Poznańskie Studia Polonistyczne. Seria Literacka
Not a member yet
599 research outputs found
Sort by
O dynamice i opozycjach XIX-wiecznej kultury: Recenzja książki Sabiny Brzozowskiej [2018] pt. W zwierciadle idei. Literatura Młodej Polski – konteksty.
No full textSabina Brzozowska’s monograph consists of a coherent collection of comparative and historical and literary studies of various artistic and ideological aspects found in selected works of Polish and European modernism. The author focuses on the dramas by Stanisław Wyspiański, Stanisław Przybyszewski, Tadeusz Rittner, Tadeusz Miciński and on the prose by Wacław Berent, Miciński and Thomas Mann. The interpretations of the works included in the monograph show a common area of European nineteenth-century culture, especially of the modernist period. Brzozowska’s reading experience focused on uncovering the intertextual and comparative relationships between, for instance, Wyspiański’s Wesele (The Wedding) and Mann’s Buddenbrooks, Berent’s Ozimina (Snow Crop) and Czarodziejska Góra (The Magic Mountain), Rittner and Ibsen. High art literature of the modernist period found its counterpoint in popular culture, including the new media. The author reconstructed this development dynamic of modernist culture in multiple versions.Sabina Brzozowska’s monograph consists of a coherent collection of comparative and historical and literary studies of various artistic and ideological aspects found in selected works of Polish and European modernism. The author focuses on the dramas by Stanisław Wyspiański, Stanisław Przybyszewski, Tadeusz Rittner, Tadeusz Miciński and on the prose by Wacław Berent, Miciński and Thomas Mann. The interpretations of the works included in the monograph show a common area of European nineteenth-century culture, especially of the modernist period. Brzozowska’s reading experience focused on uncovering the intertextual and comparative relationships between, for instance, Wyspiański’s Wesele (The Wedding) and Mann’s Buddenbrooks, Berent’s Ozimina (Snow Crop) and Czarodziejska Góra (The Magic Mountain), Rittner and Ibsen. High art literature of the modernist period found its counterpoint in popular culture, including the new media. The author reconstructed this development dynamic of modernist culture in multiple versions
Fryderyk Chopin i Łesia Ukrainka. Per me
Full text linkThe key word of the essay is per me, as I present in it my own reminiscence from my childhood and youth, which was when I first came into contact with the works of two exceptional maestros: Frédéric Chopin and Lesya Ukrainka (the pen name of Larysa Kosach). Chopin created musical poetry, while Lesya – a rhythmic and melodic verbal poetry. The dialogue of the two authors sounds amazing, uncovering an optimistic apotheosis of survival and the trauma of loss – the states expressed in Chopin’s Marche funèbre and by Lesya Ukrainka in her poetry cycle devoted to this composition.The temporarily mature understanding of per me in both these creations also resulted from the trauma caused by the loss of close relatives (first, the grandad at a very young age) and hence became the drive for discovering the content of art and the means of expression characteristic to various branches of art.The key word of the essay is per me, as I present in it my own reminiscence from my childhood and youth, which was when I first came into contact with the works of two exceptional maestros: Frédéric Chopin and Lesya Ukrainka (the pen name of Larysa Kosach). Chopin created musical poetry, while Lesya – a rhythmic and melodic verbal poetry. The dialogue of the two authors sounds amazing, uncovering an optimistic apotheosis of survival and the trauma of loss – the states expressed in Chopin’s Marche funèbre and by Lesya Ukrainka in her poetry cycle devoted to this composition.The temporarily mature understanding of per me in both these creations also resulted from the trauma caused by the loss of close relatives (first, the grandad at a very young age) and hence became the drive for discovering the content of art and the means of expression characteristic to various branches of art
Eseistyczna chopinologia Piotra Wierzbickiego
Full text linkPiotr Wierzbicki’s deep interest in Chopin’s music has been revealed in his volumes of essays published since 1993. What appears to make his music writings exceptional in comparison with other Polish essays dealing with Chopin’s life and work is the prevailing concentration on particular pieces or even single performances chosen by famous pianists. Wierzbicki develops his project of extradisciplinary essayistic Chopinology that blends together the musicological knowledge, critical involvement, philosophical reflection and highly individual psychosomatic experience. Having stated a fundamental difficulty of ‘translating’ sounds into words, he tries to elaborate a ‘musical’ style and form for his writing, e.g. he includes ekphrases full of metaphors and synesthetic figures. This wide array of music-centred properties encourages readers to treat these essays as a starting point for coming up with the question of whether it is possible to differentiate a type of ‘musical’ essay.Piotr Wierzbicki’s deep interest in Chopin’s music has been revealed in his volumes of essays published since 1993. What appears to make his music writings exceptional in comparison with other Polish essays dealing with Chopin’s life and work is the prevailing concentration on particular pieces or even single performances chosen by famous pianists. Wierzbicki develops his project of extradisciplinary essayistic Chopinology that blends together the musicological knowledge, critical involvement, philosophical reflection and highly individual psychosomatic experience. Having stated a fundamental difficulty of ‘translating’ sounds into words, he tries to elaborate a ‘musical’ style and form for his writing, e.g. he includes ekphrases full of metaphors and synesthetic figures. This wide array of music-centred properties encourages readers to treat these essays as a starting point for coming up with the question of whether it is possible to differentiate a type of ‘musical’ essay
„W półsłowa” i „w półdźwięku”… O relacji Zygmunta Krasińskiego i Fryderyka Chopina
Full text linkThe article presents the relationship between Frédéric Chopin and Zygmunt Krasiński both on the biographical level and in the relationship between the word and the sound that Krasiński often wrote about in his letters. A special expression of the dialogue between poetry and music described by the poet are Chopin’s compositions to the words of poets contemporary to him, which is especially true about the words of the motto from Krasiński’s poem Ostatni (The last poem). It is extraordinary in the context of Chopin’s songs as it is not only a musical illustration, but also a sophisticated interpretation of the text through music. The attempts to present poetic content through musical notation presented in the article lead to the conclusion about Chopin as a conscious recipient of a literary work who, like Krasiński, saw in the symbiosis of word and sound the possibility for expressing internal experience.The article presents the relationship between Frédéric Chopin and Zygmunt Krasiński both on the biographical level and in the relationship between the word and the sound that Krasiński often wrote about in his letters. A special expression of the dialogue between poetry and music described by the poet are Chopin’s compositions to the words of poets contemporary to him, which is especially true about the words of the motto from Krasiński’s poem Ostatni (The last poem). It is extraordinary in the context of Chopin’s songs as it is not only a musical illustration, but also a sophisticated interpretation of the text through music. The attempts to present poetic content through musical notation presented in the article lead to the conclusion about Chopin as a conscious recipient of a literary work who, like Krasiński, saw in the symbiosis of word and sound the possibility for expressing internal experience
Czuła narracja: nowe oblicze literatury polskiej w oczach Chińczyków
Full text linkThe article presents the dynamics, characteristics and the shifting paradigms of the reception of Polish literature in China from 2012 to 2020. The author analyses the reasons for the popularity of the most often translated and read Polish authors on the Chinese publishing market, with particular interest in Czesław Miłosz, Olga Tokarczuk and Andrzej Sapkowski. She also presents the translators – both experienced and often recognised and awarded doyens of Polish studies in China, and those from the intermediate and youngest generations to whom the oldest ones passed the knowledge, skills, passion and the sense of common mission of building cross-cultural dialogue through literature.The article presents the dynamics, characteristics and the shifting paradigms of the reception of Polish literature in China from 2012 to 2020. The author analyses the reasons for the popularity of the most often translated and read Polish authors on the Chinese publishing market, with particular interest in Czesław Miłosz, Olga Tokarczuk and Andrzej Sapkowski. She also presents the translators – both experienced and often recognised and awarded doyens of Polish studies in China, and those from the intermediate and youngest generations to whom the oldest ones passed the knowledge, skills, passion and the sense of common mission of building cross-cultural dialogue through literature
Solaris and the Dao: The Reception of Stanislaw Lem’s Novel in the Sinophone World
Full text linkThe most popular science fiction novel written by the Polish author Stanisław Lem, Solaris, was published in 1961. Although it was translated into English as early as 1970, the book was unknown to the Sinophone readers until 2003, when the first translation from English into Chinese was published, most probably following the popularity of the resounding Hollywood film adaptation from 2002. Still, Suolalisi Xing (which can be translated as ‘Solaris Star’) did not attract broader audiences in China or Taiwan, at least not until the third version of the novel, translated directly from Polish into Chinese, saw the light of day in 2010. The appearance of this translation coincided with the beginning of a New Golden Era of Chinese and Taiwanese science fiction, which undoubtedly had a significant influence on the positive re-reception of Solaris. In the paper, the author focuses on the philosophical aspect of Lem’s work and investigates which themes and concepts present in Solaris caught the imagination of Chinese-speaking readers. The author wants to show how this reception, while coming from a different historical, cultural, and linguistic background, can enrich our understanding of the novel and introduce a new way of looking at the important existential questions stated by the writer.The most popular science fiction novel written by the Polish author Stanisław Lem, Solaris, was published in 1961. Although it was translated into English as early as 1970, the book was unknown to the Sinophone readers until 2003, when the first translation from English into Chinese was published, most probably following the popularity of the resounding Hollywood film adaptation from 2002. Still, Suolalisi Xing (which can be translated as ‘Solaris Star’) did not attract broader audiences in China or Taiwan, at least not until the third version of the novel, translated directly from Polish into Chinese, saw the light of day in 2010. The appearance of this translation coincided with the beginning of a New Golden Era of Chinese and Taiwanese science fiction, which undoubtedly had a significant influence on the positive re-reception of Solaris. In the paper, the author focuses on the philosophical aspect of Lem’s work and investigates which themes and concepts present in Solaris caught the imagination of Chinese-speaking readers. The author wants to show how this reception, while coming from a different historical, cultural, and linguistic background, can enrich our understanding of the novel and introduce a new way of looking at the important existential questions stated by the writer
Literatura polska w Chinach i wymiana kulturalna między Polską a Chinami. Zapiski tłumacza
Full text linkThe article is an introduction into the presence of Polish literature in China from the perspective of one of its most active researchers and translators. The author describes his fascination with Bolesław Prus’s work that resulted in the Chinese translation of Lalka (The Doll) and his work on two-volume Historia literatury polskiej (The history of Polish literature) aimed at Chinese readers.The article is an introduction into the presence of Polish literature in China from the perspective of one of its most active researchers and translators. The author describes his fascination with Bolesław Prus’s work that resulted in the Chinese translation of Lalka (The Doll) and his work on two-volume Historia literatury polskiej (The history of Polish literature) aimed at Chinese readers
Pieśń ku niebiosom. Echa chopinowskie w twórczości Artura Oppmana
Full text linkThis article presents a cycle of lyrical works entitled Z motywów Chopina (From Chopin’s themes) by Artur Oppman, published in 1893 in the volume Pieśni (Songs). The shape of this cycle had been modified over the years. In 1908, the poet changed its title and expanded it with new works. This change testifies to the evolution of the creative concept and the set of ideas about the function of the composer’s work. Contrary to the opinion rooted in the tradition of research about the conventional approach to the impact of Chopin’s work presented in Oppman’s lyrical poetry, the authors of the article demonstrate a far-reaching originality of the discussed work, focusing their attention both on issues related to understanding the narrowly-defined poetological knowledge and on the problem of translating musical means of expression into the language of a literary work.This article presents a cycle of lyrical works entitled Z motywów Chopina (From Chopin’s themes) by Artur Oppman, published in 1893 in the volume Pieśni (Songs). The shape of this cycle had been modified over the years. In 1908, the poet changed its title and expanded it with new works. This change testifies to the evolution of the creative concept and the set of ideas about the function of the composer’s work. Contrary to the opinion rooted in the tradition of research about the conventional approach to the impact of Chopin’s work presented in Oppman’s lyrical poetry, the authors of the article demonstrate a far-reaching originality of the discussed work, focusing their attention both on issues related to understanding the narrowly-defined poetological knowledge and on the problem of translating musical means of expression into the language of a literary work
Jak opisać dawne galicyjskie przedmieścia we współczesnym języku chińskim? Kognitywna analiza przekładów Sklepów cynamonowych Brunona Schulza
Full text linkThe article is an analysis of the description of the garden in Bruno Schulz’s The Cinnamon Shops (Sklepy cynamonowe) and its two translations into Chinese. Wei-Yun Lin-Górecka has translated Schulz’s prose from the original Polish, while Lu Yuan’s translation is primarily based on English versions of his work. The analysis employs methods drawn from cognitive poetics and some elements of cognitive theory of translation, especially Elżbieta Tabakowska’s ideas on imagery and translation equivalence. The study helped characterize a complex conceptual blend found in the description and trace structural changes caused by the translators’ specific decisions. The translations are characterized by a relatively high level of equivalence. The conceptual blends they comprise differ from the one created by Bruno Schulz mostly in terms of the described elements’ positions on the empathy scale, which are mainly dependent upon the translators’ manner of using the devices of animation and anthropomorphism.The article is an analysis of the description of the garden in Bruno Schulz’s The Cinnamon Shops (Sklepy cynamonowe) and its two translations into Chinese. Wei-Yun Lin-Górecka has translated Schulz’s prose from the original Polish, while Lu Yuan’s translation is primarily based on English versions of his work. The analysis employs methods drawn from cognitive poetics and some elements of cognitive theory of translation, especially Elżbieta Tabakowska’s ideas on imagery and translation equivalence. The study helped characterize a complex conceptual blend found in the description and trace structural changes caused by the translators’ specific decisions. The translations are characterized by a relatively high level of equivalence. The conceptual blends they comprise differ from the one created by Bruno Schulz mostly in terms of the described elements’ positions on the empathy scale, which are mainly dependent upon the translators’ manner of using the devices of animation and anthropomorphism