Search results

1

Spinoza und Seine Philosophie im Schaffen der Deutschsprachigen Dichterin Rose Ausländer

100%

Kłańska M.

Forum Philosophicum

|

2011

|

vol. 16

|

issue 2

111–119

EN

The German-Jewish writer and poetess, Rose Ausländer (1901–1988), who came from Chernivtsi (Czernowitz), capital of Bukovina, one of the former provinces of the Hapsburg Empire, is one of the most highly acclaimed lyric poets to have written in German in the 20th century. Throughout her whole life she was an adherent of the philosophy of Spinoza, first becoming acquainted with it in the so-called “ethics seminar” of the secondary-school teacher Friedrich Kettner. In the wake of the First World War the youth of Chernivtsi were in need of new sources of intellectual stimulation, so he set out to introduce them to the philosophy of Spinoza, as well as to that of Constantin Brunner, a contemporary German philosopher influenced by him. Rose Ausländer remained a follower of Spinoza right up to the end of her life. This is confirmed by her two very different poems of the same name, “Spinoza”—the first composed before 1939, the second in 1979—as well as by her many explorations of topics drawn from his ethics, ranging from her very first printed poem, “Amor Dei,” up to her lyrics written in old age, in the 1970s and 1980s. In this short paper I will attempt to chart the course of, and analyze, her interest in Spinoza's philosophical system and life.

2

Modlitewna skarga „ani przeciw ludziom – ani przeciw Bogu”. Refleksja nad motywem łez w dwóch wierszach Juliusza Słowackiego

100%

Mazur A.

Białostockie Studia Literaturoznawcze

|

2015

|

vol. 7

EN

The article reinterprets the two poems which Juliusz Słowacki wrote while travelling to the Holy Land. Unlike in previous interpretations, here the author uses the motif of tears to uncover the poems’ emotional value and to situate them in the tradition of romanticism. Other poems from the same period set the interpretative context and anticipate the poet’s spiritual growth. Consequently, the article is yet another attempt to demonstrate the emotive characteristics of Słowacki’s lyric poetry. Moreover, it shows how his works are related to his biographical background.

3

«Люблю Россию я». Жанровая традиция изображения России в лирическом жанре инвективы

100%

Краковяк А.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

|

2012

|

issue 5

21-29

EN

The author considers a group of Russian poetic texts aimed at the political foes of Russia as a state. The author argues that these texts are samples of lyrical genre of invective, which is proved by their semantic structure and the objective of the text as a kind of poetic expression. The structure of the genre and its tradition imply a specific image of Russia, which forms in all of the texts analysed, regardless of the literary epoch and political beliefs of the poets.

4

Об одном способе маркировать дискурсивную перспективу в лирической поэзии, Композиция и референциальные связи, или В чем неправы П. Хоппер и С. Томпсон

100%

Zeldowicz G.

Linguistica Copernicana

|

2015

|

issue 12

245-270

EN

The paper focuses on one of the devices serving to mark the foregrounded part of a lyric poem, which is the break of referential continuity. It is shown that in many instances the most salient part of the poem, corresponding to the discovery of some important truth or some other change in the author’s attitude towards the world, is constructed in such a way that its referential links to the preceding text are either interrupted or seriously weakened. The important implications which this fact has for the general theory of grounding are discussed at some length.

5

OBRAZ NOCY W LIRYCE KONSTANTEGO FOFANOWA

88%

Jakimiuk-Sawczyńska W.

Acta Neophilologica

|

2013

|

vol. XV/1

263-271

EN

In the article the analysis of the night that occures in Konstanty Fofanov’s (1862–1911) lyric poetry has been carried. Just as in the writings of his great predecessors – Fiodor Tutchev and Afanasy Fet, the night in his poetry possesses twofold dimension. On the one hand, it induces the contemplation on the meaning of human life, sufferings and death, on the other hand, descriptions made under a direct influence of observation of nature are converted into paintings in which colour, light, sound and smell occupy important position.

6

Piękno i dramat istnienia w poetyckich obrazach przyrody Marii Czerkawskiej

87%

Hurnik E.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2018

|

issue 32

41-56

EN

The article is devoted to Maria Czerkawska’s poetry written during interwar period. Nature is the main subject of her poems. It is shown in a detailed and precise way. The good example is her book entitled Zielony cień (1928) and subsequent volumes. Zielony cień contains portraits of plants. Literary critics noticed several important features of these poems: versatility of observation, accuracy and concreteness of description. The same characteristics can also be observed in works of Skamander group of poets. Article focuses on the following topics: suffering observed in nature and continuous process of dying. Czerkawska’s poems tell us about transience, absurdity, horror and drama of existence. It is caused by close relation between the lyric subject and the nature. Czerkawska is trying to discover nature’s secrets. These tendencies are also present in poems of Bolesław Leśmian, Leopold Staff and Maria Pawlikowska-Jasnorzewska.

7

Extraverted consciousness, introverted consciousness, and composition of lyrical discourse

75%

Zeldowicz G.

Linguistica Copernicana

|

2016

|

issue 13

301-318

EN

As is well known (Chafe 1994), two types of human consciousness can be distinguished, one of which is extraverted consciousness presupposing that each event is thought of as included into relevant context, related to other 'neighboring' events, and another one is introverted consciousness, i.e. that representing events in a decontextualized, island-like manner. In the article it is shown that this distinction has immediate bearing upon composition of lyrical discourse, since its foregrounded fragments display a clear tendency towards introverted language.

8

Nelly Sachs und Paul Celan. Briefwechsel zwischen Schmerz und Trost

75%

Jarosz-Sienkiewicz E.

Germanica Wratislaviensia

|

2014

|

vol. 139

71 - 86

EN

The aim of the article is to analyze the relationship between Paul Celan and Nelly Sachs on the basis of their correspondence. Reading the letters it can be seen that the authors are soul mates. This is also shown in the lyric poetry of both writers — they use different words in the same way and write mainly about the same themes.

9

Deotyma – Norwid’s “Tenth Muse”

75%

Krysowski O.

Studia Norwidiana

|

2020

|

vol. 38 English Version

5-20

EN

This article attempts to recreate the image of Jadwiga Łuszczewska from the literary works and letters by Cyprian Norwid. The young improviser sparked controversy not only among the critics, but also among the Warsaw socialites in Romantic period. Norwid, however, considered her personality as original, modern and capable of refreshing Polish poetry. In his poems he describes her as “the tenth Muse” and compares her to Sappho, who was called exactly the same name by Plato in recognition of her poetic talent. Moreover, he depicts her in an idealized manner, like a contemporary sibyl who advises the nation on how to proceed in a tragic historical period. Norwid’s enthusiasm waned at the beginning of the 1860s when it became clear that the poetic works by Deotyma were becoming repetitive, constantly revisiting the same motives, ideas and aesthetic means, unable to go beyond the horizon defined at the onset of her career. He realized that behind the female figure he himself ennobled – as comforter, Samaritan, visionary, and statuesque Muse – there is a human being, imperfect and, in some aspects trivial, affected or even philistine.

10

Czy Emily Dickinson pisała wiersze?

75%

Magnone L.

Przegląd Humanistyczny

|

2017

|

vol. 61(4 (459))

103-124

PL

The author proposes a reflection on discovering the poet with regard to his creation or construction. This issue is discussed on the example of Emily Dickinson’s works which were published only after her death and were not prepared for print by the author herself. In the light of the latest research on the material dimension of her legacy (starting from Virginia Jackson’s study Dickinson’s Misery: A Theory of Lyric Reading from 2005 to the recently published collection The Gorgeous Nothings. Emily Dickinson’s Envelope Poems), it appears that many of Dickinson’s works were not written in a form that could be recognized as poetic at first glance. A large part was preserved only in notebooks, loose sheets covered with handwriting written in continuo or at odd angles, in a manner adapted to the format of a given scrap of paper, usually a free fragment of a recycled envelope or a torn-off corner of a piece of paper used previously for a different purpose. These texts had to be recognized then by discoverers as poems, and then copied and edited in a way consistent with what was considered lyric poetry in the era. Some of them were then rejected as not falling into the category of poetry and included in the opus of the American only by later researchers. Others, in the first editions treated as poems with time were excluded by historians of literature from this collection. Contrary to the provocative title, the aim of the article is not to answer the question about the status of the texts left by Dickinson. Instead, the author reflects on the poetic criteria ascribed to her works by the first and subsequent readers.

11

„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

|

2014

|

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.

12

PRAWDA W DZIELE LITERACKIM Z PERSPEKTYWY GENOLOGICZNEJ

75%

Olędzki M.

Conversatoria Litteraria

|

2016

|

vol. 10

|

issue -

13-19

DE

PL

The subject of the following article is the concept of truth understood not asan absolute or a scientific fact but the truth in the context of fictional literary world.For the purpose of these deliberations, I selected theory of fiction, originating fromAristotle and currently developed by Thomas Pavel. Information contained in a workof literature is true if is not undermined on any level, independently from the factthat truth refers only to characters existing in the given possible fictional world.Truth defined as an amalgamation of irrefutable story facts is a constitutive attributeof the world which is characteristic for drama and epic, whereby the latter is not thesole requirement since it has to be supported by an individual and objective accountof the narrator. Truth is thus a foundation of every work of literature based on principlesof drama and epic, however, in the fictional world of lyric poetry everythingcan be undermined.

13

Hypostases of Krzysztof Jaworski’s Poetry

71%

Trzaskowski Z.

Tematy i Konteksty

|

2020

|

vol. 15

|

issue 10

PL

Artykuł zawiera analizę hermeneutyczną liryki Krzysztofa Jaworskiego, bacznego obserwatora współczesnej rzeczywistości społecznej, poety moralnych pytajników, mistrza retrospekcji i monologu wewnętrznego. Słowa klucze: prawda, samopoznanie, mądrość posłużyły do przedstawienia stratyfikacji estetyczno-etycznej, opisu lejtmotywów interpretowanej twórczości i wskazania jej istotnie ważnego miejsca w najnowszej poezji polskiej.

EN

The article contains a hermeneutic analysis of Krzysztof Jaworski’s poetry. Jaworski is not only an attentive observer of contemporary social reality, a master of retrospection and an internal monologue but first and foremost he is a poet notafraid to ask moral questions. Key words such as truth, self-knowledge, wisdom were used here to present the aesthetic and ethical stratification, to describe the leitmotivs of the interpreted texts and to indicate the significant place of Jaworski’s works in Polish postwar poetry.

14

„Moment elegijny” Victora Hugo

66%

Siwiec M.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2011

|

issue 18

103-123

EN

This article attempts to define the place of elegiac modality in the literary output of Victor Hugo. The starting point for the discussion and at the same time appropriate interpretative tool is the definition of elegy derived from the writings of German theoreticians of Romanticism: Friedrich Schiller and Friedrich Schlegel. The thing is question is the elegiac attitude based on exposing of what is ideal and lost at the same time. The above, indeed, constitutes an answer to the questions of the experience of crisis so inherent to Romanticism. Analyses of the early poetical volumes written by the author show a particular evolution of Hugo’s conception of poetry. Politically committed The Odes, being anti-elegiac by assumption, are discussed, as well as purely poetical Eastern poems overtly promoting limitless freedom which characterizes the creative imagination. The interpretation of individual poems from these volumes proves, however, that one can discern a certain elegiac tone in them, though the tone is never dominant. The volume that distinctively enhances the elegy (thus far discredited by Hugo and from then on permanently occurring in his works) turns out to be Autumn Leaves - a collection of poems of contemplative, melancholic, visionary and self-reflective character.

15

Эстэтычная праблематыка грамадзянскага, творчага, асабовага зместу ў лiрыцы Вацлава Ластоўскага

63%

Макарэвiч А.

Białorutenistyka Białostocka

|

2016

|

vol. 8

PL

W artykule opisano środki wyrazu, problematykę i treści ideowe liryki Wacława Łastowskiego. Autor artykułu zwraca uwagę na specyfikę przedstawiania takich estetycznych zagadnień, jak ideał obywatela, treść utworu literackiego, stanowisko estetyczne poety, estetyczny wybór jednostki, itd. Udowadnia, że poetycka koncepcja poddanych analizie utworów Łastowskiego stanowi sumę poglądów i przekonań, które w każdym kolejnym utworze (zgodnie z porządkiem chronologicznym) są doprecyzowane i rozbudowane. Autor definiuje i opisuje składowe tej koncepcji, do których zalicza ojczyznę, jej obrońców i wrogów, przeszłość, teraźniejszość i przyszłość ojczyzny i jej synów, drogę do wolności, przedmiot i sposoby jego wyrażenia w utworze literackim.

EN

The article presents the analysis of the figurative and expressive means, subject matter and conceptual content of V. Lastovsky’s lyric poetry where the author’s view of the civic consciousness, creativity and personal sphere are rendered. Special attention is drawn to the reflection of such aesthetic issues as the national ideal of a citizen, content of literary work, the poet’s aesthetic values, personal aesthetic choice, etc. The article proves that the poetic conception of the analyzed works is the manifestation of the opinions and beliefs which become more specific, more elaborated and extended in every subsequent works (their chronology is taken into consideration). The sense-shaping components of this conception are defined and described including motherland, its defenders and foes, past, present and future life of homeland and its sons, the way to the liberation of motherland, subject and its manifestation in literary work, prerequisites to construct convincing artistic images, the author’s civic attitude, his solitude, rejection; patterns of figurative topical stability of a literary work etc.

16

Marian Maciejewski czyli w trosce o kształt polskich badań nad literaturą

63%

Kuczera-Chachulska B.

Roczniki Humanistyczne

|

2015

|

vol. 63

|

issue 1: Literatura Polska

75-86

PL

Szkic jest prezentacją charakteru dorobku naukowego Mariana Maciejewskiego z uwzględnieniem współczesnego tła historycznoliterackiego, wskazaniem na dorobek dotyczący badań nad autorami romantycznymi, ewolucją ich twórczości i genologią. Osobne miejsce zajmuje w nim opis warsztatu interpretatora poezji. Najwięcej miejsca poświęcono Uczonemu jako badaczowi liryki.

EN

The sketch presents the character of Marian Maciejewski's academic achievement, including the modern historico-literary background; it also points to his work connected with research on Romantic authors, on the evolution of their literary output and genology. Separate space in the article is taken up by a description of the workshop of the poetry commentator. The most space is devoted to the Scholar as a researcher into lyric poetry.

17

„Zielone łąki mej duszy” – nazwy barw w poezji Stanisławy Plewińskiej

63%

Rychter J.

Język. Religia. Tożsamość

|

2022

|

issue 2 A (26)

127-148

PL

W artykule zbadano repertuar nazw barw występujących w lirykach poetki mieszkającej w Deszcznie Stanisławy Plewińskiej, ich frekwencję oraz pełnione funkcje. Materiał badawczy liczy 46 nazw barw w 131 wystąpieniach tekstowych, reprezentujących 13 pól semantycznych, przy czym jedno o charakterze ogólnym oraz 12 wyspecjalizowanych. Paleta stosowanych przez Plewińską w twórczości poetyckiej barw jest dość zróżnicowana. Jej poezja mieni się odcieniami wszystkich kolorów kanonicznych. Preferowanymi barwnymi określeniami są nazwy z pola: zieleni 30 wystąpień tekstowych, bieli 29 użyć tekstowych, czerni 20 użyć tekstowych, co sugeruje uwielbienie poetki dla zjawisk achromatycznych oraz koloru immanentnego dla natury. W dalszej kolejności znajdujemy: złoty 15 użyć, niebieski 7. Rzadko sięga poetka z Deszczna po kolory z pola żółci (4x), szarości (4x), srebra (4x), czerwieni (3x), fioletu (2x) i brązu (1x). Nie wykorzystuje nazw z pola barwy pomarańczowej czy różowej.

EN

This paper explores the range of colour names, their frequency and functions, in the poetry of Stanisława Plewińska from Deszczno, Poland. The research material comprises 46 colour names w 131 text occurrences, representing 13 semantic fields, including one general field and 12 specialised ones. In her poems, Plewińska uses a diverse range of colours. Her poetry is full of all shades of the canonical colour set. She favours colour expressions from the following semantic fields: green (30 occurrences), white (29 occurrences), and black (20 occurrences), which indicates her love for achromatic colour schemes and the colour which is imminent in nature. The analysis also shows that the poet uses: gold (15 occurrences) and blue (7 occurrences). She rarely mentions colours from the semantic field of yellow (4x), grey (4x), silver (4x), red (3x), purple (2x) or brown (1x). The poet never uses the colours from the semantic fields of orange or pink.

18

Trzy zwiędłe liście, trzy smutne wiersze (Garczyński, Lenartowicz, Asnyk)

54%

Hamerski W.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2011

|

issue 18

125-145

EN

This text provides an interpretation of three poems, written by nineteenth century poets, that share a common theme of Autumn, with a particular attention given to the motif of a withered leaf. The author is interested how the poems in question match the elegiac convention of autumn lyric poetry and, at the same time, how each in its own way tries to overcome this convention. In Odpowiedź na list written by Stefan Garczyński, the acceptance of passing is concurrently met with defiance, expressed in a language of paradoxical metaphor. Teofil Lenartowicz in his Liście zwiędłe breaches the formal elegiac tone with the application of underlying vitalistic overtones included in the poem. Adam Asnyk’s Zwiędły listek, through a superposition of metonymies, achieves the effect of multilayered mediation and erasure of the trace of experience. The reading and understanding of the three poems, composed in Romanticism and post-Romanticism periods, make it possible to observe, fragmentarily of course, the multiplicity of different poetic attitudes that accompany the process of re-enchantment of the world.

19

Góry Kaukaz w poezji zesłańczej Tadeusza Łady-Zabłockiego

51%

Gadamska-Serafin R.

Góry, Literatura, Kultura

|

2015

|

vol. 9

155 - 190

EN

Among the Polish exiles to the Caucasus in the 19th century the greatest master of mountain themes seems to be the most eminent representative of the so-called “Tbilisi Group”, Tadeusz Łada- Zabłocki, in whose collection Poetry of the Third Period. Written Beyond the Caucasus. 1838–1845 (Petersburg 1845) no fewer than 31 (out of 40) poems were directly or indirectly associated with the mountains. The poet got to know the geographical and cultural realities of the Caucasus (mountain tops, passes, valleys and rivers, mountain shrines, nature’s curiosities etc.) very well during his wanderings over the region lasting several years (as a soldier he travelled across today’s Georgia, Dagestan, Chechnya, Armenia and its border with Turkey and Persia). Zabłocki’s mountain poetry is clearly ambivalent. On the one hand, the Caucasus is presented in it as a funeral space, the setting for the tragedy of captivity and extermination, an ominous border separating the exiles from their homeland and their loved ones. Zabłocki’s is a peculiar, deeply pessimistic, even depressive, variant of the Romantic mountain landscape. His vision is both mythologised and literary, stemming from an experience of the landscape through an archetypal cultural tradition (the Prometheus myth). Other poems, on the other hand, are characterised by an approving, even affirmative attitude to the mountains. However, it is difficult to divide the poems strictly into two groups: perspectives sometimes merge, overlap and get reversed even within one piece. In Zabłocki’s poetic visions of the summits, passes, valleys and rivers of the Caucasus it is not difficult to find well-known clichés and scenarios, typically Romantic or pre-Romantic (like a metaphysical and emotional attitude, anthropocentrism, animisation, anthropomorphisation, monumentalisation and verticalisation of the mountains, all the Romantic models of “experiencing the summit” etc.). Like other mountains, the Caucasus Mountains, too, evoke in works by authors from that era notions like eternity, infiniteness, God, Nature, nature, mysticism, loneliness, freedom etc. They are hyperpoetic and hierophantic. However, the poet’s experiences of captivity, depression and pain in the Caucasus build semantics of a landscape completely different from the one known from the works of our bards eulogising mountains of the West, far-away North or the South, creating an unprecedented landscape, completely unlike the Romantic variant of the “Alps” or “Tatras”.

20

(‘Harmonia lyrica’ w potrydenckiej twórczości polskich poetów metafizycznych – problem trwałości tradycji i nowatorstwa

51%

Fischer J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

|

2011

|

vol. 21

|

issue 1

59-80

EN

This article concentrates on question, which was the essence of the Old Polish poetry, in the beginning of the seventeenth century. Especially: what was the source of this poetry and which were the relations between this new model of poetry and literary tradition. Very interesting are also the connections between rhyming and rhythmic schemes, used by Grabowiecki, Grochowski and Twardowski, and music. The main attitude of this group of Polish metaphisical poets was to attain musical effects in poetry – real lyric harmony (harmonia lyrica). they created new poetry: very innovative, but as well grounding in tradition.

Refine search results

Spinoza und Seine Philosophie im Schaffen der Deutschsprachigen Dichterin Rose Ausländer

Modlitewna skarga „ani przeciw ludziom – ani przeciw Bogu”. Refleksja nad motywem łez w dwóch wierszach Juliusza Słowackiego

«Люблю Россию я». Жанровая традиция изображения России в лирическом жанре инвективы

Об одном способе маркировать дискурсивную перспективу в лирической поэзии, Композиция и референциальные связи, или В чем неправы П. Хоппер и С. Томпсон

OBRAZ NOCY W LIRYCE KONSTANTEGO FOFANOWA

Piękno i dramat istnienia w poetyckich obrazach przyrody Marii Czerkawskiej

Extraverted consciousness, introverted consciousness, and composition of lyrical discourse

Nelly Sachs und Paul Celan. Briefwechsel zwischen Schmerz und Trost

Deotyma – Norwid’s “Tenth Muse”

Czy Emily Dickinson pisała wiersze?

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

PRAWDA W DZIELE LITERACKIM Z PERSPEKTYWY GENOLOGICZNEJ

Hypostases of Krzysztof Jaworski’s Poetry

„Moment elegijny” Victora Hugo

Эстэтычная праблематыка грамадзянскага, творчага, асабовага зместу ў лiрыцы Вацлава Ластоўскага

Marian Maciejewski czyli w trosce o kształt polskich badań nad literaturą

„Zielone łąki mej duszy” – nazwy barw w poezji Stanisławy Plewińskiej

Trzy zwiędłe liście, trzy smutne wiersze (Garczyński, Lenartowicz, Asnyk)

Góry Kaukaz w poezji zesłańczej Tadeusza Łady-Zabłockiego

(‘Harmonia lyrica’ w potrydenckiej twórczości polskich poetów metafizycznych – problem trwałości tradycji i nowatorstwa