Wyniki wyszukiwania - Biblioteka Nauki

Ten serwis zostanie wyłączony 2025-02-11.

Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl

Ograniczanie wyników

Znaleziono wyników: 5

Liczba wyników na stronie

Wyniki wyszukiwania

Wyszukiwano:
w słowach kluczowych: Rainer Maria Rilke

Sortuj według:

Ogranicz wyniki do:

Lektury Andrzeja Pleśniewicza (Paul Valéry, Rainer Maria Rilke, Valery Larbaud). Wobec nowoczesności

100%

Wójcik T.

tom 61(4 (459))

185-190

The article is a proposal to read three essays – “Paul Valéry”, “Rainer Maria Rilke” and “Valery Larbaud” by Andrzej Pleśniewicz, a largely forgotten literary critic of the inter-war period. Reading selected works of the mentioned poets of the turn of the 19th and 20th centuries by Andrzej Pleśniewicz appears to be a recognition of established in them diagnosis of the state of modern spirituality – the spiritual condition of modernity.

A watchmaker-dynamitard: From the Gałąź zachodnia [The Western Branch] archive

81%

Zieliński J.

nr 31

An unpublished essay about Haupt found in the critic’s archive: it is a chapter from a book titled Gałąź Zachodnia [The Western Branch] on Polish émigré literature, ready to print in 1990, but never published. The essay discusses the distinct features of Zygmunt Haupt’s prose, such as its artistic and musical qualities, complex narrative structure, (false) autobiographical tropes, hidden erudition, historical landscape, cinematic techniques, borderland and Mediterranean themes, and references to adventure novels. Haupt’s prose is also compared with the works of Andrzej Bobkowski, which allows the critic to discuss the contradiction, also emphasized in the title of the essay, between Haupt’s anarchist tendencies and his quest for perfection and precision in a work of art.

Hauptowskie ineditum z archiwum autora: rozdział z gotowej do druku w roku 1990, ale nigdy nie wydanej książki o polskiej literaturze emigracyjnej zatytułowanej Gałąź zachodnia. Próba pokazania odrębności pisarstwa Zygmunta Haupta poprzez takie cechy, jak malarskość i muzyczność, podwójność narracji, sugestia (złudna) autobiograficzności, ukryta erudycja, krajobraz historyczny, technika filmowa, łączenie tematyki kresowej z kulturą śródziemnomorską, odwołania do powieści młodzieżowych. Porównanie z twórczością Andrzeja Bobkowskiego prowadzi do sformułowania, ujętej już w tytule, podskórnej sprzeczności między tendencjami anarchistycznymi w dziele Haupta a właściwym mu jako artyście dążeniu do precyzji.

Rodin, czyli świat. Dwie kosmogonie – Rainera Marii Rilkego i Georga Simmla

75%

Popiel M.

nr 29

15-29

The article is a comparative analysis of the modernist aesthetics of creation. It describes how Rilke and Georg Simmel discovered August Rodin’s rules of modern perception, sensitivity and creative imagination. In the work of both writers we see them striving to interpret works of art as a creative process that is the effect of their astute diagnosis of contemporary culture. A new approach to aisthesis restores value to aesthetic experience and opens up broader learning opportunities.

Spojrzenie zwrócone ku wnętrzu

75%

Melberg A.

nr 18

191-210

This article presents an analysis of the transformations in the poetics of Rainer M. Rilke. According to the author, the essential impulse for the inception of this evolution had been provided by the encounter of the poet with a series of paintings by French artist Paul Cézanne. The author outlines particular traits in Rilkean poetic variants of modernism: the poet, drawing inspiration from the very same sources as many of his contemporaries (such as, for example, cubists), proposed his own conception of a poetic language. The most important element that constitutes a poem and a poetic image is the rhythm, the fundamental component in the organization of the text. Painterly “overlapping” of planes in a poem becomes thus a kind of a “breath” to take, that opens up a poem to the infinity underlined in the subject. From the experience gained in the visual arts concerning the “attitude and insight”, in turn, a poem attempts to organize a new arrangement for the presented space - ambiguous and in a constant movement.

Elegia jako gatunek filmowy. Adaptacja - inspiracja - sugestia

62%

Koschany R.

nr 18

175-188

The question that this is article is concerned to answer is how the position of the film elegy can be best formally established - with its artistic representations, as well as its functioning in the genology of the genre. An attempt to provide definitive answers that emerge from interdisciplinary, film and literary discourse brings a number of substantial threads. Firstly, there is, indeed, no theoretical description of the elegy as a film genre, though the very name does appear in many titles. Secondly, it seems that a juxtaposition of available examples of film ad-aptations of elegies does not lead to any consistent conclusion, since, apart from the suggestion proposed by the author, they are different in terms of formal and thematic elements involved. Thirdly, any attempt at a genological profiling has to, somehow, refer to a more or less fixed literary genre and the relevant theory behind it. In a most general way, one can state, albeit with a number of reservations, that the elegiac film is characterized by a distinguishable style, often simply called the elegiac style, and the theme, very broadly associated with time and the theme of passing.