In the last fifty years, many studies in Europe and America have addressed the problem of poetic prose and of prose poetry, in an attempt to enclose two very elusive literary categories, if possible, in an ultimate definition. Retracing the evolutionary lines of the debate on the issue, the article focuses on the analysis of two recent collections of Ewa Lipska’s poetry, classified by critics as “poetic prose”. While such a definition is useful for the collection Miłość, Droga Pani Schubert… (2013), it is less accurate for the volume Droga Pani Schubert… (2012). In the latter, the presence of frequent enjambments and the repeated ruptures with keywords in strong positions form an original rhythmic-semantic regularity and effectiveness typical of prose poetry.
After a brief initial excursus on the topos of illness in literary criticism and the so-called “Narrative Medicine”, I analyse this theme as found in the work of Małgorzata Lebda, and particularly in the collections Matecznik (2016) and Granica lasu (2013), in which the poet tells her personal story, displaying a changing enigmatic nature which is a place of the soul both real and mysterious at the same time. Lebda describes the encounter with the disease in a clear, direct language style and by means of a narrative that gives a therapeutic meaning to her experience, and places it in a natural universe filled with multiple correspondences and resonances. The constant metaphorisation of the poetic images becomes a way to convey evocative, deep emotions which, thus mediated, can express themselves with all their evocative power.
The paper analyses the book L’Italia per la ricostituzione della Polonia, published in Rome in 1916 by the magazine L’Eloquenza. It contains both the results of the referendum and an extensive selection of articles published in that period in Italian newspapers and magazines about the complex social and political situation in Poland. The book represents an important evidence of the viewpoint of the Italian intelligentsia about the “Polish question”, as seen in the light of the political situation in Europe in the difficult years of the First World War.
This article analyses the short story collection Granice świata (“The Limits of the World”) by Kazimierz Wierzyński. It emphasises two war narratives, namely The Patrol and Sentence of Death, in which the firstperson narrator (the author himself) experiences extreme events. Wierzyński’s characters commit terrible atrocities, and the writer describes their ruthless and unexpected reactions to highly distressing episodes.
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