Styl późny w muzyce, literaturze i kulturze. T. 4
Late Style in Music, Literature and Culture. Vol. 4
Contributor(s): Eugeniusz Knapik (Editor), Agnieszka Woźniakowska (Editor), Wojciech Stępień (Editor), Jarosław Szurman (Editor)
Subject(s): History, Fine Arts / Performing Arts, Music, Film / Cinema / Cinematography
Published by: Wydawnictwo Uniwersytetu Śląskiego
Keywords: postsecularism; Liverpool; forgotten movies; late style; notion of Theodicy
Summary/Abstract: Dwa kolejne tomy, trzeci i czwarty, Stylu późnego w muzyce, literaturze i kulturze są zapisem wykładów wygłoszonych na konferencji zorganizowanej w 2014 roku przez Akademię Muzyczną w Katowicach i Uniwersytet Śląski. Było to już trzecie spotkanie z cyklu „styl późny”, które zgromadziło muzykologów, teoretyków muzyki, literaturoznawców, historyków sztuki, kulturoznawców i filozofów. Problematyka obydwu publikacji dowodzi, że zjawiska „późności” i „schyłkowości” wciąż budzą wiele kontrowersji, nie poddają się jednoznacznym klasyfikacjom i opisom.W tomie czwartym pomieszczono artykuły dotyczące zagadnień stylu późnego w kulturze europejskiej XX wieku. Wśród poruszonych tematów, widzianych przez autorów poprzez pryzmat stylu późnego i „późności”, znalazły się: dzieła filmowe Langa, Leana i Kurosawy, twórczość kompozytorska Blocha, dzieła Iwaszkiewicza w kontekście inwariantnego modelu Tomaszewskiego, elementy stylu późnego w dojrzałej twórczości Sikorskiego, schyłkowy modernizm w utworach Ptaszyńskiej, teologia wydarzenia Caputo jako przykład schyłkowości postsekularyzmu, wielowymiarowy proces zmian, zwłaszcza ekonomicznych i społecznych, w Liverpool, fascynacje stylem późnym w literaturze, muzyce i sztuce, transformacje stylu kompozytorskiego Andrzeja Panufnika, zagadnienie teodycei w Błaznach Barry’ego.
Series: Kultura, Sztuka, Muzyka
- E-ISBN-13: 978-83-8012-883-5
- Print-ISBN-13: 978-83-8012-882-8
- Page Count: 204
- Publication Year: 2016
- Language: Polish
Wierni sobie, niewierni czasowi. Ostatnie (zapomniane) filmy mistrzów kina
Wierni sobie, niewierni czasowi. Ostatnie (zapomniane) filmy mistrzów kina
(Faithful to Yourself, Unfaithful to Time. The Last (Forgotten) Films of the Masters of the Cinema)
- Author(s):Joanna Wojnicka
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:9-23
- No. of Pages:15
- Summary/Abstract:The article presents the oeuvre of the most outstanding directors whose last films were either met with a lot of criticism or forgotten. Fairly often—though it is by no meansa rule—they are considered to be weaker than their previous works. They are usuallyashamedly omitted or treated dismissively while discussing the director’s entire oeuvre.While some of those harsh criticism are often not without merit, they sometimes unfairlyand unjustifiably doom certain works to artistic nonexistence. The article discusses threedirectors whose last works were met with a similar fate: Fritz Lang, David Lean and AkiraKurosawa. In all of those cases, the directors remained faithful to either their biographiesor their chosen style.
- Price: 4.50 €
„Nie ma mnie dla nikogo – no chyba, żeby ktoś zadzwonił!”. O stylu późnym w twórczości Augustyna Blocha
„Nie ma mnie dla nikogo – no chyba, żeby ktoś zadzwonił!”. O stylu późnym w twórczości Augustyna Blocha
(“I’m Unavailable if Anyone Asks – Well, Unless Someone Calls!”. On the Late Style in the Works of Augustyn Bloch)
- Author(s):Joanna Schiller-Rydzewska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts
- Page Range:24-42
- No. of Pages:19
- Summary/Abstract:The author presents the perspective of the late style in the context of the life and artistic activity of the individual. Long-term, in-depth research in this area constitutes an excellent foundation for defining the characteristic features of the late style. The essence of the text lies in determining the idiomatic properties of the composing language used by Augustyn Bloch in his later works. This issue has been presented through the lens of general tendencies characteristic of the late style in the composer’s creative output, widely recognised and discussed in the literature on the subject. The motto of the article, taken from a quote by Bloch, accurately portrays the duality of the creative attitude which at the same time aims at isolating oneself and longs for the constant change and movement in life. These dilemmas are characteristic of Bloch’s later works. Moreover, it is possible to distinguish three primary phenomena which epitomise the aforementioned subject matter: first, the author draws from his own oeuvre and goes back to the roots of his works, i.e. organ and sacred music; second, the author transcends his own limitations, attempting to incorporate various outside elements in his works; third, the composer looks towards the future in his works, also in the sense of new contacts and phenomena from outside the sphere of music.
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Dylematy estetyczne okresu późnego w twórczości Jarosława Iwaszkiewicza w kontekście Mieczysława Tomaszewskiego inwariantnego modelu życia twórcy
Dylematy estetyczne okresu późnego w twórczości Jarosława Iwaszkiewicza w kontekście Mieczysława Tomaszewskiego inwariantnego modelu życia twórcy
(Aesthetic Dilemmas in the Later Works of Jarosław Iwaszkiewicz in the Context
of Mieczysław Tomaszewski’s Invariant Model of the Life of the Artist)
- Author(s):Aleksandra Giełdoń-Paszek
- Language:Polish
- Subject(s):Fine Arts / Performing Arts
- Page Range:43-56
- No. of Pages:14
- Summary/Abstract:The invariant model of the life of the artist formulated by Mieczysław Tomaszewski assumes the inseparability of life and art. The model describes six phases of the artistic life, the last of which (the phase of loneliness and liberation) can be identified as late in both the sense of the physical age of the artist and in the sense of the development of the individual style. These phases are always determined by key moments—important events. Inthe case of Jarosław Iwaszkiewicz, it is difficult to precisely determine the beginning of that phase. If one were to determine that moment solely on the basis of the writer’s age, Iwaszkiewicz’s late works are characterised by significant literary value. However, whileanalysing his psychological condition and aesthetic preferences, the key moment whichmarks the beginning of the late period should come a lot earlier, i.e. just after the Second World War (Iwaszkiewicz died in 1980). Even Iwaszkiewicz’s early works were focused onthe issues of loneliness, generational maladjustment, thoughts concerning death and acceptance of the passage of time (sérénité), and the emphasis on those motifs only increasedin his later works. The writer, similarly to his own characters, found his solace in the worldof art, despite the recurring doubts as to its meaning and significance.
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Cisza i milczenie w twórczości Tomasza Sikorskiego a problem stylu późnego
Cisza i milczenie w twórczości Tomasza Sikorskiego a problem stylu późnego
(Silence in the Works of Tomasz Sikorski in the Context of the Late Style)
- Author(s):Marek Dolewka
- Language:Polish
- Subject(s):Fine Arts / Performing Arts
- Page Range:57-75
- No. of Pages:19
- Summary/Abstract:The article constitutes an attempt at exploring the elements of the late style in the works of Tomasz Sikorski (1939–1988) in the context of the concepts developed by Joseph N. Straus and Ryszard D. Golianek. This exploration is focused primarily on the issue of silence in Sikorski’s music, which has been remarked upon by numerous scholars. On the basis ofliterature review, the author enumerates the functions fulfilled by silence in Sikorski’s worksand discusses them in a case study of one of Sikorski’s pieces—Na smyczki (For Strings),1970. Due to the fact that silence, as well as the other features of the late style, are presentthroughout the entirety of Sikorski’s mature oeuvre, it is difficult to determine whether itis possible to talk about the late style in his case. On the one hand, it is a testament to theoriginality of Sikorski’s works, but on the other hand, it testifies to the numerous problemsconnected with attempts at describing the characteristic features of the late style.
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Twórczość Marty Ptaszyńskiej a styl późny XX-wiecznej moderny
Twórczość Marty Ptaszyńskiej a styl późny XX-wiecznej moderny
(The Works of Marta Ptaszyńska in the Context of the Late Style of the Modern Period)
- Author(s):Anna Granat-Janki
- Language:Polish
- Subject(s):Fine Arts / Performing Arts
- Page Range:76-91
- No. of Pages:16
- Summary/Abstract:The music of Marta Ptaszyńska clearly reflects the characteristic features of late modernism, also called post-modernity. It is possible to observe in her music an original combination of the traditional and the avant-garde, whose mutual relationship changed in the particular periods of her artistic activity. The connections with tradition are accentuated through the use of quotations, allusions and references, which allows for a more intertextual reading of her music. Ptaszyńska’s compositions often blur the boundaries between the elite and the egalitarian. The composer imitates street music and incorporates the jazz idiom into her works. Her music always aims at a multimedia approach, thus constituting a 20th-centuryequivalent to the ancient syncretic art. It is also possible to notice a turn in the directionof the religious culture, as well as the presence of humanist themes. Ptaszyńska’s worksperfectly illustrate how the music of different cultures and nations can intermingle, as itsignifies the influence of globalisation and spatial mobility of the composer. The constantcontact with the Polish culture, alongside the experience of different cultures—American,Asian, African—influence the emergence of the composer’s transcultural identity.
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Postsekularyzm – styl późny? Johna D. Caputo teologia wydarzenia
Postsekularyzm – styl późny? Johna D. Caputo teologia wydarzenia
(Postsecularism – the Late Style? John D. Caputo’s Theology of the Event)
- Author(s):Marta Zając
- Language:Polish
- Subject(s):Fine Arts / Performing Arts
- Page Range:92-102
- No. of Pages:11
- Summary/Abstract:The article presents selected aspects of John D. Caputo’s theology of the event as an example of a certain “unsubstantiality”, i.e. decline of postsecularism and—in a broader sense— postmodernism. The author pays particular attention to the way in which Caputo presents the nature of the paradox as a manifestation of, on the one hand, the Deleuzian event, and, on the other hand, the Kingdom of God. Moreover, the author comments upon differentinterpretations of the biblical world seen as the kingdom of paradox, removed from eachother in time and the form of the argument, in order to refute the claim that the particularweakness of Caputo’s theory is nothing else but a daring rejection of classical theology.Thus, she alludes frequently to Gilbert K. Chesterton and Paul Ricoeur, and follows thetrail of references to the substance which gives abstractions concrete form. Chestertonreferred to the biblical world as glass-like, “made of glass”, while Ricoeur, pondering onthe nature of God’s existence in relation to the man, used the metaphor of a mountain pass,full of peaks and chasms, akin to the image of pulsing flames. Caputo, however, situatesthe same mystery at the very beginning and at the very end of his argument—the faintand phantasmal quasi-meaning, which cannot penetrate the language to enter the actualreality—the event.
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Liverpool wielkomiejski, Liverpool hiperboliczny. Zestawienie dwudziestowiecznej metropolii z jej nowomilenijnym „odrodzeniem miejskim”
Liverpool wielkomiejski, Liverpool hiperboliczny. Zestawienie dwudziestowiecznej metropolii z jej nowomilenijnym „odrodzeniem miejskim”
(Metropolitan Liverpool, Liverpool Hyperbolised. Contrasting the 20th-century metropolis with its ‘urban renaissance’)
- Author(s):Peter Martyn
- Language:Polish
- Subject(s):Fine Arts / Performing Arts
- Page Range:103-133
- No. of Pages:31
- Summary/Abstract:Descendants of immigrants from within the British Isles (including Ireland) and innumerable parts of the planet, Liverpudlians (known more typically as Scousers) faced rapidly encroaching economic decline that resulted from the essential dead-end the post-World-War-Two British welfare state had been reduced to by the mid- to late-1970s. Supposedly aimed at bringing about rapid social as well as economic transition, the aggressive politics of monetarism and deindustrialisation, introduced during the 1980s under the so-called New Right, provoked regional polarisation and thus deteriorating standards of living throughout large parts of the country; with the one, overriding exception of the state capital and its “Home Counties”. In Liverpool, the recession verged on terminal crisis. A furious media campaign was directed against local trade unionists and the policies of MilitantTendency (which briefly enjoyed wide support after taking control of the city council),while seeking to demonise the fan base of the city’s two celebrated football teams; aboveall in the wake of the Hillborough disaster on 15th April, 1989. Liverpool was thus madethe urban pariah of Thatcherite Britain. The piecemeal metamorphosis under way sincethe early-2000s in central and selected inner-city neighbourhoods may be regarded withcautions optimism; not least, because a significant proportion of Scouser-Liverpudliansdraw considerable satisfaction from the altering appearance of and feel to their city, whosepublic image—both nationally and internationally—appears as high now as it was in the1960s. Be that as it may, in terms of its spatial reach and, furthermore, social impact, thislimited transformation requires genuine analysis based on the contradistinction between,on the one hand, the consoling (for some) selection of town-planning solutions, often wellconceived new construction, urban-architectural furnishings, etc. and, on the other, thetragicomic combination (so very typical of the times we live in) of “luxury apartments”, newbusiness district, “state-of-the-art” shopping centres like Liverpool One and suchlike. Theblatant and often disturbing hyperbole applied to the so-called urban rebirth supposedlyoccurring in the city and its greater urban area of Merseyside includes such terms of overstatement and puffery as: “urban regeneration company”, “economic boosterism”, “world-class research portfolio”, “pump priming”, “jobless growth”, “the most business friendly, socially inclusive European Renaissance City”, “Urban Splash” (“creative” developers), “statement making company”, “bringing forward the city’s global/internationalisation agenda”, “niche urban living life style”, “Livercool”, “the place where tradition meets cutting edge”, “decanted, recanted, de-recanted, re-recanted” (community—sic!), and so on… These and other semantic examples of how the Scousers might in actual fact be witnessing the selling of their own city down the river need to be confronted with the very real spectre of continued urban dilapidation combined with social distress throughout large parts of the inner city, as well as numerous outer-urban housing estates that further await demolition, renovation-cum-“regeneration” or, simply, a prolonged state of ruination.
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Kult początku a fascynacje wieku dojrzałego w literaturze i muzyce
Kult początku a fascynacje wieku dojrzałego w literaturze i muzyce
(The Cult of the Beginning and the Fascinations of the Mature Age in Literature and Music)
- Author(s):Ewa Borkowska
- Language:Polish
- Subject(s):Literary Texts, Music, Studies of Literature
- Page Range:134-152
- No. of Pages:19
- Summary/Abstract:The late style is notoriously difficult to define, since for some creators, it correlates with the final period of their artistic activity, while for others, it begins much earlier. However, in both cases, it comes to signify artistic maturity and the mastering of a certain “grammar of creation,” discussed by George Steiner in his book. This philosopher and literary critic, who was also an expert on music, made numerous attempts at discussing “the dusk of the artistic endeavour” before arriving at the conclusion that what is crucial is the “cult of thebeginning,” the first notes of “the grammar of creation,” which function as an overture,marking the beginning of the work. It appears, then, that it is precisely in the “incipit” thatthe promise of the conclusion is located. The mature age can also manifest in the author’smastery of their artistic craft. The article includes numerous examples of fascinationwith the late style in poetry (William Shakespeare, John Donne, William Blake, ReinerMaria Rilke, James Joyce, Seamus Heaney, Gerard Manley Hopkins), as well as music andart (Roger Scruton, George Steiner, James Joyce). Zbigniew Herbert, Alfred Tennyson orWilliam Butler Yeats.
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Styl późny w kompozytorskiej odsłonie. O transformacji idiomu polskiego w ostatnim okresie twórczości Andrzeja Panufnika
Styl późny w kompozytorskiej odsłonie. O transformacji idiomu polskiego w ostatnim okresie twórczości Andrzeja Panufnika
(The Late Style in the Context of Musical Composition. On the Transformation of the Polish Idiom in the Later Works of Andrzej Panufnik)
- Author(s):Katarzyna Szymańska-Stułka
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Music
- Page Range:153-171
- No. of Pages:19
- Summary/Abstract:In the article, the author traces connections between the late style and the Polish idiom in the works of Andrzej Panufnik, arriving at the conclusion that the Polish componentis a characteristic feature of the late style of the composer. The Polish idiom appeared atthe very beginning of Panufnik’s artistic activity, mostly in the form of quotations fromfolk music and the topic of the compositions, as well as his inspirations with regard toform. With time, the Polish idiom penetrated the deeper levels of the musical work andbecame an inherent part of the message, which could be called an allusion or a reminiscence.It also assimilated with the new language of the composer, formulated on the basisof a three-tone cell. The emergent Polish idiom is expressed through the combination ofthe means of expression and creates a multithreaded net of extra-musical references; it isbased on the play of moods, contrasting narrative styles, the lyricism of Polish folk musicand the profundity of the religious experience. The late style in Panufnik’s works remains in a certain sense a mystery, since the scholars are not completely certain when, exactly,it began. While the last decade of his life brings a certain synthesis of the earlier artisticmeans, the significant changes in his creative output appear as early as the very beginningof his mature period.
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Wokół ostatnich dzieł Henryka Mikołaja Góreckiego. Styl późny a styl ostatni
Wokół ostatnich dzieł Henryka Mikołaja Góreckiego. Styl późny a styl ostatni
(On the Last Works of Henryk Mikołaj Górecki. The Late Style and the Last Style)
- Author(s):Teresa Malecka
- Language:Polish
- Subject(s):Fine Arts / Performing Arts
- Page Range:172-186
- No. of Pages:15
- Summary/Abstract:“[…] for me, the time for […] authoritative claims, judgments or expressions had long passed. It has been replaced with the time of reflection, doubt and deliberation. It hasbeen replaced with the time of questions—what have I done right, and what have I donewrong? Was it worth it? Is it still worth it? Should I just stop talking now…?” The openingpassage comes from a speech by Henryk Mikołaj Górecki, delivered in 2008 at the ceremonyof bestowing upon him an honorary degree at the Academy of Music in Kraków;it was probably the last official statement made by the composer and, at the same time,a kind of an artistic and ideological last will of the artist. When one takes into account thetime of conception of his last works, still unfinished at that time (2004—The Song of theKatyń Families; 2005—Kyrie; 2006—4th Symphony), it becomes apparent that he utteredthose words in the period of reflection, not of intense work. The vocal and instrumentalKyrie—his penultimate work—as a verbal and musical whole constructed on the basis ofthree basic categories: contrast, ostinato and expression, constitutes a point of departurefor the discussion on the categories of the late and last style, which refer to the typologyproposed by Mieczysław Wallis and Mieczysław Tomaszewski, grounded in the contextof auto-reflection in the last years of the composer’s life.
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"Błazny" i zagadnienie teodycei
"Błazny" i zagadnienie teodycei
(Here Come the Clowns and the Notion of Theodicy)
- Author(s):Agnieszka Woźniakowska
- Language:Polish
- Subject(s):Literary Texts, Fine Arts / Performing Arts
- Page Range:187-196
- No. of Pages:10
- Summary/Abstract:The article attempts an analysis of Here Come the Clowns, a play written by an American playwright, Philip Barry, through the lens of the notion of theodicy. The question of the reason for and the meaning of suffering, understood as something evil, is often connected with the feelings of distress, helplessness and a sense of the imminent “end of times,” as well as with the experience of death, including the death of a loved one. Barry’s inspiration for the play is deeply rooted in his own experiences; the protagonist of the play searches for God in order to ask him about the meaning of human suffering. The question becomes not only an attempt at explaining or finding justification for the experience of suffering, but also an accusation towards God, who allows for the suffering to continue. God, however, becomes freed of all responsibility—in his dying breath, the protagonist reaches anepiphany that everything is dependent on man and his free will.
- Price: 4.50 €