Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 8

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Twórcze echa neurotycznej młodości Żeromskiego, czyli pisarstwo wywiedzione z Dzienników

100%
Okulicz-Kozaryn R.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2016
|
issue 27
67-85
EN
Until now, Stanisław Żeromski’s writings have not been viewed with regard to literature common to the age of anxiety from the turn of the eighties and nineties of the 19th century, though there are numerous common aspects shared by both. These are clearly discernible in the early works of the writer, written in his youthful days, and shaped among others by J. Ochorowicz’s literary piece Z dziennika psychologa (“From a psychologist’s diary”) concerning the latter’s views on the neuropsychological system of man, the acquired habitual self-analysis and autobiographism rooted in the practical activities of a diarist; all of which surface both in the subject matter, the singularity of style, narration, as well as the composition of later works by the author. By devoting the majority of space and attention to identifying and tracing literary awareness in his intimate notes from 1882 to 1891 – of which one volume carries the title Dziennik człowieka nerwowego (“Diary of the anxious man”) – R. Okulicz-Kozaryn portrays its role in Siłaczka (“The Strongwoman”), Mogiła (“The Grave”) and Źródło (“The Source”), also in Ludzie bezdomni (“The Homeless”). He further claims that Żeromski’s Dzienniki (“Diaries”) should be presented as its laboratory sample, whereas the entire literary output of the writer ought to be interpreted as more advanced consequences of the then initiated experiment.
2

„Ze zwykłą sobie głębokością i oryginalnością zdania”. Dictum Cypriana Norwida w krakowskim „Kraju” z 1872 roku

100%
Okulicz-Kozaryn R.
Studia Norwidiana
|
2014
|
vol. 32
175-181
EN
The point of departure for the article are Cyprian Norwid’s words quoted in the Krakow daily “Kraj” in January 1872. They were used in the review of the anonymous poem Niewolnik, in which the emigration poet is shown in the role of an authority deciding about the proper approach to poetical testimonies to struggle for freedom. Norwid’s oral opinion used by the reviewer is concerned with another, also anonymous poem. The reviewer remains anonymous as well. In his analysis of the newspaper publication and of the circumstances accompanying it Okulicz-Kozaryn clarifies these unknown issues: he identifies the authors of both poems as well as of the review, at the same time finding out that Norwid’s words are a different, richer version of the poet’s dictum recorded briefly in another place.
3
Publication available in full text mode
Content available

The play of nerves. Chopin in the era of mental disorder

100%
Okulicz-Kozaryn R.
Interdisciplinary Studies in Musicology
|
2010
|
issue 9
177-194
PL
This article concerns the neurotic image of Chopin that took shape in the 1880s and became popular during the Young Poland period. At that time, features highlighted from earlier descriptions of the composer’s character - over-sensitivity, over-sentimentality, excessive delicacy, emotional instability and inner complexity - were most spectacularly portrayed in the works of painters and sculptors such as Władysław Podkowiński, Wojciech Weiss, Bolesław Biegas and the designer of the monument in the Łazienki Royal Baths Park in Warsaw - Wacław Szymanowski. Critics and writers also helped to form the new portrait of the composer: Stanisław Przybyszewski, Cezary Jellenta, Wacław Nałkowski and Antoni Potocki. Their utterances allow us to grasp the dependency of the new picture on the theory of neuroses, advanced in 1881 by George Miller Beard and then developed and popularised during the last quarter of the nineteenth century by Richard Kraff-Ebing and Paolo Mantegazza, among others. Nervousness was considered to be the dominated feature of modern civilisation. These concepts were also influential in music criticism. Representatives of nervousness in music proved to be the Richards - Wagner and Strauss - and also Juliusz Zarębski and Ignacy Jan Paderewski. The latter, in a speech from 1911, depicted Chopin implicitly in terms of nervousness, which was also becoming a feature of the Polish national character. However, theories of neuroses were applied first and foremost to the individual psyche. The fundamental inner conflict of modern man, exposed to a surfeit of external stimuli, supposedly arose between the over-developed brain and the rest of the nervous system, as the centre of feelings and will. And it was the paresis of emotions and volition that brought a growth in the role of music, which, depending on a particular author’s assessment, either was itself the result and expression of nervous disturbance and contributed to the further deepening of the process of destruction (the stance of Antoni Sygietyński) or else filled the space left by subordinated emotions and enabled them to rebuild (the opinion of the novelist Eliza Orzeszkowa). The view of Chopin as a eulogist of new sensitivity was made manifest in Maurice Rollinat’s volume of poetry Les Nervoses, which caused quite a stir in the mid 1880s, and it was represented in Poland by Zenon Przesmycki’s Życie, and a philosophical treatise by Jean-Marie Guyau published in that periodical in 1887.
4
Publication available in full text mode
Content available

„Ze zwykłą sobie głębokością i oryginalnością zdania”. Dictum Cypriana Norwida w krakowskim „Kraju” z 1872 roku

100%
Okulicz-Kozaryn R.
Studia Norwidiana
|
2014
|
vol. 32
175-181
EN
The point of departure for the article are Cyprian Norwid’s words quoted in the Krakow daily “Kraj” in January 1872. They were used in the review of the anonymous poem Niewolnik, in which the emigration poet is shown in the role of an authority deciding about the proper approach to poetical testimonies to struggle for freedom. Norwid’s oral opinion used by the reviewer is concerned with another, also anonymous poem. The reviewer remains anonymous as well. In his analysis of the newspaper publication and of the circumstances accompanying it Okulicz-Kozaryn clarifies these unknown issues: he identifies the authors of both poems as well as of the review, at the same time finding out that Norwid’s words are a different, richer version of the poet’s dictum recorded briefly in another place.
5
Publication available in full text mode
Content available

Jak objąć poetów nakazem pracy. Eliza Orzeszkowa i Piotr Chmielowski wobec Działu pieśni Leonarda Sowińskiego

100%
Okulicz-Kozaryn R.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2012
|
issue 19
85-96
EN
Condemning the hostile attitude of modern poets towards both the manifestations and the very idea of civilizational progress, Eliza Orzeszkowa, in her extensive article Listy o literaturze. Wiek XIX i tegocześni poeci written in 1873, and then Piotr Chmielowski in his Zarys literatury polskiej ostatnich lat szesnastu, illustrated their arguments with a number of poems, including the sonnet Dział pieśni by Leohnard Sowiński. R. Okulicz-Kozaryn starts with reminding his readers that the controversies over the right of poets to put themselves over society, formulate opinions and judgments of civilization and their attempts to promote such values as scientism or utilitarianism, had had a long tradition at the time. By embarking on it, however, Orzeszkowa and Chmielowski appealed to practices of a particular kind, namely to disregard completely the message of a poem and to focus on exploiting it only to support their own arguments. The author of the article analyses the mechanism behind this manipulation and claims that Orzeszkowa, followed by Chmielowski, had even removed some words from the poem that could have been interpreted by the then reader as a sign of affiliation to the  acrificed part of his life for these values being sentenced to exile and the following social degradation for his participation in the freedom movement at the turn of the 1850s and 1860s. In the heat of the ideological struggle, Orzeszkowa and Chmielowski did not argue for their own belief and did not even enter into polemics with the most important message in the poem. The truth is that L. Sowiński did not question the civilizational march forward of the mankind but rather showed that, contrary to what the positivists claimed, utilitarianism was just an appetite for enjoying the achievements of progress and maximizing pleasure and was not its diving force, being more like a parasitic residue and a baggage.
6
Publication available in full text mode
Content available

Poezja przypisów. Czesława Miłosza „Gdzie wschodzi słońce i kędy zapada”

100%
Okulicz-Kozaryn R.
Porównania
|
2012
|
vol. 10
141-146
EN
Miłosz’s poem From the Rising of the Sun is said to encapsulate the most important features of his poetry. In his paper entitled The poetry of footnotes, Radosław Okulicz-Kozaryn shows that this opinion about the poetry of Miłosz is based rather on the critics’ intuition than contextual interpretation, thorough analysis or even close, comprehensive reading of his poem. Moreover, the closer the reading the more troublesome the question of understanding the poem becomes, as in some fragments (which do not have editorial notes) the Polish language is interwoven with excerpts in Lithuanian or old Balto-Russian. Leaving some of them only in their original form as an irreducible lyrical value, he also quotes from other minor Polish-Lithuanian authors and provides information about them. Milosz also includes some detailed explanation of the forgotten region of Lauda. The word “footnotes” is marked out with caps, thus being imbued with the importance of the constructional element of his work. Besides, Miłosz adapts an old form of silva rerum and meanwhile, by mentioning Mickiewicz’s poem Grażyna, he evokes the tradition of romantic tales in which notes were originally conceived as an integral part of the poetical work. 
PL
Poemat Cz. Miłosza Gdzie słońce wschodzi i kędy zapada uznawany jest za summę twórczości poety. R. Okulicz-Kozaryn w artykule zatytułowanym Poezja przypisów dowodzi, że ta skądinąd trafna opinia ma podstawy raczej intuicyjne niż interpretacyjne, brak bowiem pełnej kontekstowej interpretacji, szczegółowej analizy, a nawet próby linearnej lektury poematu, który nie doczekał się dotąd krytycznego, komentowanego wydania. Tymczasem im uważniej próbuje się odczytywać znaczenia, tym więcej trudności sprawia jego rozumienie, choćby z tego powodu, że autor wplótł w swój utwór fragmenty po litewsku i staro-białorusku. Umyślnie pozostawiając część przytoczeń bez tłumaczenia – jako swego rodzaju naddatek liryczny – Miłosz cytuje też pisarzy polsko-litewskich i wprowadza do poematu wiadomości o tych twórcach, uważanych w Polsce za pomniejszych, a najczęściej w ogóle nie znanych. Ponadto dołącza różne objaśnienia na temat litewskiej krainy historycznej – Laudy. W ten sposób „PRZYPISY” – słowo to zostało wyróżnione przez autora wersalikami – otrzymują wartość poetycką i znaczenie elementu konstrukcyjnego dzieła. Miłosz adaptuje staropolską formę silva rerum, a jednocześnie, przywołując bezpośrednio Mickiewiczowską Grażynę, korzysta z tradycji romantycznej powieści poetyckiej, której istotny składnik stanowiły przypisy.
7
Publication available in full text mode
Content available

A jednak monady mają okna, czyli jak otworzyć zamknięte na siebie światy literackie

100%
Okulicz-Kozaryn R.
Wielogłos
|
2014
|
issue 2(20)
PL
After all the monads have the windows, or how to open the literary worlds that look inwardsThe author reviews the pioneering work of Mindaugas Kvietkauskas dedicated to multilingual literature, which was created in Vilnius at the beginning of the 20th century. The book of the Lithuanian historian of literature emphasises multicultural and multi-ethnical trait of the early literary modernism in Vilnius that was created in five different languages: Lithuanian, Polish, Yiddish, Belarussian and Russian. It proves that what is the most interesting in the multilingual cultural environment takes place at the crossroads of apparently looking inwards and isolated worlds of different language and different literature.  
8
Publication available in full text mode
Content available

Od redakcji

51%
Okulicz-Kozaryn R., Jaworski M., Śniedziewski P.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2012
|
issue 19
7-9
PL
Wprowadzenie do numeru Poeci za bramą utopii.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.