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5 Studia Norwidiana

5 Chlebowski P.

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Quidam wobec poetyki żywych obrazów. Przyczynek do genologii poematu

100%

Chlebowski P.

tom 31

117-135

The article points to a genological clue that has not yet been noticed in studies of Quidam. The clue – situating the pictorial art of description on the side of tableaux vivants – leads genological findings in a direction that is different from the one that has been followed up till now: it allows one to see the structure of the work in a different perspective, first of all connected with the idea of a synthesis of arts, with a strong visual and theatrical emphasis. The author, pointing to a connection between Quidam and the poetics of tableaux vivants, not only wants to broaden the genological spectrum by adding new, unknown areas, but also tries to understand its enigmatic plot structure, within which there are two contradictory factors: power and atrophy, synthesis and analysis, fragmentation of the plot and concentration on one event, reduction and excess.

Norwid do „Poety-Ruin” – bez listu. O tekście Do Z. K.

100%

Chlebowski P.

tom 32

131-146

The article tries to revise the views that are established in the study of Norwid, the ones concerning the introduction to the poem Quidam, which was written in the form of a letter. Up till now – almost univocally – researchers have stated that this fragment of the poem is the poet’s real letter written to Zygmunt Krasiński. The present interpretation starts from the facts and editors’ findings, and finally it analyzes the text, taking into consideration the broad literary context, similar forms in works by Słowacki and Krasiński (the immediate addressee of this expression).

Rzecz o wolności słowa jak o problem genologiczny

100%

Chlebowski P.

tom 11

53-75

Norwid’s long poem Rzecz o wolności słowa is genologically a complex structure, with a truly enormous range of possibilities. This means that the piece is rich in constructional forms and also that no single genological concept can be assigned to it; the work eludes unequivocal identification. Rzecz o wolności słowa is neither a poetic treatise, a learned poem, an epic, a romantic poem, nor a humanistic poem, etc., even though many elements of each of the above can be found in it. The poem shows Norwid demolishing all kinds of petrified schemata of literary genre. Does it follow that all attempts to uniquely classify Norwid’s piece are doomed to failure? By no means. But the question has to be considered in terms of genological forms or tendencies rather than specific genres, all of them designed to constitute a coherent artistic whole. Its backbone is, I think, the binary principle. Rzecz o wolności słowa is dominated by two interwoven elements, those appropriate to the treatise and the epic. The former is co nnected with such features as discursiveness, rhetoric, persuasion, plotlessness, conceptual style, objectivity and, in terms of composition, the theory of the word. The latter is connected with thematic openness, totality of represented reality, subjectivity of some parts (especially Ch. XIV), Frequent use of the excursus and the fragment, presence of narrative and historiosophical elements, and with the history of the word. Constant tension between the two major tendencies creates novel artistic qualities. The incessant friction and mutual interpenetration of epic structure and treatise structure give Rzecz o wolności słowa its poetic force.

Odzyskane autografy Norwidowskie Biblioteki Narodowej w Warszawie

75%

Chlebowski P.

tom 11

111-123

Norwidowski drobiazg epistolarny z 1880 roku

50%

Chlebowski P.

tom 19

105-106