Wyniki wyszukiwania - Biblioteka Nauki

1

Na styku dyskursów i dyscyplin: Literatura a rzeźba

100%

Nowara-Matusik N.

Przegląd Humanistyczny

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2020

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tom 64(2 (469))

95-101

PL

-

2

Pieśń ku niebiosom. Echa chopinowskie w twórczości Artura Oppmana

88%

Sikorska-Krystek A. , Krystek J.

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nr 41

227-245

EN

This article presents a cycle of lyrical works entitled Z motywów Chopina (From Chopin’s themes) by Artur Oppman, published in 1893 in the volume Pieśni (Songs). The shape of this cycle had been modified over the years. In 1908, the poet changed its title and expanded it with new works. This change testifies to the evolution of the creative concept and the set of ideas about the function of the composer’s work. Contrary to the opinion rooted in the tradition of research about the conventional approach to the impact of Chopin’s work presented in Oppman’s lyrical poetry, the authors of the article demonstrate a far-reaching originality of the discussed work, focusing their attention both on issues related to understanding the narrowly-defined poetological knowledge and on the problem of translating musical means of expression into the language of a literary work.

3

Intertekstualność, interdyskursywność, korespondencje — praktyki literackie

88%

Michalski M.

Aspekty Muzyki

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2017

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tom 7

33-51

EN

The paper presents selected phenomena of intertextuality, interdiscoursiveness, and corres-pondence of arts in contemporary literature, especially Polish. In spite of intertextuality being a category well recognized in the contemporary theory of literature, it seems rarely developed nowadays, so there is no need to present well known and classic theoretical concepts. Both intertex-tual and interdiscoursive literary practices, the latter understood as creating dialogical or polemical relations among discourses, are widespread, especially in postmodernism and late modernism, and the phenomenon of the correspondence of arts can also be considered an aspect of intertex-tuality. This article focuses on the selected examples of intertextual references (mainly allusions and stylization) in sound realization of ideas (versification), composition and genre conventions, as well as relations between literature and philosophy, especially those of parodic character con-ceived — according to the classic concept of Linda Hutcheon — as a repetition with critical distance, which marks difference rather than similarity. Philosophical parody is characterized by ambiguity (repetition means acceptance, parodic exaggeration gives critical distance) towards philosophical schools and academic discourse of philosophy. Selected phenomena are presented on the examples from texts by Julian Tuwim, Cyprian Kamil Norwid, Marian Piechal, Tomasz Różycki, Witold Gombrowicz, Sławomir Mrożek, Robert Coover, Stanisław Lem, Wystan Hugh Auden, Hans Magnus Enzensberger, Stefan Themerson, and Leszek Kołakowski.

4

Écrire la danse, danser la vie. 'Ego tango' de Caroline de Mulder

87%

Siwek R.

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tom 40

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nr 4

51-56

EN

Ego tango is the debut novel by a Belgian writer, Caroline de Mulder. In 2010, it won the most significant literary award in the country. The story is set in a closed circle of the Paris tango dancers. The present study examines the original narration of the novel and the construction of the plot, which are both subordinated to the introvert nature of the tango – a dance that becomes an addiction and an obsession. De Mulder’s text is an interesting example of a theoretical problem of the “correspondence of arts,” their mutual overlapping and co-dependence; in this particular case, literature and dance. This concerns both the music and the lyrics of the tangos, which constitute and integral component of the structure of the musical piece and determine the rhythm of the story being told, its atmosphere, mood and type of the relationship between the protagonists. The novel was inspired by the personal experience of the authoress – a tango dancer and was structured in accordance with the nature and the spirit of this dance.

FR

Ego tango is the debut novel by a Belgian writer, Caroline de Mulder. In 2010, it won the most significant literary award in the country. The story is set in a closed circle of the Paris tango dancers. The present study examines the original narration of the novel and the construction of the plot, which are both subordinated to the introvert nature of the tango – a dance that becomes an addiction and an obsession. De Mulder’s text is an interesting example of a theoretical problem of the “correspondence of arts,” their mutual overlapping and co-dependence; in this particular case, literature and dance. This concerns both the music and the lyrics of the tangos, which constitute and integral component of the structure of the musical piece and determine the rhythm of the story being told, its atmosphere, mood and type of the relationship between the protagonists. The novel was inspired by the personal experience of the authoress – a tango dancer and was structured in accordance with the nature and the spirit of this dance.

5

Spór o polską „poezję muzykalną”. Królikowski – Elsner

75%

Seweryn A.

Pamiętnik Literacki

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2020

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tom 111

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nr 1

19-31

PL

Tematem artykułu są wypowiedzi teoretycznoliterackie Józefa Elsnera i Józefa Franciszka Królikowskiego, dotyczące wzajemnych relacji poezji i muzyki. Autorka, zaznaczając liczne zbieżności w poglądach estetycznych obu autorów, koncentruje się jednakże na wątkach polemicznych. Zwraca uwagę przede wszystkim na te aspekty myśli Królikowskiego, które pozwalają widzieć w nim przeciwnika postrzegania związków literatury i muzyki przez pryzmat ścisłych odpowiedniości pomiędzy sztukami oraz wskazuje na Elsnera jako ich rzecznika. W tym ujęciu refleksja autorów postanisławowskich, skoncentrowana w znacznej mierze wokół sposobów kształtowania „wierszy do śpiewania”, nie tylko poprzedza współczesny dyskurs poświęcony polskiemu sylabotonizmowi, ale też zapoczątkowuje na gruncie polskim dyskusję wokół „muzyczności” poezji pojmowanej w kontekście precyzyjnych analogii oraz correspondance des arts.

EN

Józef Elsner’s and Józef Franciszek Królikowski’s literary theoretical statements about the reciprocal relationships between poetry and music form the subject of the article. Marking the numerous convergences in the aesthetic views expressed by the two figures, the author of the paper also concentrates on the polemical threads. She first and foremost focuses on such aspects of Królikowski’s thought that allow to view him as an opponent of perceiving the music-literature relationship through the prism of strict conformity between the arts, and she points at Elsner as at an advocate of those views. In this approach, the reflection of Warsaw pseudo-classicist authors concentrated mainly on the modes of forming “poems for singing” not only precedes the modern discourse on the Polish syllabic-accentual verse, but also commences a Polish discussion on the “musicality” of poetry understood in the context of close analogies and correspondance des arts.

6

„Ogród sztuk”. Kilka uwag o Orkiestrze Zbigniewa Rybczyńskiego

65%

Grodź I.

Poznańskie Studia Polonistyczne. Seria Literacka

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2013

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nr 22

269-287

EN

The garden presents itself as an area consciously created by the human being. Its representation is usually actualized in opposition both to what is natural and to what is artificial (e.g. to a city). Over many years now, the garden has been been considered to be a “cultural fossil”, and as such, an object of importance for literary critics, film critics, art historians, musicologists etc., and an anthropological phenomenon, which is demonstrated by contemporary juxtapositions of aesthetics with environmental science, pace Gernot Böhme, or the transcultural aesthetics promoted by Wolfgang Welsch). At this stage, we are very close to full understanding of the phenomenon of garden-topos, as well as the numerous garden metaphors. In Zbigniew Rybczyński’s film Orkiestra there are several areas of author’s interest in the garden created and filmed on a theatrical stage. The garden as a space of life-renewal, symbol of birth and metaphysical rebirth, a renewed experience of fulness. The garden as a space of ordered life, positive energy, areas of joy liberation, a synonym of goodness and ideals. Finally, as the symbol of return to creation, beauty, to the first beginning, to civilized and tame nature.

7

Malarz uchodźca. Poetyckie spotkanie z Caravaggiem w twórczości ks. Janusza St. Pasierba

63%

Peroń M.

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tom 62

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nr 1: Literatura Polska

114-128

PL

W poezji ks. Janusza St. Pasierba znajdują się trzy wiersze inspirowane malarstwem Caravaggia. Dwa z nich tworzą poetycki cykl na temat obrazu Ścięcie św. Jana Chrzciciela (Oratorium św. Jana Chrzciciela, Malta). Poeta odwołuje się do biografii malarza, zwłaszcza jego awanturniczego trybu życia, oraz wnika w wydarzenia biblijne. Istotna dla jego refleksji jest przestrzeń architektury, która bogactwem wnętrza kontrastuje z surowością dokonywanej zbrodni. Poeta wykorzystuje malarską zasadę kontrastów, by ukazać sytuację człowieka współczesnego. Poetycka refleksja dotyczy różnorakich aspektów wygnania: egzystencjalnej sytuacji samotności oraz stanu grzechu, doświadczenia śmierci, pokuty i nawrócenia.

EN

Among Rev. Janusz St. Pasierb’s poetical works there are three poems inspired by Caravaggio’s painting. Two of them make up a poetical series whose subject is the painting Beheading of St John the Baptist (Oratory of St John’s Co-Cathedral, Malta). The poet refers to the artist’s biography, and especially to his belligerent way of life, and he analyzes biblical events as well. The architectural space that with its wealth of the interior is contrasted with the harshness of the crime that is being committed, is significant for him. Using the painter’s principle of contrasts the poet shows the situation of the modern man. Poetic reflection is concerned with various aspects of exile: the existential situation of loneliness and the state of sin, the experience of death, penance and conversion.

8

Między wiedzą a widzeniem. O sposobach przedstawiania świata w Balzakianach Jacka Dehnela

63%

Monika Kwaśnik M.

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nr 1

410-429

EN

Jacek Dehnel shows in Balzakiana his interest in tradition of realistic prose with a distinctive method of narration and an area of interests. The article shows the constant tension between the methods of depicting the world based on knowledge and an imitation of perceptual processes. This idea is charac- teristic of the newest prose composition. The article examines the multiple connections of the narration of Balzakiana to plastic arts and the language of the film. Jacek Dehnel’s Balzakiana reminds people about problems which haven’t changed despite the passage of years. Those problems are expressed by means referring to the visuality of any modern artistic media.

9

Tańczące muzy. Kino i korespondencja sztuk

63%

Hendrykowski M.

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2009

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tom 7

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nr 13-14

5-14

EN

How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.

PL

Dancing muses. Cinema and the correspondance of arts How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.

10

O Prusie można w nieskończoność?… Recenzja książki Cezarego Zalewskiego, „Bolesław Prus jako estetyk. Sztuki piękne w dyskursie i praktyce prozatorskiej pisarza”, Kraków 2014, ss. 380 i XXV ilustracji barwnych

63%

Kuniczuk-Trzcinowicz A. , Uniwersytet Warszawski W. A. L. , Agnieszka Kuniczuk-Trzcinowicz – tytuł doktora uzyskała w 2005 na Uniwersytecie Wrocławskim. Współpracuje z Uniwersytetem Warszawskim (Wydział „Artes Liberales”) oraz Instytutem Badań Literackich. Uczestniczka grantów związanych tematycznie z literaturą i kulturą XIX wieku p. e. , atrzcinowicz@vp.pl

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2015

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tom 04

PL

Recenzja naukowa książki Cezarego Zalewskiego o poglądach estetycznych Prusa. Autorka omawia ujęcie Zalewskiego, sytuując książkę na tle dotychczasowych badań prusologicznych. W recenzji został zaprezentowany zamysł Autora, kompozycję książki, materiał.

EN

Reviewed of the book by Cezary Zalewski on Bolesław Prus as a aesthetician. The reviewer discusses Zalewski’s approach, locating the book on the background of previous studies on Prus. The review presents the author’s intention, composition of the book, and the material.

11

Powinowactwa i koligacje artystyczne Celiny Michałowskiej

63%

Kulesza M.

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nr 10

99-125

EN

The aim of this study is to present the artistic affinities of Celina Michałowska, a painter and a member of the Congregation of the Sisters of the Immaculate Conception of the Blessed Virgin Mary as well as daughter and only student of Piotr Michałowski, the most outstanding representative of the Romantic trend in Polish painting of the 19th century. The multitude of fields of art practised by Michałowska and the various alliances between them make it possible to place this research area in the field of specific correspondence between different arts. The work also discusses the unique network of artistic relations that bound Michałowska not only with other artists from the congregation but also with the members of her distinguished and educated family who were involved in painting, music, writing, which had a considerable influence on the artistic momentum in the life and work of Celina Michałowska.

PL

Celem niniejszego opracowania jest ukazanie artystycznych powinowactw niepokalańskiej artystki malarki Celiny Michałowskiej, córki i jedynej uczennicy Piotra Michałowskiego, najwybitniejszego przedstawiciela romantycznego nurtu w polskim malarstwie XIX-wiecznym. Wielość uprawianych przez Michałowską artystycznych dziedzin i rozmaite alianse, jakie między nimi się dokonywały, pozwala umieścić ów obszar badawczy w polu swoistego korespondowania sztuk. W pracy omawia się także jedyną w swoim rodzaju sieć artystycznych relacji, jakie wiązały Michałowską nie tylko z innymi niepokalańskimi artystkami, ale także z członkami jej znamienitej i wykształconej rodziny, którzy parali się malarstwem, muzyką, pisarstwem, co miało niebagatelny wpływ na artystyczny rozmach w życiu i twórczości Celiny Michałowskiej.

12

Restraining the ‘gaze of evil’ in the case of Thomas Mann’s 'Doctor Faustus' and Jonathan Littell’s 'The Kindly Ones'

44%

Garlej B. , Garlej B.

Przegląd Filozoficzny. Nowa Seria

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2020

|

nr 4

13

Korespondencja sztuk, czyli monotonia pagórków

38%

Chlebowski P.

|

tom 30

229-244

EN

The article is concerned with a discussion and assessment of Ilona Woronow’s book “Romantyczna idea korespondencji sztuk. Stendhal, Hoffmann, Baudelaire, Norwid” (The Romantic Idea of Correspondence of Arts. Stendhal, Hoffmann, Baudelaire, Norwid) (Kraków 2008) devoted to one of the most important ideas in the epoch. The author tries to define the theoretical and critical basis of the whole phenomenon in the perspective of four important figures of literary life of that time. She focuses first of all on the semantic dimension of the problem – she tries to show and solve the intricacies and ambiguities of Romantics judgments and opinions. However, she pays almost no attention to the aesthetic or axiological aspect of the concept of “correspondence of arts”, which leads to narrowing the whole research perspective. This unconscious limitation also leads to a great degree to a lack of clarity of the argumentation. In the book only the chapter devoted to Stendhal is redeemed, as well as some parts treating about Norwid (a good reading of the poem “Nie myśl, nie pisz – podmaluj” (Do not think, do not write – just paint) is noteworthy). The whole has a fragmentary nature, which presses heavily on it, and the multitude of quotations devoid of their context and of penetrating commentaries, the numerous digressions and unexpected turns of the narrative lead the reader towards some “semantic forest”, and not to a clear conclusion: in fact, there is no clearly distinguished point of departure and no clearly determined aim. This is why the reader who was promised a view from the tallest mountain is disappointed, as he is only given the monotony of hills.

14

Korespondencja sztuk, czyli monotonia pagórków

38%

Chlebowski P.

Studia Norwidiana

|

2012

|

tom 30

229-244

EN

The article is concerned with a discussion and assessment of Ilona Woronow's book Romantyczna idea korespondencji sztuk. Stendhal, Hoffmann, Baudelaire, Norwid (The Romantic Idea of Correspondence of Arts. Stendhal, Hoffmann, Baudelaire, Norwid) (Kraków 2008) devoted to one of the most important ideas in the epoch. The author tries to define the theoretical and critical basis of the whole phenomenon in the perspective of four important figures of literary life of that time. She focuses first of all on the semantic dimension of the problem – she tries to show and solve the intricacies and ambiguities of Romantics judgments and opinions. However, she pays almost no attention to the aesthetic or axiological aspect of the concept of “correspondence of arts”, which leads to narrowing the whole research perspective. This unconscious limitation also leads to a great degree to a lack of clarity of the argumentation. In the book only the chapter devoted to Stendhal is redeemed, as well as some parts treating about Norwid (a good reading of the poem Nie myśl, nie pisz – podmaluj (Do not think, do not write – just paint) is noteworthy). The whole has a fragmentary nature, which presses heavily on it, and the multitude of quotations devoid of their context and of penetrating commentaries, the numerous digressions and unexpected turns of the narrative lead the reader towards some “semantic forest”, and not to a clear conclusion: in fact, there is no clearly distinguished point of departure and no clearly determined aim. This is why the reader who was promised a view from the tallest mountain is disappointed, as he is only given the monotony of hills.