Search results - CEJSH

1

Performerzy nowoczesności. Rec.: Magdalena Popiel, Świat artysty. Modernistyczne estetyki tworzenia. Kraków 2018

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Brzozowska S.

Pamiętnik Literacki

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2020

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vol. 111

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issue 3

235-242

PL

Tekst jest recenzją książki Magdaleny Popiel „Świat artysty. Modernistyczne estetyki tworzenia” (Kraków 2018), a zarazem próbą prześledzenia konstrukcji intelektualnej, będącej obiecującym wariantem kulturowej historii literatury – historii historii tworzenia. Autorka kieruje uwagę odbiorcy na samego artystę, na jego głos ujawniający się także poza artefaktem – w listach, dziennikach, autobiografiach, a zatem „Świat artysty” stanowi próbę opisania tych osobowości twórczych, u których aktywność artystyczna ściśle splata się z refleksją tożsamościową zawartą w literaturze dokumentu osobistego. Performerami nowoczesności w narracji Magdaleny Popiel są Rainer Maria Rilke, Paul Cèzanne, Auguste Rodin, Georg Simmel, Bruno Schulz, Stanisław Witkiewicz i Stanisław Ignacy Witkiewicz, czytani przez pryzmat myśli Petera Sloterdijka czy Julii Kristevej.

EN

The text reviews of Magdalena Popiel’s book “Świat artysty. Modernistyczne estetyki tworzenia” (“The World of the Artist. Modernist Creative Aesthetics”, Kraków 2018) and also attempts at tracing the intellectual construction that is a promising variant of cultural literary history—the story of the history of creative process. The author directs the receiver’s attention to the artist himself, to his voice that becomes audible also outside the artifact—in letters, diaries, autobiographies; thus “The World of the Artist” attempts to describe those creative individuality in whom artistic activity is closely linked to identity reflection contained in personal document literature. Performers of modernity in Magdalena Popiel’s account are Rainer Maria Rilke, Paul Cézanne, Auguste Rodin, Georg Simmel, Bruno Schulz, Stanisław Witkiewicz, and Stanisław Ignacy Witkiewicz, all read through the prism of Peter Sloterdijk or Julia Kristeva.

2

The ‘cathedral’ - a pathos formula of modernism :

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Männig M.

Umění (Art)

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2019

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vol. 67

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issue 4

294-303

EN

The article emphasizes the Gothic Cathedral as one of the key concepts in Hans Sedlmayr’s art historiography. Two different theoretical approaches structure the analysis: First, Aby Warburg’s pathos formula and second, Claude Lévi-Strauss’s floating signifies While the latter helps to map out the multiplicity of different meanings attributed to the cathedral-metaphor eventually pointing forward to a utopian future and backwards into a romanticized past, the former provides a model for cultural development which is organized between the two different poles, migration and the afterlife. The study identifies Sedlmayr’s idea of the cathedral to be based on the Romanticist notion of an aesthetic church’, which proves the critic unimmunized against the subject of his criticism. Sedlmayr’s thought subsequently can be contextualized with both modern art theory and artistic practice. By carving out the contrast between fragment and totality as the two opposing visual principles indicating Gothic-ness, the text, therefore, does not only propose a rereading of Sedlmayr’s work but also proposes a fresh interpretation of a selection of artworks dealing with the cathedral-topos. With a focus on painting, the article exemplarily discusses works from Karl-Friedrich Schinkel, Moritz von Schwind, Claude Monet, and Jackson Pollock but also from Lyonel Feininger and Le Corbusier.

CS

Článek upozorňuje na jeden z nejdůležitějších pojmů v umělecké historiografii Hanse Sedlmayra, jímž je gotická katedrála. Při jeho analýze jsou uplatněny dva teoretické přístupy, nejprve formule patosu Abyho Warburga, poté „plovoucí označující“ Clauda Léviho-Strausse. Zatímco přístup Léviho-Strausse pomáhá vytvořit přehled mnoha různých významů připisovaných metafoře katedrály, ukazující kupředu k utopické budoucnosti, nebo zpět do romantizované minulosti, Warburgův poskytuje model kulturního vývoje, který probíhá mezi dvěma odlišnými póly, migrací a přežíváním. Studie zjišťuje, že Sedlmayrova idea katedrály je založena na pojetí „estetického chrámu“ vycházející z romantismu, a dokazuje, že jako kritik nebyl imunní vůči předmětu své kritiky. Sedlmayrovo uvažování může být následně uvedeno do souvislosti jak s teorií moderního umění, tak s uměleckou praxí. Text vystihuje kontrast mezi fragmentem a totalitou jako dvěma protichůdnými vizuálními principy, které jsou známkou gotičnosti, a nenavrhuje tak jen přezkoumání Sedlmayrova díla, ale také novou interpretaci vybraných uměleckých děl vztahujících se k toposu katedrály. V článku zaměřeném na malbu jsou exemplárně probrána díla Karla-Friedricha Schinkela, Moritze von Schwinda, Clauda Moneta a Jacksona Pollocka, ale i Lyonela Feiningera a Le Corbusiera.

3

Vídeňská moderna ve slovanských časopisech

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Kostrbová L.

Česká literatura (Czech Literature)

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2007

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vol. 55

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issue 2

218-231

EN

This review of Die Wiener Moderne in slawischen Periodika der Jahrhundertwende, a volume of essays from a two-day conference in Vienna in 2004. The reviewer divides the essays into two sections. The first comprises discussions of its reception in Russian periodicals (by Helga Ottinger, “Vesy,” Rosemarie Ziegler, “Severnyj vestnik,” Eva Hausbacher, “Mir Iskusstva,” Stefan Simonek, “Zolotoe runo,” and Fedor B. Poljakov, “Apollon”), which did not reflect the difference between Jungstes Deutschland and Jung-Wien, and the Wiener Moderne was therefore perceived as part of German culture. The second part considers the reception of the Wiener Moderne in periodicals published in Austria-Hungary (Stephan Simonek, “Literaturno-naukovyj visnyk,” Jolanta Krzysztoforska-Doschek, “Chimera,” Alois Woldan, “Zycie,” and Gertraude Zand, “Moderní revue”), where, by contrast, the polarity between Modernism of Vienna and Germany was distinctly perceived, owing, among other things, to the promotion of this polarity by the Austrian critic, novelist, and playwright Hermann Bahr (1863–1934).

4

Od Redakcji

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Cieślak-Sokołowski T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 24

7-9

EN

Introduction to the theme of the journal: "Renewal of modernism".

5

„Kościoły epoki żelaza i betonu”. Polska architektura sakralna ok. 1925-1930

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Burno F.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 1-2

153-187

EN

The subject of this article is Roman Catholic temples constructed in the Second Republic of Poland during the second half of the 1920s. While from 1918 down to around 1925 modernised forms of historical styles had prevailed to no more than an insignificant degree in Polish church construction, from the middle of decade the search began for new formal spatial solutions. However, in the case of sacral architectural design more than any other, rather than a violent break with the past, it is necessary to talk in terms of an increasingly powerful influence of new concepts of form, construction and space.

6

Zofia Wojnarowska. Poetka dla dzieci – poetka miłości – poetka rewolucji

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Zawiszewska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2018

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issue 32

57-74

EN

The article discusses Zofia Wojnarowska’s (1881-1967) biography and poetry which were representative of the life path and artistic career of many other active Polish poetesses at the turn of the 19th century. The output of Wojnarowska, who made her debut in the period of Young Poland and reached her artistic maturity in the interwar period, expresses a typical situation of an artist–epigone whose mediocre talent looks for its own expression and place in the literary Parnassus in the time of, important for the national community, political, economic and cultural changes. Political facts like the country’s occupation, World War I and a difficult process of the restoration of an independent country influenced the judgments of Polish critics who rarely applied esthetic criteria to the evaluation of poetesses’, including Wojnarowska’s, output and instead appreciated their subordination to the following functions: didactic (in children’s poetry), expressive (in love poetry) and ideological (in the poetry of proletarian revolution). The situation in which systemic and individual factors like the emancipation of women, the crystallization of literary professions literary critics’ lenient approach to the artistic output of women and the ease of writing overlapped, the need of success and ideological engagement, on the one hand, made it difficult for women writers to improve their own work, to function in higher mainstream and to play the roles of culture creators and, on the other hand, made it easier for them to function in the popular mainstream and play a role of literary craftsmen.

7

Wędrówki po definicjach.Znaczenia terminów „nowoczesny”/„nowoczesność”/„modernizm”

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Stanford Friedman S.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 24

119-144

EN

The main task of the present article is to characterize the changing perspectives in the description and definition of modernism and modernity in a reciprocal relationship of these two categories. The creation of definitions is described here as a processes of fictionalization with a generational viewpoint of scholars. Moreover, the article indicates the difference between a nominal and a relational mode of defining and the question of institutionalization of knowledge within the framework of definition projects. Such research perspectives lead to the conclusion about dialogical and at the same time contradictory character of historical formations of phenomena to which the studied terms allude.

8

W kręgu Tadeusza Kudlińskiego: Wiesław Gorecki

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Zdunik M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2018

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vol. 18

200-210

RU

Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism'.

EN

Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism.

9

Otakar Zich on the dramatic acting:

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Musilová M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2020

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vol. 23

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issue 1

81-88

EN

This study deals with Otakar Zich's conception of dramatic acting as defined in his 1931 The Aesthetics of Dramatic Art and the historical context in which the concept was formed, e.g. within the first generation of Czech Modernism in the 1890s of which Zich was a member. Zich's aesthetics were influenced by (1) experimental psychology, particularly the associationism Zich adopted from his professor František Krejčí; (2) a theory of the work of art developed by first-generation Modernists under the influence of Richard Wagner; and (3) Nietzschean individualism. Coming from this background, Zich could not fully anticipate the tumultuous developments in theatre during the interwar period, especially the latest practical and theoretical innovations in the field of anti-illusionistic avant-garde acting.

10

Przekład udomowiony w kulturze polskiej wczesnego modernizmu

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Brzostowska-Tereszkiewicz T.

Między Oryginałem a Przekładem

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2014

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vol. 26

101-115

EN

The present article introduces the Modernist popular and instrumental model of literary translation. The most vivid examples of adapting the source texts to the aesthetic, social, cultural and ideological norms of the target culture have been found in translations of world literature into the dialect of the Polish Highlanders. They were representative of the “Young Poland” artistic and literary movement inspired by the folk culture of the Tatra Mountains.

11

MINCE words: for and against writing on Modernism IN Central Europe

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Howard J.

Umění (Art)

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2021

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vol. 69

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issue 2

188-194

EN

This essay adopts the acronym, MINCE (for Modernism IN Central Europe), to guide its critical reaction to the issues raised by Matthew Rampley’s article [‘Networks, Horizons, Centres and Hierarchies: On the Challenges of Writing on Modernism in Central Europe’]. Through this it tackles the ambiguous formulations of concept, subject and place in Rampley and the editor’s invitation to respond. From questioning their ideas of region it moves to doubt the currency of ‘modernism’. Thereafter it challenges the ‘pragmatics of scholarship’ offered by Rampley and asserts alternative means of engaging with/ comprehending the status of his loosely defined field. By adding extra ways of measuring academic resonance to Rampley’s narrow standard of exemplar publication, i.e. by consideration of university courses and their products, we come to see a richer, and healthier, side to the problem than his one-dimensional approach allows. Integral to this broadening of the means of evaluation of the status quo is the call to utilise, as foundational, actual artwork and interrelations/correspondences. As such this paper posits a form of tumbleweed enquiry, rather than bland structures of horizontal or entangled art history. Through this, and the given visual and learning paradigms of 1) Váchal, Letzel and Švec; 2) the University of St Andrews, we gain insight into how problematic and limiting is the ‘IN’ of MINCE.

CS

V kritické odpovědi na otázky, které nastolil ve své úvaze Matthew Rampley (Sítě, horizonty, centra a hierarchie: výzvy psaní o modernismu ve střední Evropě), slouží jako příznačný motiv akronym MINCE (Modernism IN Central Europe). Jeho prostřednictvím se článek vypořádává s nejednoznačným vymezením konceptu, tématu a místa, které se objevuje jak u Rampleyho, tak v úvodní výzvě redakce. Článek nejprve zpochybňuje uvedenou představu o území, poté aktuálnost pojmu „modernismus“ a nakonec také Rampleyho „pragmatiku vědy“. Zároveň prosazuje alternativní způsoby, jak se zabývat a porozumět situaci volně vymezené oblasti. K Rampleyho zúženému standardu vzorové publikace doplňuje další metody srovnání akademického ohlasu, tj. zohlednění univerzitních kurzů a jejich výstupů, díky nimž spatříme bohatší a příznivější stránku problému, než jakou umožňuje jeho jednostranný přístup. Nedílnou součást rozšiřování prostředků k hodnocení současného stavu představuje výzva využívat jako základ konkrétní umělecká díla a jejich vzájemné vztahy či korespondence. Článek proto namísto nevýrazných struktur horizontálních dějin umění nebo entangled art history navrhuje výzkum, pro jehož formy nalézá analogie u stepních rostlin a fraktálů. Díky nim a poté také pomocí vizuálních příkladů Josefa Váchala, Jana Letzela a Václava Švece a nakonec prostřednictvím přístupu k výuce na univerzitě v St Andrews ve Skotsku pochopíme, jak problematická a omezující je anglická předložka „in“ v akronymní zkratce MINCE.

12

Notes on Matthew Rampley’s 'Networks, horizons, centres and hierarchies: on the challenges of writing on modernism in Central Europe'

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Forgács É.

Umění (Art)

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2021

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vol. 69

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issue 2

209-215

EN

Matthew Rampley’s inspiring article raises many relevant questions related to the past and current position of East-Central European art in the international context. My reflections on his essay include a brief survey of the emergence and submergence of centers and peripheries in the twentieth century; the changes of the geographic and cultural concept of Central Europe; a historical example for an all-inclusive art collection; the recent adaption of ‘cultural studies’ in Central Europe, and a couple of Hungarian examples from the recent years for possible strategies to counterbalance the disadvantages of the position of art in Central Europe.

CS

Inspirativní článek Matthewa Rampleyho vyvolává řadu závažných otázek souvisejících s minulým i současným postavením umění středovýchodní Evropy v mezinárodním kontextu. Moje zamyšlení nad Rampleyho studií zahrnuje stručnou analýzu vznikání a zanikání center a periferií ve 20. století, změny geografického a kulturního konceptu střední Evropy, historický příklad všestranné umělecké sbírky a nedávné zavedení „kulturálních studií“ ve střední Evropě. Obsahuje také několik příkladů strategií z posledních let z Maďarska, které představují protiváhu k nevýhodám situace umění střední Evropy.

13

Belgrad Simy Matavulja. Przyczynek do badań nad serbskim modernizmem przełomu XIX I XX wieku

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Nowak-Bajcar S.

Pamiętnik Słowiański

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2010

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vol. 60

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issue 2

83-98

EN

The article is an attempt to answer a question how modernity is manifested in Belgrade Stories (Beogradske priče) by Simo Matavulj, where city is metonimia of the modernity. On the one hand, a problem will be absorbing us how the entity is getting to know the strange space and expanding its awareness, on the other, problem of artistic announcements of the city’s modernization. Therefore the article constitutes reflection over the way of creating modern image of the city by Matavulj. Recommended attempts of aestetizating space of Belgrade (symbolization of the space, attempts to abandon descriptions where axiological categories are written down) enable to state that such mode of reading of Matavulj short stories which allows to interpretate them is available as „Belgrade text” registering experience of the temporariness. The Matavulj prose is demonstrating prose is demonstrating the process of diverging from the record documenting the city for his aestetical recording, of the writer from the city introduced on the two-dimensional plan to symbolization, to the city considered as space, from the conception as the researcher-observer of the city to the convention of the writer as the author of the myth of the city. This the birth of modern Belgrade as the literary theme.

14

O pochodzeniu narodów. Między prymordializmem a modernizmem

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Migalski M.

Political Preferences

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2017

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issue 15

135-143

EN

The essay concerns issue of origin of the nations. Author presents discussion about when nations were „discovered”. The main topic is dedicated dispute between main scientific approaches represented by primordialism, modernism, ethnosymbolism and perenialism. Author presents all of them and in the conlusions takes a stand in this discussion as a moderate modernist, who accepts some ideas of ethnosymbolism.

15

Diskursi feminizma i modernizma u esejima Julke Chlapec Đorđević i Jele Spiridonović-Savić

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Đurić D.

Poznańskie Studia Slawistyczne

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2014

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issue 6

EN

I start from the definition of Serbian Yugoslav bourgeois culture as a semi-peripheral and having this in mind, I tend to analyze the essays by Julka Chlapec Đorđević and Jela Spiridonović-Savić, from the perspective of the world systemic theories applied to literature.

16

Przekład jako metonimia

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Brzostowska‑Tereszkiewicz T.

Między Oryginałem a Przekładem

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2012

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vol. 18

59-73

EN

The article presents one of the avant‑garde (antimimetic) models of literary translation which developed in differing artistic and ideological national variants of literary Modernism in the first decades of the 20th century. A metonymical translation can be defined as an effect of purposeful, artistically conscious and manifestly arbitrary hiperbolization of some particular “constructional device” of an original in translational analysis and interpretation. The avant‑garde conceptualisation of translation as a metonymy of an original appears as one of the crucial exponents of Modernist revolution in translational theory and practice as well as a manifestation of modern cultural self‑consciousness.

17

Modernism in regional architecture of Bohemian Germans between 1900 and 1918

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Vostřelová V., Logan H.

Umění (Art)

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2023

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vol. 71

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issue 2

121-141

EN

Around 1900, the architecture of the German-speaking enclaves in Bohemia displayed a great variety of styles and forms. Unlike their Czech rivals, the Germans lacked a natural geographical centre and struggled with political and cultural fragmentation. Prague could no longer play a unifying role as it gradually became a city of dominant Czech representation. The study introduces three hitherto overlooked architects whose work represents three different trends in Bohemian-German architecture of the early 20th century: Emil F. Ruehr (1861–1920), who worked mainly in Česká Lípa and its surroundings, was inspired by Art Nouveau; the Lanškroun builder Richard Kreissl (1874–1920) worked with elements borrowed from vernacular architecture; while the Most-based architect Adolf Schwarzer (1876– 1914) leaned towards Neo-Biedermeier and classicism. Each of these architects found their own way of designing modern buildings, even if they did not follow the direction set by the ‘founders’ of modern architecture. From a Prague-centric perspective, it may seem that there were no modernist architects in the German-speaking regions of Bohemia at the beginning of the 20th century. However, the perceived contrast between the ‘modern’ and the ‘traditional’ was less pronounced in this period than after the rise of the interwar avant-garde. The stylistic pluralism characteristic of Czech-German architecture around 1900 is related to the modernist search for a style appropriate to the needs of the new era but also reflects the deepening differences between the individual areas inhabited by Czech Germans. The many local centres without close links to Prague produced a wealth of original creations. However, without one unifying artistic centre, Czech-German artists were unable to articulate their national identity.

CS

Pro architekturu německých oblastí Čech v období kolem roku 1900 byla charakteristická velká stylová rozrůzněnost. Čeští Němci na rozdíl od svého národního protivníka postrádali přirozené geografické centrum a potýkali se tak se značnou politickou a kulturní roztříštěností. Praha pro ně přestávala být střediskem spolu s tím, jak se proměňovala v město s dominující českou reprezentací. V příspěvku jsou představeny tři z dosud opomíjených mimopražských osobností, jejichž tvorba zároveň reprezentuje různé směry českoněmecké architektury počátku 20. století: Emil F. Ruehr (1861–1920) působící převážně v České Lípě a okolí vycházel ze secese, lanškrounský stavitel Richard Kreissl (1874–1920) pracoval s prvky vypůjčenými z vernakulární architektury, kdežto mostecký architekt Adolf Schwarzer (1876–1914) se přiklonil k neobiedermeieru či klasicismu. Každý z těchto architektů si našel vlastní způsob, jak navrhovat stavby moderního charakteru, i když nenásledoval směr udávaný „zakladateli“ moderní architektury. Z pragocentrické perspektivy se mohlo zdát, že v českoněmeckém regionu nepůsobili kolem roku 1900 žádní architekti moderního směru. Mezi „moderním“ a „tradičním“ ovšem nebyl v té době spatřován tak příkrý protiklad, jako tomu bylo později po nástupu meziválečné avantgardy. Značný stylový pluralismus charakteristický pro architekturu českých Němců kolem 1900 souvisí ovšem nejen s modernistickou potřebou najít styl odpovídající potřebám nové doby, ale zejména s prohlubujícími se rozdíly mezi jednotlivými oblastmi osídlenými českými Němci. Při množství lokálních středisek postrádajících těsnější vazbu k Praze se vytvořil prostor pro vznik originálních výtvorů. Bez opory ve vlastním uměleckém centru ovšem českoněmečtí tvůrci nebyli schopni artikulovat svou národní identitu.

18

Why the Olympic Modernism is more than Sport?

80%

Pawłucki A.

Physical Culture and Sport. Studies and Research

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2009

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vol. 47

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issue 1

117-124

EN

Olympic sport is a symbolic response to the literal evil of war. It establishes peace in its own way as there is always a need to redeem the evil of war. Sport is not what the mindful journalists think - a gathering of pagan mob, festival of youth or vanity fair of business traders. If, however, Olympic modernism ever became its own negation in the form of a spontaneous movement of liberation from moral constraints, legitimised by postmodern ideology, it would be a negation of the ethical ideal of friendship, i.e. it would be collective defiance of order as ordo amicitia pro pace. In consequence, Olympic modernism would deprive itself of the idea of universal good and lose its inherent order-making potential. Whoever then becomes a part of the motley movement against oneself, in which all standards of moral life in love are replaced by liberal aesthetic expressions, he or she becomes incomprehensible to oneself and others, like the proverbial black sheep in a family. Beware the poor in Olympic spirit of peace, as they will never be granted friendship. It will be a great loss to them as well as to the entire Olympic family. The Olympic Games of Peace must last as long as there are wars. The primary cause of Olympic sport is the experience of the evil of war. Olympic modernism uses sport as the foundation of its symbolic affirmation of the idea of friendship. It has not created sport, but has taken a great advantage of it, using the physical cultivation and the moral formation of the mighty sport club for free play (ludic sport) or paid play (professional sport). Although the Olympic costs are high, despite all the expenses, it is a highly profitable cultural enterprise. The order of friendship for peace, known as Olympic modernism, not only banishes the spectre of hatred but also provides culture with sanctity, making everybody's life more perfect.

19

David Jones and the Self-Conscious Uses of Tradition

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Potter M.

Romanian Journal of English Studies

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2013

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vol. 10

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issue 1

263-270

EN

This paper will explore the way that the poetry of David Jones, while generally recognised as being modernist, nevertheless promotes a continuation of the Western literary tradition (as opposed to more revolutionary strands of modernism), but does this while introducing a self-conscious understanding of the role and workings of tradition, an element lacking in pre-modern traditional literature. Other figures with a similar interest in the viability of a self-consciously understood practice of (literary or philosophical) tradition, in continuity with pre-modern tradition, but in modern conditions (Thomas Mann, John Henry Newman, Alasdair MacIntyre), will also be discussed.

20

„Próżne nam były Kasandry wołania”. O wybranych inspiracjach antykiem w twórczości Wincentego Korab-Brzozowskiego

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Borek B.

Studia Ełckie

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2019

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vol. 21

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issue 2

275-292

EN

The article on the presence of ancient inspirations in the writings by Wincenty Korab-Brzozowski’s focuses on recalling mythical figures in his poetry, prose and paraphrases of this author. The analysis of selected works proceeded with the use of a comparative method – a juxtaposition of Young Poland’s works with ancient applications, which became patterns for the poet. The interpretations made indicated alike faithful use of the texts of the old masters, and attempts to transform these narratives, when the poet was interested in passing on the content important to him.

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