Wyniki wyszukiwania - Biblioteka Nauki

1

‘We Thank the Lord God’. A Hausa Poem from the IASAR/160 Manuscript

100%

Piłaszewicz S.

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2

Socjolekt szlachecki w Pacholęciu hetmańskim Wincentego Pola (rekonesans)

100%

Bryła W.

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tom 22

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nr 1

55-68

PL

The author discusses the manifestations of the ways in which noblemen talked about and evaluated social and family life. He brings attention to the cult of a family home, respect for home tradition, brotherhood of the nobility and the will to get to know the world.

3

Blackout i found poetry. Od notatki i „poezji z odzysku” do interpretacji tekstów o II wojnie światowej

89%

Kania A.

Z Teorii i Praktyki Dydaktycznej Języka Polskiego

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2019

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tom 28

51-65

EN

The author offers to use the creative activities of blackout poetry and found poetry to interpret works dealing with the subject of the Holocaust. She presents a detailed scheme of applying this form of work during lessons with students. She argues that such a solution can be an enrichment of traditional interpretation, it also allows to stimulate the creativity of students and engage them in the didactic process.

4

Czeladnik i mistrz. Czesława Miłosza spotkania z Oskarem Władysławem Miłoszem

88%

Bernacki M.

Postscriptum Polonistyczne

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2011

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nr 2(8)

191-206

EN

The theme of the article is multi¬ facted description of Czesław Miłosz's long lasting fascina-tion by the person and deeds of his distant relative Oskar de Lubicz Miłosz. The two poets met for the first time in Paris in 1931. Ever since then Miłosz being impressed by poetic and dramatical works of his uncle, attempted to popularize them among the readers in Poland and abroad. He wrote essays about him and translated his French poems into English and Polish. The crowning of this process was a poem Czeladnik (A Journeyman) (from a volume Druga przestrzeń, 2004) and a poem Dobroć (Goodness) – according to Agnieszka Kosińska the very last poem completed by Miłosz before his death.

5

„Śmiech” w poematach Norwida

88%

Korpysz T.

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nr 3

91-106

PL

W artykule oglądowi poddano rodzinę słowotwórczą śmiechu w poematach Cypriana Norwida. Tworzy ją 10 leksemów: naśmiać się, pośmiewać, pośmiewisko, rozśmiać się, śmiać się, śmiech, śmieszny, wyśmiewać się, wyśmiewany i zaśmiać się, użytych łącznie 43 razy. Jedynie w części owych użyć wymienione wyrazy wiążą się z szeroko rozumianą kategorią komizmu czy radości. Nawet wówczas jednak śmiech i śmianie się stosunkowo rzadko mają charakter czysto ludyczny i są waloryzowane dodatnio. Znacznie częściej ten, kto się śmieje, jest oceniany negatywnie ze względu na to, że jego wypowiedzi i zachowania okazują się skierowane przeciwko komuś lub czemuś, stanowią przejaw naznaczonego wyższością agresywnego stosunku wobec drugiego człowieka albo też jakichś fenomenów czy zdarzeń, a samo śmianie się bywa zachowaniem nieautentycznym bądź sygnałem emocji i postaw negatywnych. W użyciach przymiotnikowych aspekt ludyczny albo w ogóle nie istnieje, albo też jest wyraźnie drugoplanowy, a leksemowi śmieszny zazwyczaj można przypisać znaczenie ‘dziwny, dziwaczny, zaskakujący’ i/lub ‘błahy, niezasługujący na uwagę’.

EN

The paper offers an insight into a family of a root word śmiech (laugh) in Cyprian Norwid’s poems. The family is composed of 10 lexemes, namely naśmiać się (have a good laugh), pośmiewać (spend some time laughing), pośmiewisko (laughing stock), rozśmiać się (make laugh), śmiać się ( laugh), śmiech (laughter), śmieszny (laughable), wyśmiewać się (laugh somebody sick), wyśmiewany (laughed) and zaśmiać się (give a laugh), used 43 times in total. In only a part of their uses, the words above refer to a broadly understood category of the comic or joy, but even in such instances laugh and laughing have only occasionally purely ludic character and are positive. Much more often the one who laughs is given negative values since their statements and behaviours prove to be against someone or something, they manifest aggressive and marked by superiority attitude towards the other person or certain wonders or occurrences, while laughing as such tends to be either non-authentic behaviour or a signal of negative emotions or stances. In their uses as adjectives, the ludic aspect is either absent or markedly of secondary importance, and the lexeme śmieszny (laughable) oftentimes is assigned the meaning ‘weird, bizarre, surprising’ and/or ‘trivial, not worthy of attention.’

6

Jan Lechoń: wiatr nocy, rysunek rdzy (na marginesie wiersza Stara Warszawa)

87%

Próchniak P.

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2010

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nr 17

67-80

EN

The present sketch proposes an aspectual analysis and interpretation of the poem Stara Warszawa by Jan Lechoń. The author of the sketch is interested in architectonics of the world revealed and rendered in the poem, in a complex and intricate network of relations in which the poem establishes, maintains, develops and interacts with other cultural texts, as well as its existentialist dimension. The basic frame of reference for the last mentioned issue is the friendship shared by Lechoń and Stanisław Baliński.

7

„Jak wyprowadzić z ruin ludzi” – o sensie poezji po „Drugiej Apokalipsie”. O kilku utworach Zbigniewa Herberta

75%

Filipczuk M. , Filipczuk M.

Prace Literaturoznawcze

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2017

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nr 5

107-122

EN

After the Second World War, discussions erupted concerning the character and legitimacy of art, including poetry. The famous line by Theodore Adorno, saying that writing poetry after Auschwitz is impossible, was frequently debated. However, should the silence of poetry be the answer to genocide? Polish poets also joined this international discussion. The painful paradox was most prominently displayed by the attitude of Tadeusz Różewicz, who simultaneously wrote and emphasized the moral ambiguity of “writing poems after Oświęcim”. He posited that the cultural inheritance did not prevent the moral and material ruin, and if so, then the death of fundamental values should be accompanied by the complete collapse of the higher human activities that are based on these values. Every poem that emerges after this upheaval of the world thus far participates in the creation of falsehood; it is another element upholding the appearances that everything is the same as it once was. This poet of the second half of the twentieth century stood in a morally ambiguous position, allowing himself a voice when so many people had been deprived of their own voice. Tadeusz Różewicz, noting the “death of poetry”, did not put down his pen. Zbigniew Herbert takes a completely different stance on this issue. The purpose of this study is the analysis of works that provide insight into Zbigniew Herbert’s thoughts on the subject of the role of art. This examination focuses on Herbert’s work from the 1950s (his first two collections: Chord of Light and Hermes, Dog and Star).

8

Несколько заметок о рецепции творчества Марии Павликовской-Ясножевской в «русскоязычном пространстве»

75%

Bednarczyk A.

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2011

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nr 4

114-123

EN

Within the framework of the studies concerning the reception of Maria Pawlikowska-Jasnorzewska’s poetry in the Soviet Union and in Russia, the author explores the issue of the political context in the target cultural and linguistic space. She also explores the problem of literal translation as a method of popularising the poems studied, and analyses the function of the Russophone Internet in the popularisation of the Polish poet.

9

Norwid - Fern vom Trivium seiner Epoche

63%

Gehrisch P.

Roczniki Kulturoznawcze

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2014

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tom 5

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nr 3

15-25

EN

About Freedom of Speech by Cyprian Norwid goes—like Goethe’s Faust—beyond the limits of intelligibility. “Maybe—as Heidegger claims—language requires much less hast for words, than deliberate silence.” The Polish poet cuts himself off from the canon of philosophical views—like a child who wants to discover the world in its own way, not to learn it by using knowledge and education, following the designated track. In his works Norwid abandons the canon of his epoch’s poetry and he, so to say, cuts across. He occupies an outstanding position on the background of contemporary European writers. The advocate of the motto: “art for art’s sake” Stefan Mallarmé and Norwid are definitely different as far as the attitude towards current events is concerned, however they are united in their willingness to go beyond the boundaries of the word. In Norwid’s works it is manifested by a constantly used technique of being silent and it culminates in incredible amazement and dazzle: “In this moment I touched the Resurrection with my finger / and I pronounced the word: I AM.” On the other hand, in Mallarmé’s output we deal with presenting internal images which subconsciously evoke musical vibrations. Norwid shares with Godfryd Benn the belief that the “ETERNAL MASTER” and the liberating knowledge of the Word play indispensable roles in history. On the other hand, what the Polish poet and Ezra Pound have in common are: an immense reading canon, great knowledge and extraordinary poetic images. The coming of the new epoch caused a distur-bance of the previous hierarchy of works and at the same time—as it is in Norwid’s case—a manifestation of what had not been noticed so far.

PL

Rzecz o wolności słowa Cypriana Norwida wykracza - podobnie jak Faust Goethego - poza granice zrozumiałości. „Być może - jak twierdzi Heidegger - język wymaga znacznie mniej pochopnych słów niż przemyślanego milczenia”. Polski poeta odcina się od kanonu filozoficznych poglądów - podobnie jak dziecko, które na własny sposób chce odkrywać świat, nie zaś poznawać go przez naukę i wychowanie, idąc wyznaczonym torem. Norwid w swych utworach porzuca kanon poezji swej epoki i idzie niejako na przełaj. Zajmuje on wybitną pozycję na tle współczesnych pisarzy europejskich. Głosiciel hasła „sztuka dla sztuki” Stefan Mallarmé i Norwid zdecydowanie różnią się, gdy chodzi o stosunek do bieżących wydarzeń, spotykają się jednak w dążeniu do tego, aby wyjść poza granice słowa. U Norwida przejawia się to w ciągle stosowanej technice przemilczenia, a kulminuje w niesamowitym zdumnieniu i olśnieniu: „W tym momencie dotknąłem palcem Zmartwychwstanie /1 wymówiłem słowo: JESTEM”. U Mallarmégo mamy natomiast do czynienia z przekazaniem wewnętrznych wyobrażeń, które podświadomie wywołują muzyczne drgania. Z Gotfrydem Bennem dzieli Norwid przekonanie o niezastąpionej w dziejach roli, jaką odgrywa „MISTRZ-WIEKUISTY”, i wyzwalającej wiedzy Słowa. Polskiego poetę i Ezrę Pounda łączy z kolei ogromny kanon lekturowy, wielka wiedza i niezwykłe poetyckie obrazy. Wraz z nadejściem nowej epoki następuje zachwianie dotychczasowej hierarchii dzieł, a zarazem – jak to jest w przypadku Norwida – wyłonienie się tego, co dotychczas było niezauważone.

10

W poszukiwaniu odpowiedniej formy — słów kilka o utworach poetyckich i warsztacie pisarskim Stanisława Kostki Potockiego

63%

Lisicka M.

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2014

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tom 69

35-46

EN

This paper attempts to characterise generally the poetic legacy of Stanislaw Kostka Potocki. In several books of the Public Archives of Potocki’s family one can found mainly unpublished poetical works preserved in various forms: autographs, copies controlled by the author and his fair copies or copies made by secretaries. Some of the texts are unfinished, others are carefully refined, however, preserved number of variants and correction versions of concrete works give opportunity to analyse the author’s workshop. First of all, it seems that these are the original texts, although there are many problems associated with their attribution. On the basis of the preserved materials, it can be assumed that Stanislaw Kostka Potocki could have prepared some of his poems for publication.

11

Genesis of the mystical ecstasy in the prologue of the Parmenides’ poem

63%

Mrówka K.

Filozofia Chrześcijańska

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2016

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tom 13

54-63

PL

The preserved fragments of the Parmenides’ work is one of the oldest testimonies of the mystical experience in philosophy. Mystique meets here with metaphysics. The poem’s prologue is a transcript of the mystic passage of a young man to the goddess who symbolizes the truth of being. By knowing the goddess and her message, young man learns the nature of being. The ecstatic experience opens him on the metaphysical dimension of reality. The sources of the Parmenides’ mysticism are following: the pythagorean philosophy, orphism, shamanism and the cult of Apollo at Delphi.

12

Próba własnej filozofii we Wszystko jest poezja Edwarda Stachury

63%

Iwińska G.

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tom 58

315-324

EN

This text is the presentation of Edward Stachura’s philosophy. It is not about literal philosophy, however, it concerns a system of values and views taken by the writer. The article is an attempt to read Stachura from a different side than as a poet, bard, and mediocre singer. It is a compilation of the writer’s various texts, but the leading one is a little-known work called Everything is poetry. The story-river (edited by H. Berezy, Z. Fedecki, K. Rutkowski, vol. 4, Warsaw 1984) Stachura transforms into almost a sage, into a philosopher who tries to create elementary definitions of the world, people, time and eternity. First of all, I analysed the conceptualisation of the phrase “everything is poetry” as well as attempting to explain what poetry is for the writer in general. The most important conclusion is that “everything is poetry and the least poetry is a poem; everyone is a poet and the least poet is a poet who writes poems”. Thus, he proves that he is not only an “extreme” creator, but one who seeks hope and gaps in describing and understanding the world. Ultimately, it is also a study of Stachura’s broadly understood optimism, underestimated in his work on a daily basis.

13

„PODRÓŻNIK WĘDRUJĄCY DO ŹRÓDEŁ”. WYBRANE WĄTKI W TWÓRCZOŚCI ZBIGNIEWA HERBERTA W KONTEKŚCIE MYŚLI PRESOKRATYKÓW

63%

Filipczuk M. , Filipczuk M.

Świat Tekstów. Rocznik Słupski

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2017

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nr 15

123-142

PL

Life is a journey as long as a man is set to absorb the world, to accept it in its diversi-ty and richness. Zbigniew Herbert often expresses the conviction regarding the “inex-haustible splendour of the world”, and admits that he is “seduced by the beautiful and diversified world” (A Prayer of Mr. Cogito – the Traveller). Both the real and the meta-phorical travelling understood as getting to know – exploring – learning anew, are the domain of the Ionian philosophers. No wonder that the philosophy of Ionian thinkers serves Herbert as the incessant source in his intellectual peregrinations. In this article we explore some interconnections between the aforementioned tradition and Herbert’s work.

14

O naturze refrenu poetyckiego

63%

Mastalski A. S.

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tom 113

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nr 1

155-166

PL

Praca przedstawia próbę refleksji nad naturą refrenu poetyckiego, który w powszechnej świadomości odbiorców literatury jest głównie powtórzeniem. Autor przekonuje, że stanowi on jednak nie tyle powtórzenie czy powrót, ile przede wszystkim formę tożsamości, która nie jest identyczna. Aby zilustrować tę tezę, przywołuje i omawia jedną ze znanych ballad skandynawskich, a następnie pokazuje, jak semantyka refrenu zmienia się wraz z rozwojem tekstu.

EN

The paper reflects upon the nature of the poetic refrain, which in common understanding is mainly a repetition. The author of the paper is convinced that the refrain is not only a repetition or a return, but first and foremost a form of identity that is not identical. To illustrate the thesis, the author recalls and discusses one of common Scandinavian ballads and demonstrates that the semantics of refrain changes as the text develops.

15

The Angels are among us. A Study of the Writings of Paulinus of Nola

63%

Wysocki M.

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tom 88

149-162

EN

Paulinus of Nola (c. 355-431) is undoubtedly one of the most interesting yet least known figures of early Christianity. Born into a wealthy senatorial family from Bordeaux, Paulinus gave up wealth, a career as a civil servant and the practice of secular poetry to follow St Felix on the path of Christian faith. One of its elements was the belief in the existence of angels. In the case of Paulinus of Nola, this belief took on a very concrete expression. The aim of this article is to show, on the basis of an analysis of the surviving letters and songs, the angelology of St Paulinus, which took on above all a pastoral aspect and showed very concrete manifestations of the action of angels for the benefit of the human beings.

PL

Paulin z Noli (ca 355-431) jest z pewnością jedną z najciekawszych, ale i najmniej znanych postaci wczesnego chrześcijaństwa. Pochodzący z bogatej, senatorskiej rodziny z Bordeaux, Paulin porzucił bogactwa, karierę urzędniczą, uprawianie świeckiej poezji, aby naśladować św. Feliksa i podążać drogą chrześcijańskiej wiary. Jednym z jej elementów była wiara w istnienie aniołów. W przypadku Paulina z Noli ta wiara przybrała bardzo konkretny wyraz. Celem niniejszego artykułu jest ukazanie na podstawie analizy zachowanych listów i pieśni angelologii św. Paulina, która miała przede wszystkim wymiar duszpasterski i ukazywała bardzo konkretne przejawy działania aniołów na rzecz człowieka.

16

Muzyczność (w) poezji. W kręgu Mickiewiczowskim i Moniuszkowskim

63%

Tryksza A.

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tom 22

131-150

EN

Andrzej Hejmej, in one of his books devoted to the relationship between literature and music, poses important questions, namely “How does literature seduce music? And at the same time, how does music use literature? Why music pieces adapt works of literature? How do they coexist?”. The author also adds that “these questions only seem to be easy, but there is no universal answer.” The abovementioned issues are the subject of the present article. The research is conducted from the perspective of literary studies, including genological and, most importantly, versificational issues. The notions of musicality and vocality, which stem from linguistic order and are present in the work of the poets from the circle of Mickiewicz, which were adopted by Stanisław Moniuszko in his music, also seem to be important in this context. The article focuses on texts by poets who are not frequently analysed from this perspective, such as Jan Czeczot, Aleksander Chodźko, Antoni Kolankowski, Teofil Lenartowicz, Józef Massalski, Wincenty Pol, Jan Prusinowski, Władysław Syrokomla, Stefan Witwicki, Jan Zachariasiewicz, Józef Bohdan Zaleski.

17

Актуалiзацыя спадчыны Уладзiслава Сыракомлi на сучасным этапе

63%

Варабей М.

Białorutenistyka Białostocka

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2016

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tom 8

PL

Dziedzictwo W. Syrokomli jest zróżnicowane gatunkowo i tematycznie, dlatego staje się bogatym źródłem badań. Biografia, eseje, niektóre teksty poetyckie zostały szeroko omówione w pracach naukowców białoruskich i obcych. Aktualizacja zagadnień dotyczących współczesnych badań nad twórczością W. Syrokomli pozwoli wypełnić lukę w studiach nad historią literatury białoruskiej XIX wieku i historią ówczesnego białorusko-polskiego pogranicza kulturowego. Szczególną uwagę należy zwrócić na poematy historyczne i gawędy W. Syrokomli.

EN

W. Syrokomla’s heritage is diverse in genres and subjects. Therefore, it becomes a rich source of research. His biography, essays, some poetic texts are widely discussed in the works of Belarusian and foreign researchers. Updating of the issues concerning the research on W. Syrokomla’s heritage eliminates the gaps in the study of the 19th century Belarusian literature and Belarusian-Polish cultural borderland. A particular attention should be paid to W. Syrokomla’s historical poems and drawn-out stories.

18

Pochwały na cześć Pana wraz z cudem, który wydarzył się w kraju Eduów (Laudes Domini cum miraculo quod accidit in Aeduico, CPL 1386)

63%

Sawa R.

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tom 46

623-634

EN

translation

PL

tłumaczenie

19

Bertariusz z Cassinum, Wiersz opata Bertariusza o cudach świętego ojca Benedykta

63%

Gacia T.

Vox Patrum

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2020

|

tom 75

555-566

EN

Translation into Polish: Versus domni Bertharii abbatis de miraculis almi patris Benedicti (PL 126, 979-98)

PL

Tłumaczenie na język polski: Bertariusz z Cassinum, Wiersz opata Bertariusza o cudach świętego ojca Benedykta

20

“The Sense of Form” in the Poetry of Wisława Szymborska and Czesław Miłosz

63%

Grądziel-Wójcik J.

Prace Filologiczne. Literaturoznawstwo

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2013

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nr 3(6) cz.1

91-106

EN

The article addresses the sources behind the poems of Wisława Szymborska and Czesław Miłosz. The focal point of Miłosz’s poetry is the concept of Entirety, which is intertwined with his religious worldview, whereas the world in Szymborska’s poetry lacks a metaphysical structure based on a number of divine certainties. These fundamental differences are observed in the metrical decisions made as the shape of the poem becomes a test for the infinite, remaining outside reality. For both authors “the order, rhythm, form” seem to be the reasons for the existence of poetry and as such protect it from chaos and nothingness. However, Szymborska “thinks in verse” differently from Miłosz, undertaking her own “struggle with a poem.” This aspect of her work is analyzed in the article with reference to “I’m working on the world” and “Vermeer.”