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2 Góry, Literatura, Kultura

2 Żmidziński J.

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Karpaty Vincenza. Mit — góry — literatura

100%

Żmidziński J.

2012

tom 6

79-94

The present article examines literary analogies in descriptions of the landscape in various distant areas of the Carpathians. The vision of Chornohora and its inhabitants created by Stanisław Vincenz in his tetralogy Na wysokiej połoninie [On the High Mountain Pastures] is confronted here with selected descriptions of the Tatras and the Pieniny Range in works of past and contemporary Polish writers. The striking similarities testify on the one hand to Vincenz’s excellent knowledge of the literature devoted to the Carpathians, and on the other — to the landscape and cultural unity of the entire range. In addition, Vincenz’s extraordinarily vivid, mythologised vision affects the perception of the entire Carpathians, constituting a kind of “imagination score.”

Światowe granie — motyw wiatru. Pejzaż dźwiękowy Karpat Wschodnich w prozie Stanisława Vincenza

100%

Żmidziński J.

tom 7

101 - 119

Drawing on R. Murray Schafer’s concept of soundscape, the author of the article analyses Stanisław Vincenz’s cycle Na wysokiej połoninie [High Mountain Pastures]. Vincenz, endowed with an extraordinary sensitivity to sounds, created a colourful picture of the acoustic landscape of the Eastern Carpathians, in which the crucial role is played by sounds generated by the elements: air and water, as well as, to a lesser extent, fire and earth. All of them are integrated and make up a complete, macrocosmic composition. The author of the article carries out a detailed analysis of the role of the wind, both as a soloist and a conductor of sounds generated by the forest. The wind part emerges throughout the cycle, though its distribution is not uniform — it plays the biggest role in volumes 1 (The Truth of Primeval Age) and 4 (A Vinca Wreath). The wind appears asa link between two dimensions: human and heavenly; it serves as a creator, similar to the biblical Divine Wisdom. The sounds of the forest play the main role in the fi rst two volumes, especially in A Fight. In addition to swoosh, which is musical in its nature, we have here many sound warnings protecting the sanctity of the forest. The volume, like the entire cycle, is a book about careful listening. The article is completed by a diagram showing the relations between the various levels of reality and the intermediating role of sounds and music.