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O możliwościach czytania dzieła operowego
Get PDFElżbieta Nowicka’s book Zapisane w operze. Studia z historii i estetyki opery (Wydawnictwo Poznańskie 2012) [Written in opera. The studies from history and aesthetics of opera] is an attempt to read the ideas, myths and idioms of culture enshrined in works of opera from the 17th to the 20th century. This process of registering takes place on several levels of operatic works: in the librettos, the music and in their staging. It is thanks to these that operas often prove to be the most interesting expression of the presence of myths and ideas in culture, and Elżbieta Nowicka’s book encourages the reader to return to such works
Profesor Kazimierz Bartoszyński (1921–2015)
Get PDFProf. Kazimierz Bartoszyński was one of the most respected theoreticians of literature in Poland. He worked closely with the Institute of Literary Research of the Polish Academy of Sciences. The period of Professor Bartoszyński’s greatest activity as a researcher coincided with the time when he was fascinated with structuralism, but his interests went far beyond these methodological issues. The author of this memoir, who was the Professor’s doctoral student, portrays him through the prism of their conversations on scholarly topics and her private relationship with Mr. and Mrs. Bartoszyński, which lasted for many years.Prof. Kazimierz Bartoszyński was one of the most respected theoreticians of literature in Poland. He worked closely with the Institute of Literary Research of the Polish Academy of Sciences. The period of Professor Bartoszyński’s greatest activity as a researcher coincided with the time when he was fascinated with structuralism, but his interests went far beyond these methodological issues. The author of this memoir, who was the Professor’s doctoral student, portrays him through the prism of their conversations on scholarly topics and her private relationship with Mr. and Mrs. Bartoszyński, which lasted for many years
Leśmian (rosyjski i angielski) w żywiole intertekstualności
Get PDFMarta Kaźmierczak’s book which is titled Przekład w kręgu intertekstualności. Na materiale tłumaczeń poezji Bolesława Leśmiana [“Translation and intertextuality: a study based on the translations of Bolesław Leśmian’s poetry”] is the first comprehensive monograph on Bolesław Leśmian’s poems that have been translated into English and Russian. The aim of the study is to examine how the “intertextual signals” from the source texts were translated into languages that are cognate with and distantly related to Polish. The author understands intertextuality as a significant relationship between a particular literary text and another text, a group of texts (e.g. philosophical), or cultural texts (e.g. a macrotext concerning Slavonic beliefs) that come before a given text in time. The intertextual elements in Leśmian’s poems are classified thematically, i.e. according to the domain to which they refer and based on the extent to which they are recognizable to those who have read the texts that are referred to.Marta Kaźmierczak’s book which is titled Przekład w kręgu intertekstualności. Na materiale tłumaczeń poezji Bolesława Leśmiana [“Translation and intertextuality: a study based on the translations of Bolesław Leśmian’s poetry”] is the first comprehensive monograph on Bolesław Leśmian’s poems that have been translated into English and Russian. The aim of the study is to examine how the “intertextual signals” from the source texts were translated into languages that are cognate with and distantly related to Polish. The author understands intertextuality as a significant relationship between a particular literary text and another text, a group of texts (e.g. philosophical), or cultural texts (e.g. a macrotext concerning Slavonic beliefs) that come before a given text in time. The intertextual elements in Leśmian’s poems are classified thematically, i.e. according to the domain to which they refer and based on the extent to which they are recognizable to those who have read the texts that are referred to
O marginaliach (i nie tylko) Tadeusza Różewicza
Get PDFTadeusz Różewicz moved from Gliwice to Wrocław in 1968. He lived near South Park for many years and he regularly met there with the author of this article. They talked about many different things and current events, and especially about Stanisław Ignacy Witkiewicz, i.e. more specifically about his service in the tsarist army, the battle that took place near the Stokhid in June 1916 in which he was severely wounded as well as about the causes of his suicide in September 1939. In 2003 Różewicz moved to a house on Promień Street, which is located in a remote area of the city. When he was moving to the new place he came across Witkacy’s 1919 treatise titled Nowe formy w malarstwie i wynikające stad nieporozumienia [New Forms in Painting and the Misunderstandings Arising Therefrom], which he had bought in October 1945 at a street stall in Warsaw. After a careful reading of the treatise (as evidenced by numerous underlines in the text), he decided to enroll in the Academy of Fine Arts in Cracow. The quotes that are presented in the article show that Różewicz paid particular attention to Witkacy’s main philosophical concepts (“metaphysical anxiety”) and statements about the end of metaphysics in the 20th century. Many notes and annotations in the margins, some of which are cited in the present article, are evidence of Witkacy’s critical reading of Leon Chwistek’s “Wielość rzeczywistości w sztuce” i inne szkice literackie [The Multiplicity of Realities in Art and Other Literary Sketches]. In 1975 Anna Micińska published, based on a manuscript that had been discovered, the sociocultural study Niemyte dusze [Unwashed Souls] which Witkacy wrote in 1936 but which he did not manage to publish. Różewicz regarded this study as one of Witkacy’s most interesting works because it showed a whole different side of the artist – a citizen who was concerned about the condition of Polish society and the Polish state.Tadeusz Różewicz moved from Gliwice to Wrocław in 1968. He lived near South Park for many years and he regularly met there with the author of this article. They talked about many different things and current events, and especially about Stanisław Ignacy Witkiewicz, i.e. more specifically about his service in the tsarist army, the battle that took place near the Stokhid in June 1916 in which he was severely wounded as well as about the causes of his suicide in September 1939. In 2003 Różewicz moved to a house on Promień Street, which is located in a remote area of the city. When he was moving to the new place he came across Witkacy’s 1919 treatise titled Nowe formy w malarstwie i wynikające stad nieporozumienia [New Forms in Painting and the Misunderstandings Arising Therefrom], which he had bought in October 1945 at a street stall in Warsaw. After a careful reading of the treatise (as evidenced by numerous underlines in the text), he decided to enroll in the Academy of Fine Arts in Cracow. The quotes that are presented in the article show that Różewicz paid particular attention to Witkacy’s main philosophical concepts (“metaphysical anxiety”) and statements about the end of metaphysics in the 20th century. Many notes and annotations in the margins, some of which are cited in the present article, are evidence of Witkacy’s critical reading of Leon Chwistek’s “Wielość rzeczywistości w sztuce” i inne szkice literackie [The Multiplicity of Realities in Art and Other Literary Sketches]. In 1975 Anna Micińska published, based on a manuscript that had been discovered, the sociocultural study Niemyte dusze [Unwashed Souls] which Witkacy wrote in 1936 but which he did not manage to publish. Różewicz regarded this study as one of Witkacy’s most interesting works because it showed a whole different side of the artist – a citizen who was concerned about the condition of Polish society and the Polish state
Różewicz o sobie samym jako innym
Get PDFIt seems that Tadeusz Różewicz’s poem titled Francis Bacon or Diego Velazquez in a Dentist’s Chair is dedicated to the works of the author of Studies of Crucifixion. In fact, Różewicz writes about the impression that Bacon’s art left on him when he saw it in galleries and museums. This poem is also about fascination. Contrary to what may seem intuitive, it is not an attempt to describe the poet’s own way of interpreting these works; and even if so, this is only true to a limited extent. For Różewicz, Bacon’s works were just a pretext to look at himself, especially at his own early poems, from a distance – from a somewhat ironic distance. In this way the poet is able to present himself as “the other”, thus referring to the title of Paul Ricoeur’s book.It seems that Tadeusz Różewicz’s poem titled Francis Bacon or Diego Velazquez in a Dentist’s Chair is dedicated to the works of the author of Studies of Crucifixion. In fact, Różewicz writes about the impression that Bacon’s art left on him when he saw it in galleries and museums. This poem is also about fascination. Contrary to what may seem intuitive, it is not an attempt to describe the poet’s own way of interpreting these works; and even if so, this is only true to a limited extent. For Różewicz, Bacon’s works were just a pretext to look at himself, especially at his own early poems, from a distance – from a somewhat ironic distance. In this way the poet is able to present himself as “the other”, thus referring to the title of Paul Ricoeur’s book
Polska eseistyka o malarstwie i fotografii od 2. połowy XX wieku w świetle rozważań nad esejem jako formą (pisarstwa, poznania, doświadczania…)
Get PDFContemporary Polish essays on paintings and photographs (by, e.g. Z. Herbert, G. Herling-Grudziński, W. Karpiński, J. Pollakówna, E. Bieńkowska, A. Olędzka-Frybesowa, and W. Nowicki) are juxtaposed with the personal essay which was invented by Montaigne. A wide range of commentaries, including ideas about this genre which were expressed by Th. W. Adorno, G. Lukács, and G. Douglas Atkins, provide a theoretical background for the analysis. Selected Polish texts are presented as artistic constructions that recreate the process of experiencing pictures and the movement of thoughts of the essayistic “self” which uses many disguises (e.g. a traveler, amateur, scholar and critic). A particular painting or photo, which is often artfully described by means of ekphrasis, is treated by essayists as a starting point for analyzing many broader issues as well as for indirect self-presentation.Contemporary Polish essays on paintings and photographs (by, e.g. Z. Herbert, G. Herling-Grudziński, W. Karpiński, J. Pollakówna, E. Bieńkowska, A. Olędzka-Frybesowa, and W. Nowicki) are juxtaposed with the personal essay which was invented by Montaigne. A wide range of commentaries, including ideas about this genre which were expressed by Th. W. Adorno, G. Lukács, and G. Douglas Atkins, provide a theoretical background for the analysis. Selected Polish texts are presented as artistic constructions that recreate the process of experiencing pictures and the movement of thoughts of the essayistic “self” which uses many disguises (e.g. a traveler, amateur, scholar and critic). A particular painting or photo, which is often artfully described by means of ekphrasis, is treated by essayists as a starting point for analyzing many broader issues as well as for indirect self-presentation
Adaptacja filmowa – przekładem czy montażem?
Get PDFThis article presents arguments against some of the ideas presented in Marek Hendrykowski’s paper Adaptacja jako przekład intersemiotyczny [Adaptation as intersemiotic translation] („Przestrzenie Teorii” [Space of Theory] no. 20 (2013). The author challenges two assumptions: 1) the list of translation operations which was proposed by Hendrykowski and which she considers to be heterogeneous: these operations are performed either on a text’s surface (rhetorical operations) or in its deep structure (transaccentuation, compression and amplification); and 2) the concept of adaptation which is understood as montage, since the idea of montage restricts the issue of translation to compositional activities and isolates it from sources of hermeneutic and cognitive inspiration.This article presents arguments against some of the ideas presented in Marek Hendrykowski’s paper Adaptacja jako przekład intersemiotyczny [Adaptation as intersemiotic translation] („Przestrzenie Teorii” [Space of Theory] no. 20 (2013). The author challenges two assumptions: 1) the list of translation operations which was proposed by Hendrykowski and which she considers to be heterogeneous: these operations are performed either on a text’s surface (rhetorical operations) or in its deep structure (transaccentuation, compression and amplification); and 2) the concept of adaptation which is understood as montage, since the idea of montage restricts the issue of translation to compositional activities and isolates it from sources of hermeneutic and cognitive inspiration
Prospekty i ścieżki awangardy. Przypadek Tadeusza Peipera
Get PDFThe author presents the ways in which “Peiperism”, i.e. a model of thinking about the avant-garde as exemplified by the reception of Tadeusz Peiper’s works, is disintegrating today. Research on avant-garde poetry which privileged a theoretical perspective resulted in the distorted reception of texts, thus building a doctrinal model of the first avant-garde that marginalized or objectified literary works. However, the restoration of the superior role of poetry which was absorbed and dominated by the structural concept of poetic language compels readers to “leave the beaten track” and try to read Peiper’s works in a different way. At the same time, established opinions on the intellectual and nonphysical as well as fully expressible and complex model of the Cracow avantgarde are redefined. A closer look at the texts reveals interpretational differences and shows that avant-garde authors’ utopian projects are not necessarily congruent with their output.The author presents the ways in which “Peiperism”, i.e. a model of thinking about the avant-garde as exemplified by the reception of Tadeusz Peiper’s works, is disintegrating today. Research on avant-garde poetry which privileged a theoretical perspective resulted in the distorted reception of texts, thus building a doctrinal model of the first avant-garde that marginalized or objectified literary works. However, the restoration of the superior role of poetry which was absorbed and dominated by the structural concept of poetic language compels readers to “leave the beaten track” and try to read Peiper’s works in a different way. At the same time, established opinions on the intellectual and nonphysical as well as fully expressible and complex model of the Cracow avantgarde are redefined. A closer look at the texts reveals interpretational differences and shows that avant-garde authors’ utopian projects are not necessarily congruent with their output
Tło zmieszane z niczego. Problem nihilizmu u Witkacego
Get PDFAs Witkacy wrote in Narcotics, it is “the surrounding nothingness which creates a negative background for all being” that makes things visible. Nihilism provides a framework for Witkacy’s work. His philosophy and esthetics are a response to the nihilistic lack of meaning and the absolute, while his cultural pessimism is a projection of the lost paradise. The romantic attitude that he had developed by reading Schopenhauer and Nietzsche left deep traces in his art, thus generating the iconography of his paintings and permeating his dramas and novels.As Witkacy wrote in Narcotics, it is “the surrounding nothingness which creates a negative background for all being” that makes things visible. Nihilism provides a framework for Witkacy’s work. His philosophy and esthetics are a response to the nihilistic lack of meaning and the absolute, while his cultural pessimism is a projection of the lost paradise. The romantic attitude that he had developed by reading Schopenhauer and Nietzsche left deep traces in his art, thus generating the iconography of his paintings and permeating his dramas and novels