czesław Miłosz and the poetics and philosophical ‘legacy’ of haiku. Firstly, the author examines the haiku-like texts by Miłosz, focusing on sensual imagery employed by classical haijins and the Polish poet. The next section is devoted to re-interpretation of the metaliterary aspects of Miłosz’s texts concerning Far Eastern patterns of poetry. The final part deals with his translations of classical and contemporary haikus, confronting the work of Miłosz with the attempts of other translators and with original texts. The comparative analyses lead to a revision of the common opinions on Miłosz’s translations.

7

Za pan brat ze ślimakiem. O pewnym zwierzęcym motywie w poezji Ryszarda Krynickiego

81%

Filipowicz A.

Zoophilologica. Polish Journal of Animal Studies

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2015

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issue 1

207-226

EN

Brotherhood with the SnailAbout a Certain Animal Motif in the Poetry of Ryszard Krynicki A poetic interest in animals is one result of Ryszard Krynicki’s being inspired by Japanese haiku, which he combines with the distinctive meanings of Western culture. Buddhist tradition allows him to see an animal as a representative of the universe in common with humans, and as a real existence in itself. In his poems the Eastern sensitivity and way of thinking become an opportunity to revise humanity’s imaging of nature. Paradoxically, therefore, what is spiritual allows Krynicki to experience an empirical encounter with the animal and show the conditions for the questioning of the anthropocentric paradigm.

8

Przekład z języka japońskiego – wielopłaszczyznowa semiotyka poezji japońskiej

81%

Zakrzewska J.

Między Oryginałem a Przekładem

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2015

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vol. 28

139-160

EN

The translation of the Japanese poetry is an extraordinary challenge for a translator. The specificity of this language comes not only from the diversity of morphological, inflexive or word formation differences. First of all, it is a language embedded in a completely different culture. The important element is a writing system based on the three sub‑characters: kanji ideograms and two kana syllabaries. For this reason the poetry comprises two layers: the verbal and the graphic layer. The translator maintaining concised utterances, essential feature of Japanese poetry, must express in the translation all the wealth of meanings, contained in both, verbal and graphic layers of the original. In Japanese poetry, besides those two mentioned earlier layers, there are also many rhetorical figures, which develop in a reader’s eyes many images‑associations overlaping the content of a poem by adding them “between the lines”.

9

„Smutek rzeczy” czy melancholijny uśmiech. O odczytywaniu nastrojów i walorów estetycznych w dalekowschodnich utworach poetyckich oraz ich współczesnych imitacjach

70%

Wielgosz M., Dzielnicowy Dom Kultury SM „Czechów” w Lublinie, Małgorzata Wielgosz – dr a. U. M. C.-S. d. w. L., mawiel@wp.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2014

|

vol. 03

EN

The article aims to describe how reading aesthetic qualities and artist’s moods in the Far East poetry looks from the perspective of a Western scholar, how they are imitated in European works. The publication concerns the analysis of these aspects in haiku and waka. For works of such type the characteristic trait is the sense of melancholy, arising from awareness that the world and the subject that is learning it are both elusive. The impression of constantly changing environment and the transience of time characteristic of haiku and waka has its roots in the Buddhist belief in the impermanence of things that contributed to the formation of a specific type of perception: experiencing beauty with pain. It is from the Buddhism that the term mujōkan derives from, later used to describe the emotional perception of real- ity. The Japanese expanded this experience even more, adding to the awareness of impermanence the feeling of painful beauty. The author argues that the inhabitants of the Land of the Rising Sun understand the concept of beauty completely differ- ently from us, that they have different aesthetic categories, and yet European artists attempt to imitate them.

PL

Artykuł ma na celu przedstawienie w jaki sposób z perspektywy zachodniego badacza wygląda odczytywanie walorów estetycznych, nastrojów twórcy w dalekowschodniej poezji, w jaki sposób są one imitowane w utworach europejskich. Publikacja dotyczy analizy tych aspektów w haiku i waka. Dla tego typu utworów charakterystyczne jest m. in. uczucie melancholii, wynikające ze świadomości, że świat oraz poznający go podmiot ma charakter ulotny. Charakterystyczne dla haiku i waka wrażenie ciągłej zmienności otoczenia i ulotności chwili ma korzenie w buddyjskim przekonaniu o nietrwałości rzeczy, które przyczyniło się do ukształtowania specyficznego rodzaju percepcji: doznawania piękna wraz z bólem. Z buddyzmu zaczerpnięto termin mujōkan i zaczęto go stosować na określenie emocjonalnego odbioru rzeczywistości. Japończycy jeszcze bardziej rozbudowali to doznanie, dodając do świadomości nietrwałości odczucie bolesnego piękna. Autorka artykułu dowodzi, że mieszkańcy Kraju Kwitnącej Wiśni zupełnie inaczej od nas rozumieją pojęcie piękna, posiadają inne kategorie estetyczne, a mimo to europejscy twórcy podejmują próby ich imitacji.

10

Poesis doświadczenia. O (prawie) haiku Ryszarda Krynickiego

70%

Maluszczak K.

Prace Literaturoznawcze

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2020

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issue 8

199-212

EN

This article is an attempt to analyse the late poems of Ryszard Krynicki, especially those similar, in structure and themes, to Japanese short-form poetry, haiku. In addition, the article is a synthesisof haiku’s history and its influence on Polish literature. It shows how poetic miniatures from the Land of the Rising Sun influenced the “Nowa Fala” (New Wave of Polish Poetry). The article focuses on Haiku. Haiku Mistrzów [Haiku. Haiku of the Masters], Krynicki’s last collection of poems, but also refers to the earlier works (from the 1970s and 80s). It also discusses the philosophy of Zen Buddhism, which became the main influence on Krynicki’s late works. Poems became shorter and shorter, the gnomic form began to prevail, until they finally reached its final stage, haiku (or, in Krynicki case, often silence). The article also presents Krynicki as a fully-fledged metaphysical poet who wishes to express the inexpressible. It aims to explain why the poet describes his works as “almost haiku”. The author deals with subjects such as: transgression, language, haiku, metaphysics and silence.

11

From Syntax to Stylistics: A Case Study of Selected Haikus

70%

Sarac Durgun H. S.

Academic Journal of Modern Philology

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2022

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issue 15

167-177

EN

A writer’s style reflects how textual meaning-making processes are achieved through a literary text's form, which includes various textual strategies employed. Available literature suggests that almost every linguistic theory takes the sentence structure as a combination of ‘form’ and ‘content’, whose taxonomic amplifications provide a springboard for description that leads to a more comprehensive extension of linguistic analyses revealing the semantic and symbolic aspects of language making up a text. Hence, although textual analysis may start by identifying its form and content, a comprehensive approach that engulfs a text’s syntactic and semantic aspects provides a broader perspective. Keeping these in mind, this study is based on the premise that structural analysis enables the identification of the poet’s recurrent method of composing different literary texts of the same genre and guides analysts to semantic interpretations. Examining the poetic language of a selection of haikus written by Wright, with a focus on the syntactic and semantic identifications, it is observed that the poet has an uncompromising style toward utilizing a pattern with minor alterations to construct various poems. The poet achieves an effective diction using a restricted number of lexical and grammatical items, which fits into the terseness of haikus, a poetic form known for its brevity and conciseness.

12

The He(A)rt of the Witness: Remembering Australian Prisoners of War in Richard Flanagan’s The Narrow Road to the Deep North

70%

Šlapkauskaitė R.

Anglica. An International Journal of English Studies

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2021

|

issue 30(3)

141-161

EN

This paper engages Cathy Caruth’s thinking about trauma, Marianne Hirsch’s notion of postmemory, and Giorgio Agamben’s theorising of bearing witness to examine the affective performance of remembering in Richard Flanagan’s novel The Narrow Road to the Deep North. Reading the narrative as a postmemorial account of Japan’s internment of Australian POWs in Burma during the Second World War, I focus on the body as a site of both wounding and witnessing to show how the affective relays between pleasure and pain reanimate the epistemological drama of lived experience and highlight the ambivalence of passion as a trope for both suffering and love. Framed by its intertextual homage to Matsuo Bashō’s poetic masterpiece of the same name, the Australian narrative of survival is shown to emerge from the collapse of the referential certainties underlying the binaries of victim/ victimiser, witness/perpetrator, human/inhuman, and remembering/forgetting. In Flanagan’s ethical imagination, bearing witness calls for a visceral rethinking of historical subjectivity that binds the world to consciousness as a source of both brutality and beauty.

13

Milczące wiersze. Obraz i podmiot na tle ekopoetyki

61%

Stusek M.

Studia Europaea Gnesnensia

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2018

|

issue 18

115-128

EN

The article discusses the ecopoetic potential inherent in small lyrical forms which employ a peculiar technique of showing the “picture” of the external world. The poetics of the “silent poems” consists in concealing the presence of the subject and presenting the reader with a bare fragment of reality, which in the analyzed instances involve non-human nature. The author, examining the pieces by Jacek Gutorow, Bartosz Suwiński and Klara Nowakowska, outlines a poetic form in which the equivalence of each element of nature displaces the anthropocentric vision of the world. The study sets out from the old Japanese genre of haiku and Anglo-American imagism. The concept of ecopoetics, suggested by Julia Fiedorczuk and Gerardo Beltrán provide the core context for these deliberations.

PL

The paper aims to show the ecopoetic potential of minimalist poems, in which the lyrical subject remains out of sight. The text discusses poetic techniques of drawing a bare picture of reality, which have the capacity to enact a novel, non-anthropocentric approach to non-human nature. The author combines interpretive practice with the concept of ecopoetics and literary genology.

14

One Hundred Frogs in Steve McCaffery’s The Basho Variations

58%

Kocot M.

Text Matters: A Journal of Literature, Theory and Culture

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2021

|

issue 11

369-388

EN

The article discusses Steve McCaffery’s The Basho Variations with a focus on various modes of transtranslation/transcreation/transaption of Matsuo Bashō’s famous frog haiku. The emphasis is placed on the complexities (of the processuality) of transtranslation which deliberately alters, distorts and reimagines the source text. The intercultural and intertextual quality of McCaffery’s poems is discussed in the context of multilevel references to classical Japanese aesthetics of haiku writing. The comparative reading of McCaffery’s and Bashō’s texts foregrounds the issue of events, or “frogmentary events,” and the importance of the role of the reader in completing poetic messages.

15

Legacies of Resistance. Emerson, Buddhism, and Richard Wright’s Pragmatist Poetics

58%

Patterson A.

Review of International American Studies

|

2023

|

vol. 16

|

issue 2

159-176

EN

Emerson’s affinity with Buddhism has been the source of much controversy, and his adaptation of the doctrine translated as Buddhist “indifference” has been construed as stifling resistance to social injustice. I will revisit this topic, explaining why Emerson figures so prominently in discussions of Buddhism by the philosopher D. T. Suzuki and the British scholar R. H. Blyth, in order to develop a context for analyzing modes of resistance in Richard Wright’s late haiku-inspired poetry. A central question raised in critical debates is whether or not Wright turns away in these poems from the social and political concerns of his earlier works. I will show that their significance and force as protest poetry is considerably stronger when regarded in light of Wright’s “tough-souled pragmatism” and an Emersonian pragmatist tradition elaborated by scholars such as Cornel West, James Albrecht, and Douglas Anderson, a tradition characterized by East-West intercultural exchange that includes John Dewey and Ralph Ellison. Contextualized and enriched by this tradition, the poem Wright selected out of the 4000 to open his collection, “I am nobody,” can be read as alluding to Ellison’s allusion to Emerson in Invisible Man, protesting what Dr. Martin Luther King Jr. would some years later memorably describe as “a degenerating sense of ‘nobodiness’” in his celebrated “Letter from Birmingham City Jail.” I will conclude with a brief consideration of how Wright’s creative engagement with Buddhism in the work of T. S. Eliot illuminates Emerson’s vastly neglected contribution to the development of high modernism.

16

Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka

51%

Lubas-Bartoszyńska R.

Przestrzenie Teorii

|

2019

|

issue 31

373-386

EN

This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.

17

Akulturacja? Czy inny wektor współczesności? Kilka słów o refleksji Czesława Miłosza

47%

Lubelska-Renouf M.

Prace Polonistyczne

|

2017

|

vol. LXXII

25-40

EN

While Max Scheler’s acculturation problematic is once more topical, under the better known term “globalisation” (in the sense of westernisation), there are vectors in our culture that appear to run counter to this unifying trend. In our article, we examine one of Czesław Miłosz’s poetic intuitions that is today “embodied” in the writings of François Cheng, the Chinese-born French poet and thinker. In his essays on beauty, we analyse the swinging back and forth between poetry, thought and painting; we also examine the meeting of Eastern (Buddhist and Taoist) and Western (Christian) thought; a meeting that Cheng and Miłosz particularly perceived in the pantings of Cézanne and which, while constituting a link between these two traditions, would, according to them, also make up for the greatest western weakness, i.e. Cartesianism.

Refine search results

Bariery i możliwości. O haiku na gruncie polskim

Japanische Impressionen in finnischer Poesie. Haiku- Gedichte von Risto Rasa

„Widzialny porządek” czy „ukryty wymiar”? Haiku-images Stanisława Grochowiaka

FASCYNACJE KULTURĄ DALEKOWSCHODNIĄ W TWÓRCZOŚCI WŁODZIMIERZA KOTOŃSKIEGO

Fikcje cudzoziemczyzny, czyli paradoks „obcobrzmiącości”

Poezja uważności – Czesław Miłosz i haiku

Za pan brat ze ślimakiem. O pewnym zwierzęcym motywie w poezji Ryszarda Krynickiego

Przekład z języka japońskiego – wielopłaszczyznowa semiotyka poezji japońskiej

„Smutek rzeczy” czy melancholijny uśmiech. O odczytywaniu nastrojów i walorów estetycznych w dalekowschodnich utworach poetyckich oraz ich współczesnych imitacjach

Poesis doświadczenia. O (prawie) haiku Ryszarda Krynickiego

From Syntax to Stylistics: A Case Study of Selected Haikus

The He(A)rt of the Witness: Remembering Australian Prisoners of War in Richard Flanagan’s The Narrow Road to the Deep North

Milczące wiersze. Obraz i podmiot na tle ekopoetyki

One Hundred Frogs in Steve McCaffery’s The Basho Variations

Legacies of Resistance. Emerson, Buddhism, and Richard Wright’s Pragmatist Poetics

Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka

Akulturacja? Czy inny wektor współczesności? Kilka słów o refleksji Czesława Miłosza