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„Походкой щеголеватого пророка…” Образы стариков в эпосе Фазиля Искандера „Сандро из Чегема”

100%

Stukałowa O.

Slavica Wratislaviensia

2016

vol. 163

239-246

The line what was chosen for the title of the article rather closely reflects the image of old men in Fazil Iskander’s prose — especially in the epic Sandro from Chegem. In the Iskander’s old men there are revealed the universal principle “gay relativity of life” which is typical for the writer’s artistic world. Among the heroes of the epic there are many old people — with avariety of characters and lifestyle, background and attitude to life. In the images there are interwoven tragic aspects of reality and its life-affirming qualities. Writer with the force of his art creates aworld of light, accommodating and sunlit peaks and gloomy gorge of the human soul and history. In this world patriarchal being of mountain village Chegem becomes the embodiment of the moral norm. The old men images are also related to the key symbols of Iskander’s prose. The old peasants in the Iskander’s prose live in anatural and inseparable fusion with the natural world.

Zamieszczony w tytule artykułu cytat trafnie odzwierciedla specyficzne cechy starców w prozie Fazila Iskandera, zwłaszcza w epopei Sandro z Czegemu. W wykreowanych przez pisarza portretach staruszków ujawnia się typowa dla twórczości Iskandera uniwersalna zasada „wesołej względności bytu”. Bohaterami epopei są starcy o różnych charakterach, zasadach, różnym pochodzeniu i stosunku do świata. W ich obrazach przeplatają się tragiczne strony rzeczywistości i jej afirmacja. Pisarz tworzy obraz świata, złożony z oświetlonych słońcem szczytów i mrocznych zakamarków duszy ludzkiej. W świecie tym patriarchalna egzystencja górskiej wioski Czegem odzwierciedla normy moralne. Z obrazami starców związane są kluczowe symbole prozy iskanderowskiej. W ujęciu pisarza starzy chłopi żyją w pełnej symbiozie z naturą.

Синестезия в пространстве художественного творчества (Александр Скрябин и Владимир Набоков)

63%

Kabkowa J., Stukałowa O.

Slavica Wratislaviensia

2014

vol. 158

185 - 193

One of the most mysterious phenomena that accompany the process of artistic creation — synesthesia, in which there is a special way of sensory experiences in the perception of characters. In the history of Russian art of the twentieth century, there are two people who have developed a synesthetic experience in their works so that they have become for them a special way of entering the world of creation, namely the composer Alexander Scriabin and the writer Vladimir Nabokov. Both masters early realized their uniqueness recognizing in synesthesia a sign of their exclusivity. In the paper the emphasis is put on two artistic strategies relying on synesthesia. The central place in Scriabin’s oeuvre is occupied by a symphonic poem Prometheus (Poem of Fire) (1910), which was conceived by the composer with a special performing description Luce (meaning Light) and is nowadays sometimes performed with the use of lumiere. The power of Nabokov’s synesthesia sensitivity was clearly shown in the memoirs Speak, Memory.

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2 Slavica Wratislaviensia

2 Stukałowa O.

1 Kabkowa J.

1 2016

1 2014

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„Походкой щеголеватого пророка…” Образы стариков в эпосе Фазиля Искандера „Сандро из Чегема”

Синестезия в пространстве художественного творчества (Александр Скрябин и Владимир Набоков)