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„Najtrudniej opisywać to co najważniejsze”. O Płynie Lugola Bohdana Zadury

100%
Opacka-Walasek D.
Poznańskie Studia Polonistyczne. Seria Literacka
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2012
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issue 19
189-198
EN
The starting point for the interpretation of the poem Płyn Lugola, [Lugol’s solution] written by B. Zadura, is the rift between the classical form of the sonnet and the title that prompts the interventionist character of the poem and that indicates journalistic involvement in and the implications of the events in Chernobyl. This in turn leads to identification of further structural tensions and dissonances (in the verse course, at the level of imaging and in shaping the mood of the poem). The descriptive category for the essence of the composition and underlined overtones of the work is the sublime, in particular as it is viewed by modern aesthetics (proposed by Lyotard, Derrida, but also Burke). What surfaces is the microscale of imaging clashed with the macroscale phenomena formalized in lyrical situation, violation of the substance of the world, stability encroached by liquidity. A particularly validated layer of the work is the sound structure of the poem: in the finely and precisely controlled instrumental line, almost equivalent to the anagram, connotes the word “Chernobyl”, though the word is not expressed explicitly in the text. The interpretation intends to prove that the stake here is the articulation of sublimity charged and permeated with a metapoetic reflection – and that “the most important is, at the same time, the most difficult to describe”.
2
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Nikifor i „Genko-wariat”. Wgląd w ekfrastyczne transgresje polsko-bułgarskie

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Opacka-Walasek D.
Porównania
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2021
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vol. 28
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issue 1
285-323
EN
The article discusses the ekphrastic and hypotypotic representations of the characters and the paintings by Epifaniusz Drowniak (Nikifor) and Genko Ivan Genkov (known as “Insane Genko”) that function in the Polish and Bulgarian literary, critical and publicist registers. Both artists’ revelatory bodies of works and traumatic biographies have the legend-creating potential; they were similarly stigmatized, excluded because of their otherness, and as a politically inconvenient Lemko and a dissident. Becoming in their lifetime under systemic conditions of post-war Poland and Bulgaria those countries’ passports to global art, they were subjects of many depreciations. The literary and paraliterary representations of their paintings, personalities (“des idées des tableaux,” “des images des artistes”) are interpreted i.a. in the aspects of exclusion, transgression and performance.
PL
Przedmiotem artykułu są ekfrastyczne reprezentacje postaci i malarstwa Epifaniusza Drowniaka oraz Genko Ivana Genkova (nazywanego „Genką-wariatem”), funkcjonujące w rejestrach literackich, krytycznych i publicystycznych. Rewelatorska twórczość, traumatyczne biografie obu artystów posiadają potencjał legendotwórczy; byli oni podobnie stygmatyzowani, wykluczani przez swoją odmienność. W ustrojowych warunkach powojennych Polski i Bułgarii podlegali licznym deprecjacjom jako kłopotliwi politycznie Łemko i dysydent, podczas gdy ich obrazy uchodziły za paszporty tych krajów do światowej sztuki. Ekfrastyczne i hypotypiczne uobecnienia malarstwa, osobowości („sur une idée du tableau”, „sur une image de l’artiste”) Nikifora i Genkova są w artykule podstawą analizy porównawczej i interpretacji m. in. w aspektach wykluczenia, transgresji, performansu.
3
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PYTANIA ZADAWANE MIŁOSZOWI (I SOBIE)

100%
Opacka-Walasek1 D.
Porównania
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2019
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vol. 24
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issue 1
293-301
EN
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4
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Agnieszka Gawron, Macierzyństwo. Współczesna literatura, kultura, etyka, Wydawnictwo Uniwersytetu Łodzkiego, Łodź 2016, ss. 337

100%
Opacka-Walasek D.
Zagadnienia Rodzajów Literackich
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2020
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vol. 63
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issue 3
147-152
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