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1

Fenomen narracji litanijnej wobec stereotypu gatunkowego litanii

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Sadowski W.

Przestrzenie Teorii

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2009

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nr 12

193-220

EN

The article describes the phenomenon of narration in the litany, where the specific events are presented as units of the divine plan in the superior and impenetrable order, accepted by the compiler of the prayer. The phrases describing the events do not link together in a consecutive chain, but are interrupted by the repeated formulae of the prayer, on which they depend syntactically. According to this, the text of the litany does not report the holy story from anyone’s point of view. Each event undergoes the substantialization, it acquires a value, and its description can be used as an epithet or a periphrasis of the name of God, Virgin Mary, the angel or the saint. The story should be independent of the time, and the experience of the holy event is to be accessible to the faithful. Sometimes the story needs not to be explicated, because the text of the litany is already embedded in the ‘hermeneutic sphere’ (the term by S. Balbus) of the litanic genre. The technique of the narration in litany has been taken over by the poetry. The example of Jarosław Iwaszkiewicz’s epilogue to the poem Jeszcze jedna podróż (One more journey) published in 1963 is presented in the article.

2

Litania poetycka między nowożytnością a nowoczesnością

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Sadowski W.

Prace Filologiczne. Literaturoznawstwo

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2010

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tom 59

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nr (3)

79-106

EN

The article describes the process of crystallisation of the Polish modern poetic litany on the examples from the writings by Kornel Ujejski, Maria Konopnicka, Cyprian Norwid and others. During the 19th century this traditional genre was rediscovered as a valuable literary form. The current of the litanies devoted to public affairs was of special interest. Owing to Adam Mickiewicz’s “The Pilgrims Litany” (Litania pielgrzymska) and the stanzaic poems by Ujejski it had two patterns. Both became the elements of the canon of Polish literature for the poets born in the first half of the 20th century. Therefore the characteristic features of these litanies can be found in modern, not only patriotic, poetry i.e. in the poems by Wierzyński, Liebert, Słobodnik, Różewicz, Kamieńska, Pasierb, Szymborska and many others.

3

Prosodic Memory: Claudel − Eliot – Liebert

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Sadowski W.

Prace Filologiczne. Literaturoznawstwo

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2013

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nr 3(6) cz.1

11-30

EN

In this paper prosodic memory is considered to be a collection of all past experiences of speech, sound and rhythm that are activated during the reception of a linguistic text. Although the resources of prosodic memory are accumulated in every person individually, its organisation is influenced by culture, which provides us with repetitive patterns when hearing and seeing words. Prosodic memory is one of the factors that determines the choice of the form of a poem, and transforms the sequence of verses into a melody. From a neuropsychological point of view, it is a priming effect. From a cultural point of view, the connection between a given poem and prosodic memory is created, among others, by the poem’s genre. In the article this phenomenon is discussed using the genre of litany as an example, and subsequently examined in three texts that were published in the interwar period: Claudel’s “Les Litanies de Bernadette,” Eliot’s “Ash-Wednesday” and Liebert’s “Litania do Marii Panny.”

4

Od litanii Gertrudy do litanii Nawojki

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Sadowski W.

Ruch Biblijny i Liturgiczny

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2011

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tom 64

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nr 1

EN

The 11th-century Codex of Gertruda, the daughter of Mieszko II the King of Poland, contains ten prayers in the form of litany. The article analyses two of them: ‘Ut me miseram famulam Tuam Gertrudam custodire digneris…’ and ‘Ave Maria gratia plena dominus tecum…’. The stylistic features of the first litany indicate that the text was intended to be accepted by the duchess as her individual prayer reflecting her point of view, and perhaps containing quotations from her own utterances. Therefore Gertruda may be regarded as the author of the text, although somebody else probably fulfilled the act of writing. The second litany is a prayer similar to the text from the 12th-century Paris manuscript, edited by G. G. Meersseman. It might be the basis for the later western copy, or both records originated (directly or indirectly) from the same source. Some sentences from both versions repeat in the 15th-century Polish prayer ‘Zdrowa bądź Maryja, miłości pełna…’ from Nawojka Prayer Book.

PL

W jedenastowiecznym Kodeksie Gertrudy, córki Mieszka II, znajduje się dziesięć modlitw o budowie litanii. Artykuł podejmuje analizę dwu z nich: „Ut me miseram famulam Tuam Gertrudam custodire digneris…” i „Ave Maria gratia plena dominus tecum…”. Stylistyczne cechy pierwszej wskazują, że tekst miał być zaakceptowany przez księżną jako jej modlitwa prywatna, sformułowana z jej punktu widzenia i – być może – zawierająca cytaty z jej własnych wypowiedzi. Dlatego Gertruda może być uważana za autorkę, mimo że sam akt sporządzenia tekstu przypadł komu innemu. Druga litania przypomina tekst wydany przez G. G. Meerssemana z dwunastowiecznego manuskryptu przechowywanego w Paryżu. Mogła ona być podstawą dla późniejszej kopii zachodniej lub oba przekazy pochodziły (bezpośrednio lub pośrednio) z tego samego źródła. Niektóre zdania z obu wersji powtarzają się w XV-wiecznej modlitwie „Zdrowa bądź Maryja, miłości pełna…” z Modlitewnika Nawojki napisanej po polsku.

5

Kto i do kogo mówi w litanii poetyckiej? Wokół utworu Wojciecha Bąka „Modlitwa do Marii Matki”

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Sadowski W.

Prace Filologiczne. Literaturoznawstwo

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2009

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tom 57

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nr (2)

31-48

EN

The Wojciech Bąk’s poem The Prayer to Mary the Mother (Modlitwa do Marii Matki) represents the main communicative structure of the genre of litany. As a litany, the text has not a single formal subject, but belongs to a triple addressor instance (the subjects of tradition, community and the faithful) and is directed to a quintuple addressee instance (the faithful, the divine mediator, God as the Supreme Witness, God as the indirect addressee, God as the direct addressee). The triple addressor instance imposes many limitations on the author. The article describes the three liberty axes of the author: within the linear structure limitations (the syntactic axis), within the formula paradigm limitations (the paradigmatic axis) and the axis of the traditional formula translation (the exegetic axis). While the church litanies tend to standardize the translation of the formulae, the poetry attaches more importance to the exegetic axis, enlivening the prayer language and enabling a dialogue among different ways of understanding the given formula.

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Wizualizacja litanii w poezji konkretnej: Gomringer, Jandl, Bocian

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Sadowski W.

Porównania

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2021

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tom 28

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nr 1

141-161

EN

The article presents examples of concrete poetry in Polish and German, examples that simultaneously meet the two following criteria: 1) they combine both literary and visual elements, and 2) can be considered as litanies because of the pattern of repetition used. A question is posed as to whether the poems are based on the same concept of space-time as in the medieval litanies. As the analysis shows, inter-semiotic relations between the linguistic and the visual aspects of the poems are indicative of a substantial divergence between Polish and German-language concrete poetry as regards their access to the generic worldview of the litany.

PL

W artykule przywołane zostają dzieła poezji konkretnej w języku polskim i niemieckim, które spełniają jednocześnie dwa kryteria: 1) łączą sztukę słowa i sztukę obrazu oraz 2) ze względu na sposób operowania powtarzalnością dają się rozpatrywać jako litanie. Pada pytanie, czy w tych utworach respektowana jest ta sama wizja czasoprzestrzeni, jaka obowiązywała w litaniach średniowiecznych. Analiza relacji intersemiotycznych między językowym i wizualnym aspektem badanych dzieł wskazuje na zasadniczą różnicę między polską i niemieckojęzyczną poezją konkretną w zakresie dostępu do gatunkowego obrazu świata litanii.