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O wierszach jak abanicos. Hiszpańskie tropy w poezji Alfreda Marka Wierzbickiego

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Skała A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2021
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vol. 21
320-338
EN
Poetry by Alfred Marek Wierzbicki emphasises conspicuous travel routes, so poems inspired by particular places are easily extractable. By analysing poetic images showing Spain and Latin American countries, the author discusses the nomadic nature of the works presented and reconstructs the poetic creed of the author of 'Stąd i stamtąd' [From here and there]. Tracing the intertextual relationships inscribed in the works, the researcher explains the symbolic code hidden in the landscapes and spaces of cities. As the author of the fictional figure called “Pan Credo” [Mr Credo], Wierzbicki is a poet focused on the axiological issues connected with the significance of human existence and the sense of one’s own permanence.
2

W „ogródku” i teatrze repertuarowym. Sceniczne realizacje dramatów Adolfa Dygasińskiego

100%
Skała A.
Roczniki Humanistyczne
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2018
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vol. 66
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issue 1: Literatura polska
179-194
PL
Zakres problematyki przedstawionej w artykule wyznacza twórczość dramaturgiczna Adolfa Dygasińskiego. Pozytywistyczny pisarz jest autorem czterech utworów scenicznych. Dzieła powstały w latach 1891-1894, wszystkie doczekały się realizacji scenicznych – w teatrach „ogródkowych” i repertuarowych. Badaczka koncentruje uwagę na konwencjonalnych wyznacznikach poetyki dramatów Dygasińskiego, związkach utworów z dramatem Aleksandra Ładnowskiego, a na tym tle prezentuje nowoczesny charakter monodramu Rogieluk – przykład dramatu statycznego, w którym nieruchomość organizuje tzw. intymną sztukę duszy. Zasada intymizacji dramatu wyzyskuje pozawerbalne środki wyrazu: mowę ciała i ruch postaci oraz milczenie – grę niemą, skorelowaną z ograniczeniami psychomotorycznymi bohatera.
EN
The scope of the problems presented in this article is determined by the dramatic works of Adolf Dygasiński. The positivist writer is the author of four stage plays, created in the years 1891-1894, all of which were staged – in “open-air” and repertory theatres. The author focuses on the conventional determinants of the poetics of Dygasiński’s dramas, the relationship of his works to Aleksander Ładnowski’s drama, and on this background she presents the modern character of the monodrama Rogieluk – an example of a static drama in which the lack of motion organises the so-called intimate art of the soul. The principle of intimacy of the drama exploits non-verbal means of expression: body language and the movement of characters, as well as silence – silent acting, correlated with the hero’s psychomotor limitations.
3
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O dwu pieśniach kryzysu przysięgowego

100%
Skała A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2018
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vol. 18
59-74
RU
The paper is dedicated to two soldiers’ songs from the second half of 1917, written in the atmosphere of rebellion of the Polish Legions against the Central Powers. The turning point in the history of Polish military units during the First World War, which was caused by the so-called Oath crisis, for the demilitarised and interned soldiers, was the time of fighting by means of word, rather than weapon. However, they manifested their pride and perseverance of the Polish soldier, using mockery. Occasional poetic works – Dziadowska pieśń żałobna o odwrocie legionów spod Warszawy and Santa Lucia – shaped the independence ethos on the basis of a solid foundation of folklore and literary tradition (using e.g. the convention of ‘a beggar’s song’ and ‘a news story’). Arrogance and an ironic attitude, expressed in songs, conceal the real tragic situation of the soldiers – who were deprived of the chance to serve the Nation for being disobedient towards the German army. Szczypiorno and Beniaminów – places to which they were interned – are elevated to the rank of symbols of defiance and contempt for the invaders and constitute a significant element of the legend surrounding Piłsudski’s Legions.
4
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Oblicza Fauna

100%
Skała A.
Konteksty - Polska Sztuka Ludowa
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2011
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vol. 65
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issue 1(292)
189-197
EN
The mythological faun embodies primitive joie de vivre, excessive erotic animation, a love of wine and musical passion. Modernism portrayed a considerably altered Faun: literature and art at the turn of the nineteenth century confirm an exceptional interest in this character, which up to then, and in assorted presentations, held a marginal and, at time, outright decorative place. Modernism enhanced the heretofore iconographic model with values whose sources are to be found in philosophy and the atmosphere of the epoch. A gallery of new likenesses opens with a poem by S. Mallarmé: L'après-midi d'un faune (1876). In the imagination of the French poet the faun turns into a contemporary melancholic. A considerably complicated personality is disclosed by the faun from J. Kasprowicz’s drama Marchołt (1920) – here, the deity plays the part of a mentor. Just as interesting is the faun created by Maria Konopnicka in her triptych (composed of Faun tańczy / The Dancing Faun /, Faun pijany / The Drunken Faun / and Faun śpiący /The Sleeping Faun/) from the volume entitled Italia (1901), and by L. Staff in the poem Faun podstarzały / The Aged Faun /. Both in these works and in Śmierć Fauna (The Death of a Faun) by Tytus Czyżewski the woodland deity appears to be a highly emotional creature, exceptionally sensitive and aware of the meaning of existence and his place within the space of culture. Modernist portrayals of the faun seem to be particularly interesting when they constitute an emanation of human features and are the carriers of human frailties and passions. Amidst all the mythological beings, the faun appears to resemble man the most, and is a portrait of all of man’s complicated conditions and extremities. In his capacity as a mask, the faun presents an embodied unity of antinomy: nature and culture, material qualities and spirituality, the earthly and the divine, the human and the animal, good and evil, freedom and determinism, instinct and the intellect, the sacrum and the profanum.
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