Wyniki wyszukiwania - Biblioteka Nauki

1

Fryderyk Chopin w literaturze francuskiej: od figury romantycznej do ikony popkultury

100%

Malinowski W. M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2021

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nr 41

199-226

EN

The reception of Chopin and his music in French literature follows the rhythm of the changes in the European intellectual and aesthetic climates. George Sand recorded in her memoirs the image of a romantic genius par excellence, a dark, torn and complicated soul. The decadent and symbolist poetry, best exemplified by Maurice Rollinat, presents a portrait ofa blood-spitting neurasthenic, a soulmate of the poet. Marcel Proust paints the image of an elegant dandy and exquisite artist, while the first part of the twentieth century is dominated by the neoromantic vision of Chopin as a great Polish patriot; this theme is perfectly illustrated by the poems of Anna de Noailles and Edmond Rostand. André Gide presents a radicallynew view of Chopin’s music, seeing the Polish composer as a neoclassicist pianist. Contemporary literature and art go on to dress Chopin in jeans, eagerly turning him into a mass culture hero.

2

Le rôle créateur de la memoria rhétorique dans la théorie des arts à l’époque des Lumières

80%

Zacharow S.

Przegląd Humanistyczny

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2019

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tom 63(4 (467))

7-14

EN

The article addresses the issue of one of the parts of rhetoric – memory (memoria) in relation to fine arts (beaux-arts), a term invented by Charles Batteux. In the classical understanding of the rhetorical discourse, memoria is a set of rules allowing the speaker to remember his speech and then to deliver it in the best possible way. In terms of aesthetics and art, the mentioned term takes on many new meanings, to the extent that Diderot’s Encyclopedia does not use it at all. In order to explain the role of memory as a creative process, the French theoreticians of the Age of Enlightenment (Batteux, Dubos, Voltaire) use many other terms, which only shows the complexity of the term memoria. The aim of the article is to show the adaptation of the rhetorical term to the area of poetics and theory of art, and to present how this rhetorical concept becomes one of the foundations of the fine arts.

3

Oblicza religii we współczesnej literaturze francuskiej: Jean-Marie Gustave Le Clézio i meksykańskie wierzenia prekolumbijskie oraz doświadczenie Afryki. Wrażliwość Innego wobec kryzysu cywilizacji

80%

Pyzłowska B.

Facta Ficta. Journal of Theory, Narrative & Media

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2019

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tom 3

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nr 1

67-79

EN

Article introduces the person and work of the French writer Jean-Marie Gustave Le Clézio in the context of diagnosing the crisis of the Western world. On the selected examples of writings (essays and novels) it indicates the sensitivity of the Other (found in cultures encountered in Mexico or Africa, but also in writer’s own family) as the proposal of cultural and spiritual remedy for the crisis.

4

Zwierzęca natura czy absurd istnienia? Rozważania nad zwierzęcością Meursaulta – bohatera „Obcego” Alberta Camusa

80%

Roś J.

Racjonalia. Z punktu widzenia humanistyki

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2014

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tom 4

PL

The purpose of this paper is to attempt to answer the question of how the interpretation of the main character in The Stranger by Albert Camus as „an animal in the human skin” can be applied to understanding the actions of the character in the world. The next question posed is whether Camus describes Meursault literally as an animal or refers to the character symbolically. The author argues that such an extreme treatment of „the animality” of the character is useless in the broader context of this book since Meursault has a human nature which proves the complexity of his mental processes.

5

80%

Staniów B.

Filoteknos

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2021

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nr 11

391-396

EN

This article is a review of Agnieszka Wandel’s book monograph titled Przemiany współczesnej książki popularnonaukowej dla dzieci i młodzieży (na przykładzie francuskiej oferty wydawniczej). The author argues that the book has been written in a clear, flowing style. Wandel easily conveys knowledge in an explicit and concise manner, but when necessary, also descriptively. She is not afraid of formulating her own opinions and drawing conclusions as well as observing what processes and tendencies have come about, even when she is aware that her judgements may not be universal and complete. This makes for the usefulness of the book for researchers who can become inspired to a further scientific debate.

6

Malarskość powieści "Brzegi Syrtów" Juliena Gracqa

80%

Jarosz A.

Świat i Słowo

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2010

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tom 2010, nr 2 (15)

51-66

EN

Julien Gracq (born Louis Poirier, 1910–2007) was an author of, among others, Au château Argol (1938), Un Beau Ténébreux (1945), Un balcon en forêt (1958), as well as volumes of essays Lettrines (1967–1974) and En lisant, en écrivant (1981). Literary fame brought him, published in 1951, The Opposing Shore (Le Rivage des Syrtes) together with the refusal of accepting the Prix Goncourt for this novel. The work of the French writer comprises of multileveled study of the passing world, the country, which is about to fall and it is a palimpsest of historical, literary and artistic threads. According to French researchers – Bernhild Boie and Bernard Vouilloux – evoking pictorial motifs, drawing inspiration from historical paintings, different painting genres and elements of art history makes the Gracq’s novel the example of “a work in progress”, in which the author creates suggestive, interweaving pictures. The writer employed rich descriptions, imaginative ekphrasis, variety of painting genres and created his own visions of space, scenery for the protagonists bringing about chosen painting’s conventions. The echoes of the works of the XVI century Venetian painters seem to be important in The Opposing Shore as well as the works of J.M.W. Turner, German Romanticists, Pre-Raphaelites and symbolists. Pictorial associations of the novel are also linked to its specific atmosphere of impression, insinuation and mystery

7

ЭТНОСТЕРЕОТИПЫ И ИХ ПРАВДИВОСТЬ ВО ФРАНЦУЗСКОЙ ХУДОЖЕСТВЕННОЙ ЛИТЕРАТУРЕ

70%

Кулагина О.

Conversatoria Litteraria

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2016

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tom 10

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nr -

507-514

RU

This paper deals with linguistic representation of ethnic heterostereotypes in French literature of the XIX century. The texts under analysis are "Journey from Paris to Jerusalem" by F.-R. de Chateaubriand and "Journey to the East" by G. de Nerval. Ethnic stereotypes associated with both physical and moral portrait of representatives of other cultures are examined in the paper.

8

Emma, Luiza i inne, czyli bovaryzm w Portugalii i Brazylii

70%

Kalewska A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2018

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tom 49

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nr 3

61-83

EN

The author uses the traditional methodology of literary history, making references to the critics of the myth and phantoms and the history of ideas. Based on the ideas of the theorists and writers of the West (George Sand, Charles Baudelaire, Vladimir Nabokov, Frederic Brown) and prominent Polish scholars (Maria Janion, among others), the author analyses the notion of le bovarysme within the realm of tragic „romantic dream taken out from romantic oeuvres” (MJ). The moral collapse of Emma Bovary and Luiza Mendonca as the heroines of Gustave Flaubert and Eca de Queiroz (in the novel Cousin Bazilio, 1878) would have a relation with the exhaustion of the pattern of the romantic poetics of dreaming (la reverie) and with undertaking by the Portuguese and Brazilian writers of the tasks outlined before the realistic literature „of a thesis” –what is summoned up is the thesis of the susceptibility of a woman to adultery. The Lusopohone metamorphoses and continuations of Emma Bovary are in a close relationship with the literary creation of Eca de Queiroz (in the novel in question and in the tale In the Windmill) as well as of Machado de Assis – the predecessor of the Brazilian realism and of numerous writers who use Portuguese and Spanish in Europe and Latin America.

9

Volonté, puissance, désir : les ressorts de « ces doux frémissemens de la terreur » dans Les Ombres sanglantes de J. P. R. Cuisin

60%

Szkopiński Ł. , Szkopiński Ł.

Kwartalnik Neofilologiczny

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2020

|

nr 2

10

Druhé vydání Francouzské poezie — Karel Čapek jako překladatel a zprostředkovatel jedné vyvíjející se literatury

60%

Bentivogli E.

Slovo a smysl - Word & Sense

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2018

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tom 15

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nr 29

115-136

EN

The paper examines Karel Čapek’s translation of French poetry and, more specifically, the differences between the two editions of Francouzská poezie nové doby (1920, 1936). Whilst previous studies were primarily focused on the linguistic and artistic quality of the Czech translation, this analysis retraces the possible reasons behind Čapek’s choice of texts. Reviews, essays and even personal correspondence are taken into consideration in order to reach a deeper understanding of Čapek’s critical opinion of contemporary French literature.

11

Liszt and the French literary avant-garde o f the 1830s

60%

Gamrat M.

Interdisciplinary Studies in Musicology

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2014

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nr 13

93-106

PL

In France the 1820s and 1830s brought about enormous changes in the perception of literature and art as a whole. Young poets, encouraged by the success and novelty of Méditations poétiques by Alphonse de Lamartine, started seeking new possibilities of expression and ways of breaking with the several-centuries-old tradition. They met with a strong protest from conservative milieu, especially those linked to Académie française, and this made them fight for a new paradigm in literature. They eagerly experimented with language as sound (Lamartine, Sainte-Beuve) and graphic (Nodier) matter. They published their texts in the press (Le Globe) and presented them during meetings in artistic salons, which functioned as a kind of laboratory. Thanks to the support of Charles Nodier they could publish their poems in the best publishing houses, which largely contributed to their success. The final victory of the romantics was the premiere of Hernani by Victor Hugo in February 1830. Franz Liszt, who came to Paris in 1823, was an active participant in the artistic and intellectual life there. Moreover, he was also a friend of many prominent artists of the epoch, which can be seen in his letters, writings, and piano music from the early 1830s. A particular example of the relationship between the composer’s music and literary avant-garde is the piece Harmonies poétiques et religieuses of 1835. We find there the domination of the sound element, formal freedom, the intertwining of poetical techniques, experiments with structure, and a strong stress on the word aspect of the oeuvre, for example through very precise notation of tempo markings.

12

ALBO BOKSER, ALBO BANDYTA: ETYCZNY OBRAZ WALCZĄCEGO CIAŁA W LITERATURZE OBOZOWEJ

57%

Wolski P.

Porównania

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2017

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tom 21

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nr 2

EN

The author compares two versions of the tale by Moshé Garbarz - a boxer-prisoner of various Nazi death and concentration camps. The first one is an autobiographical account, the other a novel. The context of the comparison is the ethical imaginary evoked by the sport of boxing as a cultural phenomenon posited between the natural and the cultural epistemological sphere.

PL

Autor porównuje dwie wersje opowieści o bokserze-więźniu obozów koncentracyjnych i obozów zagłady Moshé Garbarzu: intymistyczną (Un survivant) i powieściową (Le ring de la mort) w kontekście etycznych wartości, jakie w obu konotuje imaginarium boksu jako zjawiska zawieszonego pomiędzy porządkiem natury i kultury.

13

Wyzewův Wagner: ideál jednoty a realita hranic

51%

Šuman Z. , Ébert-Zeminová C.

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

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2019

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tom 60

69-82

EN

The article deals with the legacy of Teodor de Wyzewa’s reflexions on Wagner/Wagnerism and their substantial impact on French Symbolist writers. The requirement to actually overcome national boundaries and pertaining ideologies has been a major step in seeking to open up French literature towards major foreign influences. It has also contributed to shape and define modernism, albeit in a rather conservative and largely neo-classical fashion.

14

Les aventures de la mémoire involontaire (Rousseau, Proust, Wagner)

51%

Fulka J.

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

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2020

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tom XXX

|

nr Zvláštní číslo – Le monde de la littérature

92-100

EN

In the present study, the author focuses on the phenomenon of involuntary memory, as treated, most famously, in Marcel Proust’s In Search of Lost Time. He, nonetheless, attempts to trace a “pre-history” of the notion in question by making reference to one particular passage to Rousseau’s Confessions that perhaps does not name the phenomenon of involuntary memory in an explicit manner, but certainly does treat a concrete experience that seems strongly reminiscent of Proust’s later and more sophisticated analyses. In the second part of the paper, he attempts to show that literature is not the exclusive domain in which involuntary memory becomes a crucial topic. He presents a “musical” analogy of involuntary memory by comparing Proust’s writing to the Wagnerian notion of leitmotif.

15

It all began with George Sand. Novelistic portraits of Fryderyk Chopin and his music in foreign literature. A survey

51%

Maciąg K.

Interdisciplinary Studies in Musicology

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2010

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nr 9

251-264

PL

The literary works discussed in this article exploit the motif of Fryderyk Chopin and his oeuvre in a variety of ways. The earliest novel is Lucrezia Floriani (1846), penned by the French writer George Sand, Chopin’s companion. The creation of Prince Karol (Chopin’s name in the novel), as if “detached” from the Polish composer’s biography, is an interesting, although none too original (even within the context of Sand’s oeuvre) example of the Romantic hero. Popular output, aimed at a readership seeking above all scandal and emotion, is represented by the German writer Hermann Richter’s novel Drei Frauen um Chopin (1935) and the contemporary thriller of collective authorship The Chopin Manuscript (2008). In these works, the composer is a tool designed to give readers the illusion of becoming acquainted with his biography or to interest sensation-seekers. Artistically the most interesting novel is Preludes, by the Danish writer Peer Hultberg (1989). Besides its original artistic form, the author is the only one to deal with musical material, attempting to present in prose that which ought to form the heart of every work about the brilliant musician, but which was achieved only by Cyprian Norwid in Fortepian Szopena [Chopin’s piano].

16

Budząc wampira. Z Jakubem Kornhauserem o Gherasimie Luce, rumuńskim surrealizmie i niespełnieniu rozmawiają Marta Baron-Milian i Piotr Bogalecki

51%

Kornhauser J. , Baron-Milian M. , Bogalecki P.

Śląskie Studia Polonistyczne

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2021

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tom 17

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nr 1

1-15

EN

The interview by Marta Baron-Milian and Piotr Bogalecki with Jakub Kornhauser, who has been translating Gherasim Luca’s prose works from Romanian and French and popularizing them, aims at locating the bilingual oeuvre of the author of The Passive Vampire within the field of Romanian and French literature and on the map of avant-garde practices, particularly considering the history of surrealism. The problems raised in the interview focus on the workings of history in Luca’s texts, on their political character, and the undertaken interpretations are directed at attempts to capture the oeuvre of this author inter alia through the prism of the marrano figure, economic metaphors and stammer, which is a peculiarity of Luca’s language both in poetry and in prose.

PL

Jeden z głównych tematów rozmowy Marty Baron-Milian i Piotra Bogaleckiego z Jakubem Kornhauserem, tłumaczem prozy Gherasima Luki z języka rumuńskiego i francuskiego, badaczem i popularyzatorem jego twórczości, stanowi próba usytuowania dwujęzycznej twórczości autora Biernego wampira w obszarze literatury rumuńskiej i francuskiej oraz na mapie praktyk awangardowych, ze szczególnym uwzględnieniem historii surrealizmu. Poruszona w rozmowie problematyka ogniskuje się wokół zagadnień związanych z działaniem historii w tekstach Luki, ich politycznym charakterem, a podjęte tu interpretacje zmierzają do prób uchwycenia twórczości tego artysty między innymi przez pryzmat figury marana, ekonomicznych metafor czy jąkania, stanowiącego osobliwą właściwość języka zarówno prozy, jak i poezji Gherasima Luki.

17

Królewskie palmy, drzewa świętojańskie, migdałowce w dolinie konsulów… Kilka refleksji na temat roślinności w twórczości Alberta Camusa

51%

Roś J.

Amor Fati

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2015

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nr 1

51-68

EN

In this article the author argues that in the works of Camus people are particularly associated with vegetation. Joanna Roś analyzes the selected passages from the three literary works by Albert Camus, successively proving that: in The first man the fun with a palm tree is a symbol of passion for life, which is inextricably linked with nature as a model of survival; in Happy death vegetation teaches the hero that what would dishonor him as a man is the desire of death, denial of life; and Camus, presenting in The Minotaur or The Stop in Oran this city as a place where vegetation is masked, shows how this space devoid of vegetation urges a man to seek a counterbal-ance in a wild nature.

18

La critique littéraire de Rachilde : du texte comme prétexte

51%

Staroń A.

Academic Journal of Modern Philology

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2023

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nr 20

315-323

EN

For over twenty-five years, Rachilde regularly commented on approximately thirty novels a month, in the column she signed for the Mercure de France. Sometimes her readings concluded in opinions on novelistic aesthetics, sometimes she spoke out on social issues or other prevailing matters. Thus, the texts she read became pretexts for presenting opinions sometimes far from literary subjects. Considering Rachilde’s sulfurous reputation, it seems interesting to examine her point of view on morality. The article focuses on some specific points contained in this notion: the relationship between the sexes, marriage and divorce, prostitution, offspring.

19

Edukacja społeczna w pisarstwie François Mauriaca na podstawie powieści "Le Noeud de vipères" i "Le Sagouin"

51%

Kędzia-Klebeko B.

Colloquia Theologica Ottoniana

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2020

|

tom 36

163-180

EN

Upbringing within the family and the family itself are of crucial importance for the proper functioning of communities and entire nations. The reproduction of negative behavioural patterns perpetuates a perception of reality acquired over generations. This can lead to the destruction of the entity and communities. The aim of this article is to present the thoughts of F. Mauriac, a French Catholic writer of the post-war period. In his novels, Mauriac revealed threats to the individual that come from rejecting friendship towards the world and people. In the pages of many of his novels, Mauriac traces the fates of French families. He shows their dramatic entanglements, stemming from concentration on illusions of their own beliefs about happiness. The subject of analysis in this article are two selected novels, "Le Noeud de vipères", known to the Polish reader as "The Viper’s Den", and "Le Sagouin", which is not yet translated into Polish. The first part of the article presents the relationships between literature and social life as seen from the socio-literary perspective, while the second presents Mauriac’s understanding of his literary commitments and his commitment to Catholic culture. It aims to show readers the barrenness of existence of anyone who disregards the concept of love in interpersonal relations. The following parts present the problems of institutional and family education raised by Mauriac and highlight his understanding of the responsibility incumbent upon parents and teachers for the fate of the younger generation. This generation, in the long run, determines the fate of social civilisation in the broad sense of the term. Responsibility for the other, in the spirit of empathy, turns out to be the key slogan for everyone’s actions.

PL

Rodzina i wychowanie w rodzinie mają kluczowe znaczenie zarówno dla funkcjonowania danej społeczności, jak i całych narodów. Powielanie negatywnych wzorów zachowań utrwala nabyte pokoleniowo postrzeganie rzeczywistości, które prowadzić może do klęski jednostkę i społeczność. Celem artykułu jest ukazanie myśli François Mauriaca, francuskiego pisarza katolickiego okresu powojennego, który w swoich powieściach przedstawiał zagrożenia płynące dla jednostki z perspektywy odrzucenia przyjaźni do świata i ludzi. Mauriac śledzi losy rodzin francuskich na kartach wielu swoich powieści, ukazując dramat ich uwikłań wynikający z koncentracji na iluzji własnych wyobrażeń na temat szczęścia. Przedmiotem analizy w niniejszym artykule są dwie wybrane powieści: "Le Noeud de vipères", znana czytelnikowi polskiemu pod tytułem "Kłębowisko żmij", oraz "Le Sagouin", nieprzetłumaczona do tej pory na język polski. W pierwszej części artykułu przedstawione zostały związki literatury z życiem społecznym, ujmowanym z perspektywy socjoliterackiej, w drugiej sposób, w jaki Mauriac rozumiał swoje zobowiązania literackie i zaangażowanie na rzecz kultury katolickiej, których celem było ukazanie czytelnikowi jałowości bytu każdego, kto lekceważy pojęcie miłości w relacjach międzyludzkich. Kolejne części prezentują problematykę edukacji rodzinnej i instytucjonalnej podejmowaną przez Mauriaca oraz przybliżają jego rozumienie odpowiedzialności ciążącej na rodzicach i nauczycielach za los młodego pokolenia, decydującego w dalszej perspektywie o losach cywilizacji społecznej w szerokim rozumieniu tego słowa. Odpowiedzialność za innego, w duchu empatii, okazuje się bowiem kluczowym hasłem działania każdego.

20

Étienne-Léon de Lamothe-Langon : destin d’un faussaire par vocation

51%

Szkopiński Ł.

Cahiers ERTA

|

2023

|

nr 34

137-154

EN

Étienne-Léon de Lamothe-Langon (1786-1864) was the author of numerous novels belonging to different genres. However, if he wasn’t completely forgotten by the end of the 19th and the beginning of the 20th c., it was thanks to a long list of apocryphal memoirs attributed to famous people which in fact he wrote himself. At first, this paper shows reactions from the press in 1829 after the publication of Mémoires d’une femme de qualité sur Louis XVIII and Mémoires de la comtesse Du Barri. Although some journalists chose to perpetuate the fiction that the memoirs were authentic, others denounced them as false and heavily criticized this kind of literary enterprise. Thereafter, the article focuses on Lamothe-Langon’s response to his critics and on his vision of apocryphal memoirs in his preface to Les Après-diners de S. A. S. Cambacérès (1837).