Wyniki wyszukiwania - Biblioteka Nauki

1

IWASZKIEWICZ „ROZDWOJONY W SOBIE”

100%

Mitzner P.

Colloquia Litteraria

|

2009

|

tom 6

|

nr 1

101-104

PL

Artykuł podejmuje problematykę religijności Jarosława Iwaszkiewicza na podstawie jego dzienników i listów.

2

Jarosław Iwaszkiewicz Novelle italiane, traduzione di Dario Prola, 21 Editore, Palermo 2014

100%

De Carlo A. F.

|

nr 6

209-210

3

„Wszyscy jesteśmy Azjaci!”, czyli Starego Poety pytania o tożsamość. Perspektywa postkolonialna

100%

Kałowska A. , Uniwersytet Łódzki W. F.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2012

|

tom 01

EN

The article aims to analyze Jarosław Iwaszkiewicz’s poem entitled “The Asians”, the first work from his volume “The Weather Map”. The starting point for reflection is the motto of the poem - a conversation of three people in a theater foyer. The subject of this short exchange is the border between Europe and Asia, not the geographical but the cultural one. The dialogue can also be interpreted as an attempt to answer the question of the strength of the impact of the Euro-Asian empire — Russia. The author of the article endeavors to read the poem as the poet’s attempt to interpret his own biography. An important context is a poem by Alexander Blok, “The Scythians” written in 1918.

4

Dlaczego? Kilka uwag o wierszu W kościele Jarosława Iwaszkiewicza

100%

Czyżak A. , Uniwersytet im. Adama Mickiewicza w Poznaniu I. F. P.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2012

|

tom 01

EN

The article presents an interpretation of a poem written by Jarosław Iwaszkiewicz in his old age, titled W kościele (In a Church). The poem was published in 1977 (in the volume Mapa pogody); 25 years later, it was included in an anthology of Iwaszkiewicz’s poetry selected by Czesław Miłosz. The anthology was the final phase of a long-standing dialogue between the two distinguished Polish poets. Aside from selecting texts for the anthology, Miłosz was a translator, and in his old age, he once more took upon himself a duty to comment, to evaluate and — last but not least — to preserve Iwaszkiewicz’s poetry. The poem W kościele is read as a sign of a special new agreement between the Old Masters of Poetry and its inclusion in the anthology titled A Literature Lesson with Czesław Miłosz was an important part of that.

5

„Dumna inność”. Jarosław Iwaszkiewicz wobec własnej tożsamości terytorialnej. Wiersz dedykowany Antoniemu Sobańskiemu

100%

Dubyk H. , Uniwersytet Kardynała Stefana Wyszyńskiego I. F. P.

|

EN

The article “Dignified Distinctness”. Jarosław Iwaszkiewicz’s attitude toward his own territorial identity is an attempt to interpret the poem dedicated to Antoni Sobański in the light of the author’s Ukrainian identity, the lyrical subject and the work’s addressee. The analysis was based on the analyzed poem as well as other Ukrainian works by Jarosław Iwaszkiewicz, including his post-war works, in which the traces of the Ukrainian territorial identity (rarely found in his earlier texts) were reduced and selfcensored.

6

Czysta myśl, nieczyste słowo (Jarosław Iwaszkiewicz — Paul Valéry)

100%

Wójcik T. , Uniwersytet Warszawski W. P.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2012

|

tom 01

EN

The title of the article is a quote from a poem by Jarosław Iwaszkiewicz, Do Pawła Valéry (To Paul Valéry), set in the context of other works by the Young Poland author. The paper investigates the two writers’ dialogue as regards the concept of “pure poetry”. Interpreting the poem allows for a reading in the context of the confrontation between two cultural paradigms: Polish and French.

7

Biografia intymna Jarosława Iwaszkiewicza: Radosław Romaniuk, Inne życie. Biografia Jarosława Iwaszkiewicza, t. 1, Wydawnictwo Iskry, Warszawa 2012, 618 ss.; t. 2, Wydawnictwo Iskry, Warszawa 2017, 700 ss.

80%

Sobol E.

|

2019

|

tom 6

225-229

PL

-

8

Jarosław Iwaszkiewicz i Antoni S. Małłek. Korespondencja z lat 1907–1910

80%

Kędziora A. , Orzechowski E.

|

nr 1

167-199

PL

Prezentowana korespondencja obejmuje 15 listów Jarosława Iwaszkiewicza i 17 listów Antoniego Małłka z lat 1907–1910 oraz dwa listy obu korespondentów napisane po kilkunastoletniej przerwie, w roku 1926. Główny trzon zbioru, pochodzący z kolekcji Polonijnych Zakładów Naukowych Orchard Lake, powstał we wczesnym okresie życia Iwaszkiewicza, w trakcie jego pobytu i nauki w Elisawetgradzie oraz w Kijowie. Adresatem przyszłego pisarza jest Antoni Małłek, Amerykanin polskiego pochodzenia, mieszkający w Mt. Pleasant w Pensylwanii, kilka lat starszy od Iwaszkiewicza stenografista, buchalter, student medycyny. Listy oprócz świadectwa wczesnych lat życia Iwaszkiewicza, jego emocjonalności, charakteru, marzeń i oczekiwań, dostarczają faktów wcześniej nie poruszanych przez biografów Iwaszkiewicza, takich jak chociażby ślub jego siostry Anny z Iwaszkiewiczów Krzeczkowskiej. Korespondencja poza wymianą listów w 1926 roku najprawdopodobniej nie była kontynuowana.

EN

The presented correspondence includes 15 letters by Jarosław Iwaszkiewicz and 17 by Antoni Małłek from the years 1907–1910 and two letters by both correspondents written after a break of a dozen of years or so in 1926. The core of the set of letters come from Orchard Lake Schools in Michigan collection and was produced in Iwaszkiewicz’s early life while his stay and study in Yelisavetgrad and Kiev. The future writer’s addressee is Antoni Małłek, an American of Polish origin living in Mt. Pleasant, Pennsylvania, a few years Iwaszkiewicz’s senior stenographer, bookkeeper and medical student. Apart from being testimony of Iwaszkiewicz’s early life, his emotionality, character, dreams and expectations, the letters provide with facts so far undiscussed by biographers, such as the writer’s sister Anna of Iwaszkiewicz Krzeczkowska’s marriage. Most probably, after the exchange of letters in the year 1926 the correspondence was not maintained.

9

Juliusz Słowacki od wierszy. Rec.: Juliusz Słowacki – interpretacje i reinterpretacje. Red. Ewangelina Skalińska i Ewa Szczeglacka-Pawłowska. Warszawa 2011

80%

Szwed P.

Pamiętnik Literacki

|

2014

|

tom 105

|

nr 2

175-184

EN

The review of the book "Juliusz Słowacki – interpretacje i reinterpretacje" ("Juliusz Słowacki – Interpretations and Reinterpretatios") consists of 14 interpretive sketches in which attention is brought to the lyrical aspect of the poet’s creativity. Presented from different perspectives, Słowacki’s poems become a pretext for a thought about the methodology of reading the pieces, are seen as a source of inspiration for Jarosław Iwaszkiewicz and Zbigniew Herbert, and first and foremost are regarded to be constantly interesting in spite of the passing years with a view to their forms and themes.

PL

Recenzja książki "Juliusz Słowacki – interpretacje i reinterpretacje" stanowi omówienie składających się na nią 14 szkiców interpretacyjnych, w których uwaga zostaje skoncentrowana głównie na lirycznym aspekcie twórczości autora Godziny myśli. Ukazywane z różnorodnych perspektyw wiersze Słowackiego stają się pretekstem do namysłu na temat metodologii związanej z lekturą dzieła wieszcza, są przedstawiane jako źródło inspiracji dla Jarosława Iwaszkiewicza i Zbigniewa Herberta, a przed wszystkim prezentowane jako niezmiennie, pomimo upływu lat, interesujące – pod względem formalnym i tematycznym.

10

Ku śmierci ze skazą „niegotowości”? — o kilku czytelniczych spojrzeniach na Sérénité Jarosława Iwaszkiewicza

80%

Berkan-Jabłońska M. , Uniwersytet Łódzki I. F. P. , m.berkanjablonska@interia.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2012

|

tom 01

EN

This article proposes to read Iwaszkiewicz’s story titled Sérénité with more suspicion than it has been done in a traditional, usually enthusiastic reception of this prose. Firstly, the text presents typical approaches to interpretation. The main part of the article suggests certain textual qualities which may cause feel “discomfort” in the modern reader. According to the author of the paper, there is something anachronistic in the story. The story was written a long time ago and therefore the style of narration, the elements of camouflage and sophisticated tricks may seem inappropriate for such a serious subject as death. Also, the construction of the narrator and hero who is always passive, unwilling to act and focused on his inner life may today seem irritatingly anachronistic, oldfashioned and incomprehensible. These arguments are used to show that a critical analysis of the novel, due to new readers’ awareness, can surprisingly lead to interesting questions and open new paths of interpretation.

11

Arietta Jarosława Iwaszkiewicza

80%

Wiśniewski J. , Uniwersytet Łódzki W. F. , jurwis@t-system.com.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2012

|

tom 01

EN

Arietta, written in the final months of Iwaszkiewicz’s life (1894–1980), is one of a cycle of poems Music for a String Quartet from his posthumously published volume of poetry Music in the Evening (1980). Like all the poems from this cycle, it is a short poetic “narration” the central them of which is an image of an old man waiting for death. However, the structure of Arietta distinguishes the poem from other works. Unlike other poems consisting mostly of two four-line rhymed stanzas, Arietta is the only free verse, which is decidedly different from the metrical scheme used by Iwaszkiewicz in this part of the volume. In order to express one of the most crucial experiences in life, the poet crosses the borders of the formerly used model of communication (a poem-song), creating a new unique form of a poem-arietta and imitating the basic structural pattern of a musical arietta — a cavatina. An excerpt from Goethe’s Wanderers Nachtlied, slighly changed when quoted at the end of Arietta (“Warte nun balde / Ruhest du auch”), can be read as an encouragement to experience patient, fear-free waiting for the end of life, but it can also be understood as a kind of “singing” which gives you courage to face death. This final “arioso” in Iwaszkiewicz’s poem is not only a pacifying lullaby but also an expression of heroic waiting for irrevocable death.

12

Jarosława Iwaszkiewicza wiersz „pośmiertny”

80%

Brzozowski J. , Uniwersytet Łódzki I. F. P.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2012

|

tom 01

EN

The main subject of the text is the poem with an incipit of “Mamo, czy ja oślepłem…” (“Mother, have I gone blind…”), which is the final poem in the Pini di Roma series, published in the second edition of Śpiewnik włoski from 1978. The interpretation of the poem is preceded by remarks on the content and composition of the two editions of the volume (the first one dated 1974, and the second one) as well as a number of remarks placing the poem in the context of European and Polish literary and cultural tradition. The poetics of “Mamo, czy ja oślepłem…” — the conversation of the dying poet with his deceased mother — allows the text to be perceived as a peculiar ‘posthumous’ poem. At the same time, the poem is very elevating, optimistic and gives a great amount of hope in comparison to other death-themed lyrics by the author of Muzyka wieczorem.

13

Pamięć fotograficzna. Albumy ze zdjęciami rodzinnymi Jarosława Iwaszkiewicza w archiwum Muzeum w Stawisku

80%

Zawadzka M.

|

2020

|

tom 74

|

nr 1-2 (328-329)

310-315

EN

Collections of the Anna and Jarosław Iwaszkiewicz Museum in Stawisko, established in the house in which the writer and his family lived for over 50 years, possess, apart from valuable manuscripts, artworks, and everyday objects also a capacious collection of photographs dating from 1860–1980. The topic of this article is an analysis of four selected albums of photographs of the Jarosław Iwaszkiewicz family for the purpose of sketching a portrait of the writer as the first “archivist” of this varied and extensive collection – based upon reflections by Roland Barthes and Susan Sontag concerning the functions (documentation) and dual nature of photography techniques (the photograph as an image and an object), as well as benefitting from accessible knowledge about the life history and predilections of the author of Sława i chwała.

14

Bielańska waleta

80%

Zieliński J.

|

nr 1

135-138

PL

Glosa do wiersza Jarosława Iwaszkiewicza "Bielany"

15

Z frazeologii Jarosława Iwaszkiewicza: jeść, aż za uszami trzeszczy i inne związki wyrazowe spowodowane interferencją

71%

Gałecki Z.

|

nr 2

213-222

PL

W artykule autor wyjaśnia genezę regionalnego, wschodniokresowego zwrotu jeść aż za uszami trzeszczy «jeść łapczywie, z apetytem», któremu w języku ogólnopolskim odpowiada forma jeść aż się uszy trzęsą. W języku osobniczym J. Iwaszkiewicza jeść aż za uszami trzeszczy tłumaczy się geografi cznym pochodzeniem autora oraz tradycją literacką. Ten, jak i inne przykłady osobliwego słownictwa i frazeologii w języku J. Iwaszkiewicza wynikają z kontaktu językowego polskiego z ukraińskim i rosyjskim.

EN

In his article the author explains the origin of the regional expression from the Eastern Borderlands ‘jeść aż za uszami trzeszczy’ «to eat greedily; have a big appetite » which has a literary equivalent ‘jeść aż się uszy trzęsą.’ In J. Iwaszkiewicz’s idiolect ‘jeść aż za uszami trzeszczy’ is attributed to the author’s geographical descent and a literary tradition. The expression in question and other examples of J. Iwaszkiewicz’s specifi c vocabulary and fraseology stem from the contact between the Polish, the Ukrainian and the Russian languages.

16

Dwa Źródła Aretuzy. Semantyka, literackie właściwości i funkcjonowanie aspektów kompozycji Karola Szymanowskiego w sonecie Jarosława Iwaszkiewicza

70%

Kraj Ł.

|

nr 4(31)

58-76

EN

The purpose of this article is to define the possible meanings and connotations of musical compositions and their conversion into the lingual substance of poetry. Since the issue is varying internally and always needs particular examples, the undertaken analysis concerns two pieces of art: Fountain of Arethusa by a Polish composer Karol Szymanowski and a sonnet of the same title written by his friend and relative, writer Jarosław Iwaszkiewicz. Firstly, the matter of literary title and its associations is compared in both pieces, which leads to conclusion that while the name of composition generates loose and imprecise connotations, literature requires more specification, nonetheless both the composer and the poet understand mythical subject alike and reception of the work of the latter is based on emotional and semantic qualities similar to those included in the composition. Then, the subject of musical genre is depicted, with emphasis placed on literary connotations and their implications in the process of transcription of music into words. As the poet uses sonnet, which apparently has got poor connections to music, the motives of such choice are enumerated, including significance in European culture and interior dichotomy, both of which one can find in Szymanowski’s work. Further, the article describes relations between music character indications in musical score and particular lexemes in the poem. Musical work can exist in literature in many ways, first of which is being a theme of objective or subjective description. Such illustration of music in the poem is analysed. Then the euphonious and rhythmic features of the text are described in order to prove that music exists in the sonnet in its sound as well as being a scheme which is reinterpreted and imitated by the writer. The analysis shows that although one cannot translate musical matter into words, it is impossible to ignore many intersemiotic correlations between music and literature. Every example of such coexistence– either on the ground of semantics or form – must be studied individually.

17

Franz Liszt i jego muzyka fortepianowa w ujęciu Jarosława Iwaszkiewicza oraz Pawła Kubisza

70%

Gamrat M.

|

nr 1

163-179

XX

Franz Liszt is one of the greatest artists of the 19th century. He has attended the most important artistic and social events providing comments on their literature and musical aspects. In his articles published in ‘Gazette Musicale’ (1835—1841) he treats the artist, their place in the society till in his correspondence he reflects the life condition of the workers. This social sensibility can be observed in Lyon (1837) in the cycle Impressions et poesies. The literature was one of his main interests. All his life he kept reading and commenting in his correspondence the works he had read and most importantly he tried to imple-ment it in his musical works. The result of these attempts was the creation of the pro-gram music, a music inspired very often by the literature or preceded by a literature piece. In my article I am presenting the music of Liszt that has inspired literature deeds. My research is directed towards two works — the novel entitled Mefisto-Walc by Jarosław Iwaszkiewicz and the poem by Paweł Kubisz entitled Rapsod o Oszeldzie. Both are very different. In the first work it is the music (Erster Mephisto-Walzer) one of the main actors, equal to the others, the composer is just mentioned. In the work of Kubisz, Liszt is a principle actor who inspires the struggle of the workers and leads towards liberty and his music occupies secondary place (Lyon, Mazeppa, Mephisto-Walz). Both the works have one common point — Franz Liszt and his music. They both also refer to Faust. Ein Gedicht of Nikolas Lenau that has preceded Erster Mephisto-Walzer. They both have not only a common musical intertext but also a literature intertext though the musical work, what I have called intertext of second degree. This is proof that Liszt was right that it is possible to implement the ideas in the music.PE

18

Dendrocentryczny świat późnej poezji Jarosława Iwaszkiewicza

70%

Szóstak A.

|

2020

|

tom 8

101-118

EN

This paper aims to identify the place and role of the tree in Jarosław Iwaszkiewicz’s late poetry, including its symbolic meanings as well as the broad sociocultural, psychological, aesthetic and, importantly, metaphysico-spiritual context it is being situated in. Accordingly, in the poetic universe of this author the tree functions not only as the axis of reality, but also and primarily as the autonomous, separate, near human or even more perfect entity the poet tries to communicate with so as to discover the mystery of immortality and reach the transcendental core of being. The philosophical contemplation of the ‘tree-shaped’ existence results in an exceptionally modern, deep and sophisticated reflection on humanity’s presence and place in nature, which is far from triumphalist, unrighteous thinking in the biblical terms of subduing the earth.

PL

Celem artykułu jest wskazanie na miejsce i rolę drzewa w późnej, senilnej poezji autora Brzeziny – jego znaczeń symbolicznych oraz szerokiego kontekstu kulturowo-społecznego, psychologicznego, estetycznego, i co istotne – metafizyczno-duchowego, w jakim jest sytuowane. Drzewo bowiem w poetyckim uniwersum Iwaszkiewicza to nie tylko oś i centrum rzeczywistości, lecz także – przede wszystkim – samoistne, odrębne, podmiotowe, równe ludzkiemu lub nawet doskonalsze istnienie, z którym porozumienia szuka poeta, by odkryć tajemnicę nieśmiertelności, dotrzeć do transcendentnego jądra bytu. Filozoficzny namysł nad egzystencją w drzewnej postaci przynosi niezwykle nowoczesną w swoim wyrazie, głęboką i wyrafinowaną refleksję nad obecnością i pozycją człowieka w naturze, daleką od triumfalistycznego, nieuprawnionego myślenia w biblijnych kategoriach czynienia sobie ziemi poddaną.

19

Organiczna całość w „Brzezinie”. Ekokrytyczna reinterpretacja opowiadania Jarosława Iwaszkiewicza

61%

Mytych-Forajter B.

|

2020

|

tom 8

90-100

EN

The article is a proposal to read Iwaszkiewicz’s well-known prose using an ecocritical attitude. This proposal allows the main character of the text to be considered not as people and their fate, but rather as the forest in which the action of the story takes place. The author proposes the separation several modes of constructing the narrative about the forest in the narrative: economic, medical, symbolic, and aesthetic, each of which assumes a human attempt to control the vegetable element through the language. Experience of absence, expressed by the dying Stanisław, seems to be the answer to searching for a new language, with the help of which it would be possible to include man in an organic whole.

PL

Artykuł jest propozycją czytania znanej prozy Iwaszkiewicza z wykorzystaniem nastawienia ekokrytycznego. Ta propozycja pozwala uznać za głównego bohatera tekstu nie ludzi i ich losy, ale las, w którym rozgrywa się akcja opowiadania. Autorka proponuje wydzielić w narracji kilka trybów konstruowania narracji o lesie: ekonomiczny, medyczny, symboliczny, estetyczny, z których każdy zakłada ludzką próbę zapanowania nad roślinnym żywiołem za pośrednictwem języka. Doznanie braku, wyrażone przez umierającego Stanisława, wydaje się tematyzować poszukiwanie nowego języka, za pomocą którego możliwe stałoby się włączenie człowieka w organiczną całość.

20

A Tribute to „Barocco”: The Figurativeness of Maria Morska

60%

Szulc-Woźniak A.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2019

|

nr 8

187-198

EN

The paper focuses on the figure of Maria Morska, a reciter dubbed “Skamander muse”, who had a versatile and multifaceted impact on the literary circles of her day. I am conducting the quest for the artist (elusive today in the face of scarce biographical sources) through interpreting the poems for which she was a magnet and a centre (i.e. Inwokacja by Antoni Słonimski and Groteska by Jarosław Iwaszkiewicz). The image of Morska emerging from them presents a very original figure: one that was admired and received intensely. The poetic inscriptions of the impression which the Skamander muse made often bring to mind the reception of works of art. Morska refines commonness into a metaphor. Her literary image is a testimony to a moment of delight, dazzle, and – perhaps more importantly – spontaneous, artistic co-participation. She inspires one to look for pseudonyms and roles which would be capable of expressing the impression that accompanied her – one of changeability, glimmer, being different, never being the same.