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The article discusses about the latest volume of lyrical Stanisław Rogala Wschodni Wiatr [East Wind] dedicated eastern borderland. The title theme is metaphorical, means all the difficult issues in Polish-Ukrainian relations. In lyrical reflection on the borderlands Rogala resembles wars between Poland and Cossacks, Siberian exile, the Katyn massacre, the Volhynian genocide. It remains that on the borderland born Słowacki, Kraszewski, Piłsudski, Iwaszkiewicz. The poet in his poems admiring the beauty of Ukrainian soil; He is looking for the relations between Ukraine and the Świętokrzyski Region.
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The translation of oral poetry requires from the reader-translator to highlight the two constitutive poles of the text: the pragmatic and the poetic. However, our study shows the prevalence of the “phoneme” in the form of diversified vocal repetitions in the oral text. If the communicative dimension of the source text has been faithfully rendered by the translators, most of the poetic features constituting the significance have been endowed with a new nature. Putting this poetry on paper is a first step in the transformation of the materiality of the sign: transposing the audible textual markers of significance into visual ones constitutes a real distortion.
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The author in his sketch describes the early lyrics of Antoni Matuszkiewicz. He emphasizes that what has been modernist in them, the avantgarde shape of the poem, has been marked by a special spiritual fervor, as if Matuszkiewicz tried to reconcile in a single record a revealing metaphor with something eternal, with something what seems like a mystical spiritual formation. Matuszkiewicz, in a dispute over poetry, is on the side of those who believe in a substantial image of the world and, hence, the metaphysical nature of literature.
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The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching transcendence.
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The article is the analysis of the place of Kazimiera Iłłakowiczówna in contemporary literary discourse. The author of the article claims – using Pierre Bayard’s theory – that the poetess is known “more or less”: she is remembered as someone who got prizes and recognition but at the same time she is impossible to read nowadays. There is political ambiguity and antiquity in her texts that keep her in the past. Marzec points at four areas of literary studies, where Iłłakowiczówna is still present: 1. Poetics: Iłłakowiczówna uses an original and unusual type of the Polish tonic verse. The author of this article analyses it using tools of psychoanalysis. 2. Religious discourse: Iłłakowiczówna is interpreted as the author of religious poetry but Marzec argues with such interpretations. 3. Post-dependence studies: Iłłakowiczówna has not been analysed in terms of post-dependence studies yet but she is mentioned in the Polish borderlines discourse. 4. Feminist literary criticism: Iłłakowiczówna used to be studied as the author of androgynous poetry, but Marzec points out other motifs such as miscarriage, infanticide or problems of the new woman, like work at government institution, contestation of vitalism and bureaucracy. The aimof this article is to show that writing of Kazimiera Iłłakowiczówna needs to be read in terms of the history of literature which is devoid of evaluation and judging. Such analysis means going back in terms of modern literary studies which have undergone multiple turns that changed the tools accessible to contemporary critics.
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The main purpose of this article is to analyse the reception of Izabela Glebard’s (Czajka-Stachowicz’s) works, with particular emphasis on her only book of poety Pieśni żałobne getta. At first Gelbard intentionally chooses poetry, but after the experience of World War II, she leaves it completely and replaces by prose. The root cause of this state of affairs is the war trauma. Very important is also the critical attitude of the writer to her poems. These works have not been appreciated by literary critics who treat them as a document and testimony rather than a valuable poetry. It seems that the Gelbard poems, like all her works, are waiting for a new, contextual reading.
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Text, showing the most important ways in the 20th century to think about poetry, refers to modernist epiphany (Ryszard Nycz). On the example of Małgorzata Hillar’s poetry, the author shows the inadequacy of this concept. It focused on the linguistic aspect of transmitting emotions, bypassing their bodily sensations. The recent studies on the relationship between emotions and language also allow to present a relationship with language and poetry. Recent studies on the relationship between emotions and language also allow us to otherwise present the relationship between language and poetry.
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This paper encourages to renew a reflection on poetry of Anna Świrszczyńska – a well-known but also unknown author. It discusses the subject of motherhood in this poetry (pregnancy, childbirth, puerperium) and shows, how relevant Świrszczyńska’s works still are. Her poetry is nowadays continued not only by others women writers and poets, but also – or maybe: first of all – by feminist opinion journalism.
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Jadwiga Stańczakowa was a blind writer, who was more known as a friend of Miron Białoszewski than for her own literary work. Meanwhile, she is the author of several books of poetry, autobiographical prose and a diary. Miron Białoszewski was certainly master for her, thanks to him she began to write about his own blindness. Although that all her work was connected with Białoszewski, it is worth to hear her own voice, especially in the context of disability studies. In this article the author is trying to bring out the poetess of the Białoszewski’s shadows. First of all, the author pointed out that blindness was a magical experience treated as a basis of lyrics. But the dysfunction of sight has also been a cause of recurring depressions. The writing during this ‘double disease’ was particularly difficult and made sense of self-therapy
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The article presents the life and work of Anna Zelenay, a forgotten poetess from Kłodzko. The author shows the impact of her disease on awareness and shape of her poems written often in hospitals and sanatoriums. He discusses the critics on her poetry and the poetess’s place in her own time and generation. The author indicates that the existence of Zelenay on the literary scene is related to the activities of Literary Club of Kłodzko, and bigger promotion of her work is caused with her active participation in a very important literary event of the sixties, in Poetic Springs of Kłodzko.
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The article concerns textual phenomena in the poetry of Urszula Kozioł, which constitute a part of a linguistic method for examining relations between elements of poetic language. The examples discussed concern free verse – they reveal elaborate structures and linguistic processes focused on syntactic condensation, poetic accommodation, elliptic verse or phraseological trace. In the poetry of Kozioł, especially phraseology is original, which makes the receptive perspective adopted at describing linguistic phenomena representative of complicated formal-semantic processes. The draft is an attempt to read the Poet’s texts with the use of linguistic tools, so it not only gives a complete picture of an individualized poet but helps to point out peculiarities, the examination of which requires a reflection on language perception in poetic structures.
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The author of this sketch interprets Bogusława Latawiec’s poems in the context of women’s signatures. Poetry of Latawiec was usually read by critics in relation to the Polish avant-garde tradition represented by men: J. Przyboś and T. Karpowicz. The author recalls N. K. Miller’s proposition of feminist reading and her theory of text as an arachnology. Analysing Latawiec’s poems she shows some signs of feminine writing contained in metaphors: a thread, textiles, weaving, sewing, needlework. These signs are of particular importance in the metatextual poems talking about the process of creating as a weaving a text.
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The article elaborates on the place and status of items and the relationship that occurs between human and thing in Bogusława’s Latawiec poetry. The author made an attempt to capture the way in which this issue has evolved in Latawiec’s poetic works – from her first book to the last collection of poems. At the same time poetry has been confronted them with selected theoretical approaches.
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Danuta Wawiłow’s poems for children were created in the second half of the 20th century. The poems classify as the language poetry, employing in the compositions the mechanisms and figures of speech characteristic of this aesthetic current. The poet uses stylization, she reconstructs the creative attitude to language typical of kindergarteners, which is based on experimentation and abounding in similar-sounding words. Wawiłow implements the particularly strongly individualized variation of linguism. She tests the language potential with regards to the needs of an individual – a child who attempts to express their feelings, thoughts, and emotions. Wawiłow’s poetry is not only focused on the language, but also explores the subjectivism of the lyrical subject and new ways of its expression.
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Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is unique not only because of the poetical qualities it represents – rhythmicity, melodiousness, catchiness, melancholy and lyricism equally with pure nonsense, absurdity, grotesque, (black) humor and numerous equivoques and puns, which are characteristic for Wawiłow’s poetical works; above all else Poems for Naughty Children is a collection of translations of the traditional English nursery rhymes, made by Danuta Wawiłow, who claimed more than once that she was a translator long before she had become a writer. The article aims to explore Wawiłow’s translation work which (up to now) remains almost unknown and un-described in Polish theoretical discourse. Moreover, the author presents the outcome of her research conducted to find “missing originals” of translated nursery rhymes, offers the classification of them and undertakes critical reflection over translation strategy adopted by Danuta Wawiłow.
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The article explores pictures of “a little girl” and of sexual initiation in 20th and 21st-century Polish women’s poetry, especially by Wisława Szymborska, Barbara Klicka, Jolanta Nawrot, Wioletta Grzegorzewska i Małgorzata Lebda. The girlhood showed in their poems is a certain potentiality of womanhood, often imbued with ripening eroticism very difficult to control. At the same time the girlhood is entangled in schematism of potential scenarios destined for a women subject: personal dependence and sense of being dominated, escape or emancipation. Initiatory poems show rather strong dependence on archetypical (The Little Match Girl) and mythicizing conventions of describing adolescence, still they can present idiomatic construction of female identity.
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The article is an attempt to interpret the work of the Kraków poet from the ecocritical perspective. The central point of study is ecopoetics understood as a type of sensitivity, an attitude towards the world and a certain way of writing that shapes readership awareness, imagination and knowledge. The study analyzes in particular portrayal of the environmental spaces, attitude of the entity towards nature and all of non-human creatures, lines entangled in the biographical context and depicting the death of the animals. In the course of this interpretation, Małgorzata Lebda’s poetry fits in the ecological context that was postulated in the outset, revealing its ecopoetic potential.
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