Browsing by Author "Bartczak, Kacper"
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Item Polubić ten wątły obrys — dwie próbki z Roberta Creeleya(Wydawnictwo "Poznańskie Studia Polonistyczne", 2009) Bartczak, KacperThe present sketch discusses two poems written by Robert Creeley, a poet initially associated with the Black Mountain College group, who later worked out his own idiosyncratic style, often referred to as minimalistic. Focusing on the two poems of the poet, one early poem and the other written towards the end of the poet’s life, the author of the article attempts to show how Creeley’s poetical technique, being remarkably disciplined and innerly organized variety of free verse, became his answer to the problem of contingency. Contingency, i.e. a lack of metaphysical protection, forms now the basic element of the poet in the democratic world. To facilitate this new modern understanding of the relationships between poetry and democracy, the author juxtaposes Creeley with Whitman in an attempt to outline post-religious spirituality close at hand for the poet who has no illusions as to human condition and who, at the same time, retains his creative power and drive that Creeley inherits from Whitman and Emerson.Item Stała interpretacyjna: status rzeczy w poezji Wallace’a Stevensa(2012) Bartczak, KacperStevens’s poems grant a curious status to material reality. Famously abstract, they refuse to abandon the realm of the material. Rather, “material reality” is inseparable from “abstract” concepts. Stevens’s position is pragmatist: the status and significance of material objects is founded by the entirely human linguistic/mental activity, which is also an interpretive activity. The poem is a site of initiating this activity. As such, Stevens’s poetics remains in opposition to other aesthetic positions: the linguistic idealism of Mallarmé, the metaphysical realism of Miłosz and Herbert, and the material realism of Ponge and American “objectivists”. While the metaphysical positions tend to overcome the material, the realistic poets will reify it by “taking the side of things”. Stevens’s poetic pragmatism sees no lure in the extra-material, while also refusing to see matter as meaningful in itself, beyond the human interpretive activity.