Wyniki wyszukiwania - Biblioteka Nauki

1

: THE FUNERAL SPEECHES MADE ON THE OCCASION OF ADAM MICKIEWICZ'S DEATH IN RELATION TO THE TRADITION OF THE GENRE

100%

Sololowski M.

Pamiętnik Literacki

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2005

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tom 96

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nr 4

123-141

EN

This article is devoted to an analysis of the structure and style of the funeral speeches given at the successive funerals of Adam Mickiewicz: by Bohdan Zaleski at Montmorency on January 21st 1856, and by Adam Asnyk, Stanislaw Tarnowski and Wladyslaw Chotkowski in Wawel Castle on July 4th 1890. The speeches are compared both with the old Polish funeral orations as well as with nineteenth-century speeches made by Hieronim Kajsiewicz, Aleksander Jelowiecki, Jan Chryzostom Janiszewski and Aleksy Prusinowski. The focus of consideration is the violation of the traditional structure of the oration genre (lamentation, praise, consolation) and the destabilizing of stylistic unity which occur in Zaleski's speech, as well as in those of Asnyk, Tarnowski and Chotkowski. The author also discusses the lack of this kind of oration given at Mickiewicz's funeral in Constantinople on December 30th 1855.

2

POETRY AND TOBACCO SMOKE

100%

Prussak M.

Pamiętnik Literacki

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2005

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tom 96

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nr 4

55-68

EN

The article takes a different approach to the one traditionally taken towards the published form of Adam Mickiewicz's poem 'Baron' (Pan Baron) and, as a consequence, towards Mickiewicz's unpublished texts, especially those from the final period of his creative life. The form of the poem changes if we take into consideration its rough-draft, unfinished character. The scope of the editorial interventions and textual adjustments therefore requires fresh reflection. A new reading of the manuscript enables us to suggest a different reading of words which are difficult to decipher, and to verify decisions regarding the modernization of punctuation. The rough-draft character of the text also inclines us to alter our reading perspective and to shift our attention from the satirical portrait of a sybarite to the clear parallel underlined by Mickiewicz between the art of creating figures out of tobacco smoke and poetic art.

3

PUBLISHING FATE OF ADAM MICKIEWICZ'S WORKS IN THE KINGDOM OF POLAND (1822-1914) (Wydawnicze losy tworczosci Adama Mickiewicza w Krolestwie Polskim)

80%

Rowicka M.

Roczniki Biblioteczne

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2008

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tom 52

15-30

EN

Due to preventive censorship binding in the Kingdom of Poland throughout its existence, the conditions for publishing the works of Adam Mickiewicz, considered the symbol of Polish literature, were exceptionally difficult. The article characterises publishing output in the period between the two risings (1832-1863), when an important role was played by Samuel Henryk Merzbach's editions as well as much more numerous initiatives undertaken after the fall of the rising of 1863. The most prolific publishers of Mickiewicz's works were the publishing houses of Gebethner and Wolff, Stanislaw Bukowiecki, Tadeusz H. Nasierowski and Michal Arct. Numerous occasional editions were also published. All 97 editions of Mickiewicz's works in 138 volumes were published in the Kingdom of Poland in 1822-1914.The article compares the publishing offers from the Kingdom (i.e. Warsaw) and from other areas of former Poland, considering the quantity, temporal development, targeted readers and types of editions. It reconstructs the lists of texts which were published in the Kingdom of Poland in their full scope, in fragments and the texts banned from publication. Significance of import of Mickiewicz's works for local readers is also mentioned.

4

THE IDEA OF NATION IN MICKIEWICZ'S POEM 'TO JOACHIM LELEWEL'

80%

Sliwinski M.

Przegląd Humanistyczny

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2005

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tom 49

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nr 6(393)

23-31

EN

The article indicates that in the historical vision of the world drawn in the poem 'To Joachim Lelewel', the idea of nation plays the fundamental role. According to Mickiewicz's theory of history, consecutive periods realized the idea of harmony of nations. It was, however, interfered by political, religious and military structures of human society. Lelewel was viewed as a great scholar, a representative of nation and humanity, penetrating metaphysical mystery of history. The lyric subject of the poem called himself his disciple, and followed the master in pursuit of reflection on history.

5

MICKIEWICZ'S PORTRAITS: AN ESSAY ABOUT THE VISUAL CODE IN MICKIEWICZ'S PORTRAITS

80%

Bojko P.

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2007

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tom 48

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nr 3(282)

281-299

EN

Based on a selection of Adam Mickiewicz's texts representing various poetic genres, this article explores the visual code used in his descriptions of the faces of some of his notable character pairs. The selection includes poems like 'Warcaby' (Draughts) and 'Sen: Z Lorda Byrona' (A Dream: From Lord Byron), the ballad 'Ucieczka' (A Flight) and the narrative poem 'Grazyna'. The questions we ask are as follows: Which traits recur in the character portraits? Does their marked use depend primarily on sex-related appropriateness, or do they function as indicators of some moral or emotional qualities which allow each character to play his or her part in the story? The close examination of the descriptions of Mickiewicz's sample character pairs is expected to pave the way for raising the issue of a facial description code that was typical of the Romantic character portrayal.

6

THE CAREER OF 'MATECZNIK' (LAIR) MADE FAMOUS BY ADAM MICKIEWICZ'S 'MASTER THADDEUS'

80%

De F. S.

Pamiętnik Literacki

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2005

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tom 96

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nr 4

173-183

EN

Was the word 'matecznik' (lair) really used in Mickiewicz's times by hunters, as is suggested by Book IV of 'Master Thaddeus' ? The author traces the history of the word in the oldest textual sources, placing particular emphasis on those from the Belarussian-Lithuanian region. Throughout almost the entire territory occupied by the Slavs, the word was used primarily in its botanical and apiarian meaning, and not in the hunting sense. The hunting trope appears unexpectedly in nineteenth-century Czech. The author recovers the Czech sources and comes to the conclusion that the Czech word 'matecnik' came directly from 'Master Thaddeus' and penetrated not the Czech hunting terminology, but the literary language. Following the publication of 'Master Thaddeus', the meaning given to this word by Mickiewicz gradually overshadowed its former meanings until, by the second half of the nineteenth century, it was given as the first meaning in dictionaries. On the basis of this information, it may be argued that it was not the hunters - Mickiewicz's fellow countrymen - but the poet himself who adapted the general Slavonic, delightfully ambiguous word to his fairy-tale 'forest kingdom', descended from the Belarussian legends.

7

IN HIS OWN IMAGE. ON ADAM MICKIEWICZ'S POEM 'DEFEND ME AGAINST MYSELF'

80%

Jokiel I.

Pamiętnik Literacki

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2005

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tom 96

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nr 4

161-171

EN

The article contains an interpretation of Mickiewicz's poem 'Bron mnie przed soba samym...' (Defend me against myself). Employing structuralist-semiotic tools of textual analysis, and taking into account the intentions of the text encoded in its stylistic form, the authoress reaches the conclusion that the poem is a poetic elaboration of the biblical verse which states that God created man 'in his own image'. Having analyzed the artistic means of expression (metaphors, imagery) and their function, she shows how references in the text, contrary to the biblical vision of God, find an explanation in the theosophical conceptions of Jacob Boehme, in whom Mickiewicz had been interested since his youth. The poem, she concludes, is a romantic criticism of reason understood as the ultimate means of understanding the world and the place that human beings occupy in it.

8

'CRIMEAN SONNETS' READ IN THE CRIMEA 2004

80%

Piwinska M.

Pamiętnik Literacki

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2005

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tom 96

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nr 4

19-40

EN

The current paper forms part of the tradition of traveling to the Crimea, during which Adam Mickiewicz's 'Crimean Sonnets' are confronted with the Crimean landscape, architecture and population. Over the course of a century and a half the situation of both the Polish travelers and the Crimea itself had changed. Every journey, especially those made by literary historians, is a specific actualization of the theme. The present paper demonstrates the change in the local color of the Crimea, from Oriental to Slavic. In its interpretation of the Crimean Sonnets the paper explores the theme of silence and the structure of what is not said. Among the things left unsaid is the presence of Russia, the various traces of which (Tsar Russia, USSR) are still visible in the Crimea today. The author of the paper combines the silences, the Oriental thread, and the poetry of the Crimean ruins with the theme of the Sonnets dramatic unease, within which she reads Mickiewicz's fears about the fate of Lithuania.

9

MICKIEWICZIAN STANZA AND BZ STANZA

80%

Sadowski W.

Przegląd Humanistyczny

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2005

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tom 49

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nr 6(393)

45-60

EN

Five levels of strophic structure (metric, versification, graphic, syntactic and thematic) predicted by former scholars as mutually corresponding, are presented in this article as putative competing forms of the text composition. The Mickiewiczian stanza, originated in 1828, and the BZ stanza, written for the first time in 1841, are examples of the struggle between the two above mentioned phenomena, i.e. the graphic notation of stanza and the verse composition announced by rhymes. These phenomena in the same poem manifest different strophic forms, so that one is not sure whether the parts of the text read consist of four or of six verses. This ambiguity provides the poem with a rhythmic polyphony that cannot be described in precise terms of typological theory of stanza.

10

THE HILL ON THE BANKS OF THE NIEMEN IN ADAM MICKIEWICZ'S 'BALLADS AND ROMANCES'

80%

Winiarski J.

Pamiętnik Literacki

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2005

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tom 96

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nr 4

5-18

EN

This article analyzes 'Kurhanek Maryli' (Maryla's Grave) - the central poem in Mickiewicz's poetic cycle - in an anthropological context. The analysis attempts at presenting the cultural patterns in the structure of the poem that determine its aesthetics, and showing the deeper connections with tradition and with the contemporary historical context following the Partitions. It reveals the symbolic space of the poem's exposition and the structure of its iconographic configuration. It unveils the sacral patterns associated with the paschal graves and rituals celebrating the Resurrection, and the contradictory aesthetics connected with them. As a result, the construction and meaning of the poem focuses on the symbol of the 'grave of the native land' - the major motif of post-Partition elegies. The verbal landscape and the image of the land in the poem convey an assessment of the country's historical and existential situation as well as the idea of life being renewed in the homeland.

11

THREE STAGE PRODUCTIONS OF 'FOREFATHER'S EVE' AS A DIALOGUE WITH THE WORLD OF THE MICKIEWICZIAN DRAMA'S IDEAS

80%

Kaczynska L.

Przegląd Humanistyczny

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2005

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tom 49

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nr 6(393)

61-77

EN

The article presents a comparison of three stage productions of 'Forefathers' Eve', different artistically and in their ideological concepts, by Jerzy Grotowski, Konrad Swinarski and Jerzy Grzegorzewski. There is an aesthetic and intellectual dialogue between the three outstanding stage producers and the national greatest drama; the way in which the art and the ideological polyphony in Mickiewicz's work are translated into theatrical aesthetics and different reinterpretations of the meanings, making the issues still valid, as well as presentation of the spiritual condition of the Polish society. The clash of those various shows, created in various times, allowed to depict how romanticism functions in the theater, and to spot the changes in comprehension of drama-theatre relations. Presentation of extraordinary theatrical visions and the exchange of viewpoints between the artists revealed the role of theatrical works in creation of the national tradition.

12

ADAM MICKIEWICZ AND THE 'RUSSIAN FRIEND' SEMION KHLUSTIN

80%

Mucha B.

Przegląd Humanistyczny

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2005

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tom 49

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nr 6(393)

1-12

EN

In the years 1830-1832 Adam Mickiewicz made friends with Semion Khlustin - a Russian officer. They met in Naples (May, June 1830). Since then they traveled together around Italy and Switzerland. Based on Mickiewicz's letters to Khlustin and his sister Anastasija, Odyniec's 'Letters from the journey' and other sources, the author of the article made an attempt to reconstruct the relationship between the poet and Khlustin, taking into consideration the political aspect (i.e. the November Uprising in Poland).

13

THE GREAT PREACHERS OF FREEDOM, MICKIEWICZ AND MAZZINI: THE BROTHERHOOD OF IDEAS AND DEEDS

80%

Tylusinska-Kowalska A.

Przegląd Humanistyczny

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2005

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tom 49

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nr 6(393)

13-22

EN

Political situation of Poland after 1831 drew the attention of Italian intellectuals and men of letters, since what both the nations had in common was the idea of fighting for independence. Giuseppe Mazzini, one of the main architects of the Italian 'Risorgimenta', was the one who had the greatest contribution in popularization of Poland and the place of the Poles in Europe. Niccoló Tommasea, a great romantic writer, was another one. They both, however, knew Adam Mickiewicz and supported his idea to form a Polish army unit in Italy in 1848, the legendary Legion. During the struggle for the Roman Republic in 1849, Gofredo Mameli, several days before his death of heroically received wounds, wrote the hymn 'Fratelli d'Italia', the last 'stanza' of which is about the solidarity of the Polish and the Italian, and is a synthesis of Polish-Italian relationships during the springtime of nations in 1848.

14

A DISPUTE BETWEEN MICKIEWICZ AND KRASINSKI OVER THE PLACE OF JEWS AMONG POLES

80%

Fiecko J.

Pamiętnik Literacki

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2008

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tom 99

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nr 2

5-21

EN

The article includes an analysis of Mickiewicz's and Krasinski's attitude towards the Israelites, understood as an ethnic-religious community, and presents a long-lasting argument of the two writers concerning the settlement of Polish-Jewish relationship. For over two decades Mickiewicz worked on the concept of Polish-Jewish reconciliation, and opted for giving the Israelites in the future Poland a full citizenship. He also supported the need of ecumenic closeness of christianity and judaism. Krasinski saw the Jews, also those converted, as opponents of Polishness and enemies of christianity; he predicted their long confrontation with the noble-country nation. In the modern judaism Krasinski discerned the religion contaminated with the sin of rejecting Jesus Christ. In Krasinski's view, religious anti-judaism mingles with elements of antisemitism. The various approaches to the Jews derive partially from the opposing projects of national community which both poets professed. Mickiewicz was close to the idea of nation being a community of free and equal people, not differentiated by sexes, ethnicity, and religion, while Krasinski turned to ethnocentric formula of nation as an entity composed of two classes (nobility and country), a being characterised by tribal, cultural and religious borderlines.

15

A HISTORY OF MILOSZ'S 'WHIRLWIND LOVE AFFAIR' WITH MICKIEWICZ IN THE CONTEXT OF HAROLD BLOOM'S THEORY (Dzieje 'burzliwego romansu' Milosza z Mickiewiczem w kontekscie teorii wplywu Harolda Blooma)

80%

Bucko-Zmuda P.

Pamiętnik Literacki

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2010

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tom 101

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nr 3

35-54

EN

The article is an attempt to interprete Czeslaw Milosz's rich literary creativity in the context of romantic tradition, especially Adam Mickiewicz's literary heritage. The methodological tool which allows to analyse Milosz's ambivalent attitude to Mickiewicz is Harold Bloom's theory of poetry which relies on the struggle of a 'born late' poet against powerful precursor poets. Discussing 'agon ephebe' in one of his most famous book 'The Anxiety of Influence', Bloom presents six revisional stages in which a 'strong poet' tries to free himself from the influence of the 'Father-poet' and to use him to sanction his own autonomy and original position. Numerous biographical iterations and literary similarities between the two poets in question started a turmulous relationship resulting in pathetic polemics which exemplifies Bloom's theory.

16

ADAM MICKIEWICZ'S RETURNING GHOSTS

70%

Stefanowska Z.

Pamiętnik Literacki

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2005

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tom 96

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nr 4

69-77

EN

Returning ghosts and other wraiths or specters play an important role in the writings of the young Mickiewicz. At the time such literary protagonists were in fashion, but Mickiewicz gave them an individual meaning, making use, in addition to popular ballad conventions, of the folklore of the Nowogródek region. Not only in 'Ballads and Romances', but also in 'Forefathers' Eve' Parts II and IV, a significant role is afforded to local beliefs in the poet's expression of the problems surrounding romantic individualism. These problems are treated in a different way in 'Forefathers' Eve' Part III, although the poet endeavors to emphasize the unity of the cycle by introducing ghosts in the scene entitled 'Noc dziadów' (Forefathers' Night). For Mickiewicz, the motive of the returning ghost becomes a metaphor for internal conflict and the inability to readjust in life. This feeling is expressed most dramatically in the Lausanne lyric 'Gdy tu mój trup' (When here my corpse). In this last text, however, in which the heroes refer to macabre images of bodily death, the motif of the ghost has lost its deeply personal dimension; in the French text 'Rozmowy chorych' (Conversations des malades) jokes about death serve to characterize the experience of soldiers fighting at the front.