228 research outputs found
Ja wiem, że to przedmowa
No full textStanisław Barańczak’s collection I Know It’s Not Right (Ja wiem, że to niesłuszne), published as samizdat in 1978, included a preface by Adam Michnik. The article analyses this preface and attempts to determine itsaddressee and understand the author’s intentions
Niebezpośredniość. Białoszewski w filmie Andrzeja Barańskiego "Parę osób, mały czas"
No full textINDIRECTNESS. BIAŁOSZEWSKI IN ANDRZEJ BARAŃSKI’S FILM PARĘ OSÓB, MAŁY CZASParę osób, mały czas A few persons, a little time is a film directed by Andrzej Barański which presents an incredible relationship between two writers: Miron Białoszewski and a blind poet Jadwiga Stańczakowa. We can see a special kind of Warsaw bohema in the 1970s. In the present article the author interprets Barański’s movie as a psychological drama, social story and biographical work.Translated by Adam PoprawaINDIRECTNESS. BIAŁOSZEWSKI IN ANDRZEJ BARAŃSKI’S FILM PARĘ OSÓB, MAŁY CZASParę osób, mały czas A few persons, a little time is a film directed by Andrzej Barański which presents an incredible relationship between two writers: Miron Białoszewski and a blind poet Jadwiga Stańczakowa. We can see a special kind of Warsaw bohema in the 1970s. In the present article the author interprets Barański’s movie as a psychological drama, social story and biographical work.Translated by Adam Popraw
Ogórki małosolne antropomorfizowane. Próby o wierszu Za szkłem
No full textThe last volume of poetry by Stanisław Barańczak, titled Chirurgiczna precyzja (Surgical precision) features the poem Za szkłem (Behind glass). It is an extremely ironic and ambiguous work. The interpretation provided in this paper points to the exceptional importance of this text for Barańczak’s poetry as a whole
Slash. Uri Caine’s Mahler
No full textIn recent years, artistic projects combining a wide array of musical styles, such as jazz interpretations of classical music or orchestral arrangements of rock songs, have enjoyed considerable popularity. As their authors were focused mainly on sales profits, the artistic value of their works was often highly disputable. Nevertheless, some outstanding achievements in that field have also been made, among them reinterpretations of classical repertoire - Bach, Beethoven, Mozart, Schumann, and, above all, Mahler - by American pianist Uri Caine. He recorded several CDs containing new versions of Mahler’s entire works or their excerpts. Sometimes Caine’s music moves far away from the originals, though such artistic experiments are always well-grounded and aesthetically convincing. Caine’s reinterpretations of Mahler have also some (auto)biographical overtones
Did Białoszewski often look at his watch?
No full textZachowało się niewiele zdjęć przedstawiających Mirona Białoszewskiego z zegarkiem. W tekstach pisarza przedmiot ten pojawia się zarówno jako dosłowny detal świata przedstawionego, jak i składnik konstrukcji metaforycznych. Z dużą częstotliwością autor informuje o godzinach dziejącej się akcji lub o czasie zapisu.There are only a few pictures presenting Miron Białoszewski with a watch on his hand. This everyday
item returns in writer’s texts as a detail of presented world or a component of metaphorical
construction. Author informs us very frequently about a time of action and hours of writing
A discontinuity of autobiography. I remember by Georges Perec
No full textGeorges Perec uprawiał różne formy pisarstwa autobiograficznego. Pamiętam że jest zbiorem 480 zapisów, całość oznacza nieciągłość pamięci i autobiografii. Pisarska koncepcja Pereca znalazła potwierdzenie w jednym z późniejszych tekstów Lejeune'a, który napisał, że nie wierzy już w pojedynczą autobiografię, lecz w teksty autobiograficzne.Georges Perec's works represent a various forms of autobiographical writings. I remember is a collection of 480 records, whole book proves a discontinuity of memory and autobiography. In one of his latest works Philippe Lejeune writes he just don't believe in single autobiography, but in autobiographical texts
Slash. Uri Caine’s Mahler
No full textIn recent years, artistic projects combining a wide array of musical styles, such as jazz
interpretations of classical music or orchestral arrangements of rock songs, have enjoyed considerable
popularity. As their authors were focused mainly on sales profi ts, the artistic value of their works was
often highly disputable. Nevertheless, some outstanding achievements in that fi eld have also been
made, among them reinterpretations of classical repertoire – Bach, Beethoven, Mozart, Schumann,
and, above all, Mahler – by American pianist Uri Caine. He recorded several CDs containing new versions
of Mahler’s entire works or their excerpts. Sometimes Caine’s music moves far away from the
originals, though such artistic experiments are always well-grounded and aesthetically convincing.
Caine’s reinterpretations of Mahler have also some (auto)biographical overtones
Pół wieku okładek „Pamiętnika z powstania warszawskiego” Mirona Białoszewskiego
No full textThis article discusses the covers designed for the A Memoir of the Warsaw Uprising published between 1970 and 2021. The authors of these graphic designs chose various solutions, from abstract images to mimetic representations, often referring to conventional traditions. There were some surprising proposals, as well as those of high artistic value.W artykule omówiono okładki zaprojektowane do Pamiętnika z powstania warszawskiego wydawanego w latach 1970–2021. Autorzy tych projektów graficznych wybierali różne rozwiązania, od obrazów abstrakcyjnych do przedstawień mimetycznych, nawiązujących niejednokrotnie do konwencjonalnych tradycji. Zdarzały się propozycje zaskakujące, o dużych wartościach artystycznych
On a Glass Harmonica’s Jars. From Białoszewski’s Recordings
No full textMiron Białoszewski często nagrywał swoje teksty na magnetofon. Te dźwiękowe dokumenty są nie tylko autointerpretacją, ale i źródłami edytorskimi. Nagrywanie własnych dzieł było dla Białoszewskiego również świadectwem autobiograficznym.Miron Białoszewski often recorded his texts on a tape recorder. These sound documents are not only self-interpretation but also editorial sources. Recording his own works was also an autobiographical experience for Białoszewski
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