Wyniki wyszukiwania - Biblioteka Nauki

1

Wypisy z ksiąg użytecznych, acz melancholijnych

100%

Njgeburska K.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2016

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nr 5 "Reportaż literacki. Pogranicza"

249-270

EN

The article is an attempt of a comparative theoretical reflection on melancholy, showing how this theme exists in the literature of different nations. The considerations were included in the form of “excerpts” on the model of the Czeslaw Milosz’s work Excerpts from Useful Tomes. Each excerpt is preceded by a brief interpretive-informing comment, which just throws light on the text and gives voice to the poems themselves. Due to the specifics of this form of expression, only poetic texts were included in the area of research. The aim of this article is to draw attention to the omnipresence of melancholy and show different varieties of melancholy writing taking into account the convergences and divergences in the poetic representations of this theme in the world literature.

2

Writing (in) melancholy. Loss and remembrance in the works of two contemporary Hindi writers

86%

Junik Łuniewska K.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2018

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nr 9 "Memory, Melancholy and Nostalgia"

55-66

EN

The paper aims at analysing the question of melancholy and memory in contemporary Hindi literature. The author selected works by two Hindi writers (T. Grover and U. Vajpeyi), who represent similar approach towards literature and use similar means of expression. The two main motifs characteristic for their writing – love (pyār) and loss (a-bhāv) – are closely related to the creative process: the loved one is the lost object, the one subjugated to melancholy, who can be remembered through writing. In the light of A. Świeściak’s idea of “melancholic subject” and S. Bahun’s concept of “performing melancholia”, the author discusses ways in which both the writers construct their literary world, inhabit it with loved/absent objects (beloved, father), and mourn their loss. The subject in their writing is both fictional and biographical, so the loss relates to literary as well as real events, becomes multidimensional. In Grover’s Blue, the subject’s separation with the beloved leads her to realise the loss of her father in childhood, and thus unveils the mourning and melancholy (symbolically represented by blue/Blue). U. Vajpeyi’s poems create a space for meeting his lost love, for weeping and remembrance, for exchanging letters (and writing). The results of the present study show that melancholy – as a consequence of loss, mourning, and remembering - becomes a creative force, inducing the author (narrator, subject) to write.

3

O aktualności nastrojów melancholicznych w ponowoczesnej literaturze czeskiej

72%

Gawarecka A.

Bohemistyka

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2024

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tom 24

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nr 2

232-252

EN

Czech literature in Poland is associated primarily with a detached – ironic and/or humorous approach to the reality, which is at the same time indulgent and willing to accept „the existing shape of the world” in all its manifestations approach to reality. In other words, it is not usually associated with the expression of pessimistic moods, focused on exposing the negative aspects of existence. This image, deformed or rather radically reduced, although at the same time corresponding to one of the variants of Czech autoimagology, requires a kind of untruth or at least supplementation. Looking at this culture from a different, „darker” side and finding a different axiological pers- pective in it, therefore, turns out to be a convenient tool for revalorization and – as a result – may contribute to the development and dissemination of its more complex description, which would take into account various models of emotional attitude to reality and allowed to set new research trails. Even a cursory examination of Czech literature, both published in recent years and from earlier times (including Hašek and Hrabal), proves that it not only does not avoid expressing a negative worldview, but also often makes it the primary „hallmark” of its noetic position

PL

Literatura czeska w Polsce kojarzona bywa przede wszystkim z pełnym dystansu – ironicznym i/lub humorystycznym, ale jednocześnie pobłażliwym i skłonnym do akceptowania „zastanego kształtu świata” we wszystkich jego przejawach podejściem do rzeczywistości. Innymi słowy, nie łączy się jej zazwyczaj z ekspresją nastrojów pesymistycznych, nastawionych na eksponowanie negatywnych aspektów bytu. Obraz ten, zdeformowany czy raczej radykalnie zredukowany, choć zarazem korespondujący z jednym z wariantów czeskiej autoimagologii, wymaga swoistego od- kłamania czy przynajmniej uzupełnienia. Obejrzenie tej kultury od innej, „ciemniejszej”, strony i odnalezienie w niej odmiennej perspektywy aksjologicznej okazuje się zatem dogodnym narzędziem rewaloryzacji i – w efekcie – może przyczynić się do wypracowania i rozpowszechnienia jej bardziej złożonego opisu, który uwzględniałby różnorodne modele emocjonalnego stosunku do rzeczywistości i pozwolił na wytyczenie nowych tropów badawczych. Pobieżne nawet prześledzenie czeskiej literatury, zarówno publikowanej w ostatnich latach, jak i pochodzącej z czasów dawniejszych (Haška i Hrabala nie wyłączając) dowodzi zresztą, że nie tylko nie unika ona wyrażania negatywnego światoodczucia, lecz także nierzadko czyni z niego pierwszoplanowy „znak rozpoznawczy” swego noetycznego stanowiska.

4

Ambiwalencja Melancholii

71%

Proszak M. , Żymełka A.

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tom 12

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nr 21

351-354

EN

In this essay, we attempt to convey Lars von Trier’s Melancholia in the light of Friedrich Nietzsche’s philosophy, i.e., the three metamorphoses of the spirit, contained in Thus Spoke Zarathustra. Three levels of existence (the camel, lion and child) are ascribed to the main character, Justine, whose evolution can be seen during the film. In the face of the film’s intended ambiguity, we suggest treating our essay as a voice in the discussions about Trier’s movie, which has provoked plenty of different interpretations.

PL

Ambiguity of Melancholy In this essay, we attempt to convey Lars von Trier’s Melancholia in the light of Friedrich Nietzsche’s philosophy, i.e., the three metamorphoses of the spirit, contained in Thus Spoke Zarathustra. Three levels of existence (the camel, lion and child) are ascribed to the main character, Justine, whose evolution can be seen during the film. In the face of the film’s intended ambiguity, we suggest treating our essay as a voice in the discussions about Trier’s movie, which has provoked plenty of different interpretations.

5

Fin de l’art et la mélancolie

58%

Luňáková A.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2022

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tom 32

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nr Special Issue

78-89

EN

Based on the theory of Arthur Coleman Danto I try to outline possible similarities between the state of art after its end and the state of melancholy. The melancholic breaks the order, thus paradoxically drawing its boundaries. Aristotle’s Problems, Robert Burton’s Melancholia, and a study of Melancholia of theorist László F. Földényi help us to name characteristics of this state.

6

Obraz czarnego słońca w wybranych utworach francuskich i polskich romantyków (rekonesans).

51%

Śniedziewski P.

Prace Polonistyczne

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2015

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tom LXX

199-215

EN

The article’s goal is an inquiry into the main contexts, in Polish and French Romanticism, for the metaphor of black sun; the metaphor belongs with images and themes clearly marked by the experience of melancholia. There was also a significant impact of astronomical fantasies which, perhaps surprisingly, were very popular in Romanticism. Another important reference point for the present text analysis is the Biblical tradition (related mainly to Old Testament books and The Revelation). However, it must be stressed that the popularity of the metaphor of black sun, both in France and in Poland, was undoubtedly fostered by the popularity of Dürer’s print Melancholia I, and Jean-Paul Richter’s famous Speech of the Dead Christ. In works by selected authors, who represent the two language areas under discussion (including Gautier, Nerval, Słowacki, and Krasiński), it is possible to notice significant differences, which allow for asserting the existence of a different model of dissemination of the image of black sun. Inasmuch as French Romantics mostly approach the image in aesthetic and existential terms, the Polish authors clearly focus on metaphysical and historiographical approaches. It is also important that contrary to Biblical sources, where the image of black sun was often related to God’s wrath or his intervention in earthly order, as in Last Judgement, and contrary to astronomical sources, which eliminated individual perspective and clearly strived for objective approach, the metaphor of black sun in texts by Romantic authors is mostly of anthropological quality; it is an image of the human being confronted by individually experienced transience (in the existential model, closer to French Romantics), or in confrontation with time of a community (historiosophic model, which dominates in texts by Polish Romantics).