Browsing by Author "Stankowska, Agata"
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Item Awangardowy wnuk Leśmiana(2009) Stankowska, AgataThe sketch discusses the "relations and interdependencies of impossibilities" connecting the discursive poetry of Bieńkowski with the lyrical poetics of Leśmian. This formula, coined by the author of "Sprawy wyobraźni," perfectly expresses these kind of references that exceed just a simple juxtaposition of similarities in subject matters or poetical figures. In terms of this plane, there seem to be are more differences between the two poems than conceivable similarities. However, within the plane of creative philosophy, the awareness of the language status in modern poetry, the abiding concept of reality and the attitude towards civilizational and social transformations, the similarities are particularly striking. The avant-garde poet does not shun from employing early modernist individualistic, idealistic, regressive and aesthetic (formalistic) tendencies so characteristic for Leśmian. If Przyboś, as Łapiński put it, "rehabilitated" Leśmian’s programme, Bieńkowski makes the Przyboś’ programme back again more like Leśmian-like, creating a programme not so much avant-garde in character but rather a one that relates to decadent aspirations of modernism in its narrowest sense. Not surprisingly then, he makes the lyrics of the author of Łąka his particular tertium comparationis of the phenomena in Polish postwar poetry, linguistic poetry in particular. This way, unusual power of modernity of Leśmian poetry is testified and well proven.Item „Cienie wielkich artystów” Gustaw Herling-Grudziński i dawne malarstwo europejskie(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013) Stankowska, Agata; Śniedziewska, Magdalena; Telicki, MarcinItem Ikonoklazm i ikonofilia. Między historią a współczesnością(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2016) Stankowska, Agata; Telicki, MarcinItem Ikonoklazm odwrócony. Tadeusz Różewicz w poszukiwaniu form „wewnętrznego obrazu”(Wydawnictwo Naukowe UAM, 2014) Stankowska, AgataTadeusz Różewicz often noted down phrases which could be interpreted as iconoclastic in his poems and poetry-related sketches. This article presents the reasons for the poet’s dislike of an image that is identified with a metaphor, which he expressed particularly strongly immediately after the war. It also describes the continuation of historical iconoclasm which was characteristic of the twentieth century, and on the level of which the notion of God’s “unrepresentability” was replaced by the issue of the unspeakableness and inconceivability of trauma. The efforts that Różewicz made to rethink the status of an image are presented against such a background. According to the poet, an image should satisfy the primeval desire for presence, which was ascribed to it once again after the Holocaust, like a painting from before the era of art. Therefore, Różewicz develops the theory of an “inner image” which one should pursue rather than create. An “inner image” is not a “fanfare played to celebrate life”, which inspires awe and can only be described in terms of aesthetic conventions, but a kind of manifestation of the hidden, wounded lyrical “I” and, most importantly, of its authentic experience. The “truth” of the image and metaphor that are “possible after Auschwitz” became bound up with what is somatic, and not conceptual, with what is tangible, and not imaginable, and with what is metonymic, not metaphorical. This truth is also largely (but not necessarily solely) connected with the human condition and existence rather than with God’s fullness.Item Język „młodzieńczego Weltschmerzu”. O skutkach i korektach „gnostyckiego doświadczenia egzystencji”(2012) Stankowska, AgataThe article is about the role of gnosis and gnosticism in Miłosz’s world-view and aesthetic. This influence has been discussed identified by numerous researchers, and the direct stimulus for the present author was an extensive and well-informed study by Zbigniew Kaźmierczyk, Dzieło demiurga [Demiurge’s Work], where the critic interprets one of Miłosz’s juvenile collection Trzy zimy [Three Winters] as a record of gnostic experience of existence. Kaźmierczyk, who is a convinced proponent, and competent practitioner of the gnostic key to interpretation of Miłosz’s poetry, presents a highly coherent of Miłosz’s second book of poetry, read through complicated gnostic metaphors, which prevents the critic from a definite description of Miłosz as a gnosticist. The poet is rather describes as only (or so much as) a consciously selective user of imagery typical for gnosticism. Incisive analyses of topics in Trzy zimy, which fill chapter after chapter of Dzieło demiurga, convincingly argue that Miłosz’s juvenile foray into the world of dualistic images was not ephemeric or accidental, but rather had lasting and important consequences. Simultaneously, because of their purity and specific inwardness, they provoke a discussion of the role of this imagery, and the related convictions, in Miłosz’s post-war work, when he wrote Rescue; this issue is presented extensively in the article. The absorbing and fascinating description, fascinating in itself, of Miłosz’s juvenile imagination, presented by the author of Dzieło demiurga, is presented as a perfect background for discussion of further Manichean themes in Miłosz’s poetry. In a wider context, the article presents also the basic anthropological problems in Miłosz’s work, problems that arise from his juvenile experience of Weltschmerz, and which he radically overcame in his later years.Item Lingwizm jako antropomorfizm. Wokół poetyckiej historiozofii Zbigniewa Bieńkowskiego(Wydawnictwo Naukowe UAM, 2013) Stankowska, AgataThe sketch presents the reconstruction of Zbigniew Bieńkowski’s theory of linguistic poetry. This author who is classified by critics and researchers as a member of linguistic poetry movement is by no means uncritical of its various perspectives and accomplishments. This complicated approach is reflected in the dispute that Bieńkowski was engaged in with Karpowicz and the poets of the New Wave in his critical sketches. He unfairly accuses them of being too minimalistic and of paying too much attention to linguistic experiments. He claims that distrust of language and its communicative functions in New Wavers’ programs overshadowed the broad philosophical and ideological functions of word games. Instead he proposed his own poetological project “Trzy poematy” [“Three poems”], where avant-garde traditions mingled with symbolist ones and called for breaking the numbness of language for broader, idealistic purposes. Referring to Vico’s historiosophy, Bieńkowski wishes to treat linguistic poetry both as a tool (a trick) and space for intervention, whose final purpose is to rebuild the anthropogenic locus amoenus in language.Item Odnaleziony klucz(Wydawnictwo "Poznańskie Studia Polonistyczne" oraz Wydawnictwo PTPN, 2010) Stankowska, Agata"Poetycka antropologia Julii Hartwig" [Julia Hartwig’s poetic anthropology] written by Marcin Telicki is a book that fills the yawning gap in our literary understanding of the twentieth century Polish poetry and constitutes the first attempt at a comprehensive and detailed presentation of the lyrical works by J. Hartwig. The modern collection in which the work appears allow M. Telicki to reveal the poetess' fundamental insights dominating and underlying her world outlook and epistemological views. This, in turn, puts him in a position to give an explanation to the logic embedded in the evolution under scrutiny. M. Telicki convincingly supports his own argument concerning J. Hartwig's poetic reception of the world proving the thesis that its fundamentals are deeply rooted in the anthropological perspective. Telicki differentiates the latter into three basic categories. First, there is "strangeness/alienation", which results in the need for self-definition (determination of one's nature and basic qualities). Then, "identity", whose reflection turns out to be not only what is different in its external shape, but also what is different inside — within the plane of one's own culture, biography and personality. And, finally, "empathy", born out of questions on a feasibility of contact with what is different, alien and absent. The three categories, connected by the logic of anthropological vision, are presented as basic and fundamental for the subsequent stages in Hartwig's poetical output. At the same time, they reveal themselves as axes of anthropological reading material provided by the author — for the discussed book is the author's own research project on "poetic anthropology".Item Spór o „niezrozumialstwo” w dwudziestoleciu międzywojennym(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2018) Panek, Sylwia; Panek, Sylwia; Stankowska, AgataThis polemic was the product of Karol Irzykowski’s article Niezrozumialstwo [Dysunderstandableness] published in 1924. The curtain of literary discourse was first raised on the pages of the Warsaw weekly Wiadomości Literackie and later, to the end of the interbellum in various newspapers such as Przegląd Wieczorny, Zwrotnica, Goniec Krakowski, Gazeta Artystów, Przegląd Warszawski, Kurier Wileński and Pion. The polemic, over the rationale and function of dysunderstandable literature, engaged renowned writers and literary critics such as Jerzy Hulewicz, Jan Nepomucen Miller, Stanisław Ignacy Witkiewicz, Tadeusz Peiper, Julian Przyboś and Jan Brzękowski.Item Światopogląd metafory. Spory o przenośnię w dwudziestoleciu międzywojennym(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2024) Stankowska, Agata; Panek, SylwiaThe volume is devoted to the polemic over metaphor that continued to weave its way in the interwar period and deals with one of the most important phenomena in the historical poetics of the period. Peiper’s theses, making metaphor not only the most important trope in the linguistic sense, but also the key epistemological signpost of modern consciousness, were raised, transformed, developed and rejected by advocates of all the important literary currents and generations of the era. Taking part were both champions of the First Avant-Garde and the Second Avant-Garde, opponents and supporters of obstructed speech, aficionados of poetic imagination and critics of poetry’s autonomy. In formulating judgments on metaphor, poets and critics answered key questions on what the social role of literature is, how literature should be written and what literature actually is or should be. Commentaries by Irzykowski, Peiper, Przyboś, Brzękowski, Kurek, Kuncewiczowa, Krzywicka, Miłosz, Herling-Grudziński and others formed a polyphonic dialogue. They also often sowed the seed of regular polemics, carried out in the pages of magazines such as Zwrotnica, Linia, Wiadomości Literackie, Droga, Gazeta Artystów, Pion and Orka na Ugorze. Without a knowledge of these texts, it is impossible to responsibly find one’s way today in the maze of innovative poetics that the interwar period represented.Item Tadeusz Różewicz i obrazy(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2015) Stankowska, Agata; Śniedziewska, Magdalena; Telicki, MarcinItem Widzenie awangardy(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2018) Stankowska, Agata; Telicki, Marcin; Lewandowska, AgataItem „Wizja przeciw równaniu” Wokół popaździernikowego sporu o wyobraźnię twórczą(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013) Stankowska, Agata; Panek, SylwiaThe 4th volume of the series Polemika Krytycznoliteracka w Polsce („Critical Literary Argument in Poland”) is devoted to the dispute ongoing in Polish cultural life after the October thaw in 1956. The subject-matter was „liberated imagination” treated both as the source and as the effect of the creative process. The argument was opened by the famous essay Vision against equation. The new struggle of the Romantics with the Classics by Jerzy Kwiatkowski published in 1958 in „Życie Literackie”. The Adversaries were both critics (Włodzimierz Maciąg, Michał Głowiński, Zbigniew Bieńkowski, Ludwik Flaszen, Kazimierz Wyka), and poets(Jerzy Harasymowicz, Bohdan Drozdowski, Julian Przyboś, Tadeusz Różewicz, Zbigniew Herbert, Stanisław Czycz). The dispute ongoing in the esthetical reflections plane and, at least, in respect of social and political context of the epoch (war and Stalinism) had its equivalent in the discussions concerning the plastic arts, especially the Tachism.Item “żeby nie widzieć oczu zapatrzonych w nic”. O twórczości Czesława Miłosza(Wydawnictwo Naukowe UAM, 2013) Stankowska, AgataThis book is devoted to Czesław Miłosz’s work which is described by using a range of antinomies in terms of which the poet perceived the condition of man and of the modern lyric. The chapters in the first part contain a thorough analysis of Miłosz’s manifesto texts: from List półprywatny o poezji [A Semi-Private Letter about Poetry] to the last “manifestos” of the 1990s: Przeciw poezji niezrozumiałej [Against Incomprehensible Poetry] and Postscriptum [Postscript]. A leading theme of these works are questions, which are by no means rhetorical, about Miłosz's Gnosticism, classicism, realism and anti-modernism. The second part presents a reconstruction of the poet's dialogs with Osip Mandelstam and Aleksander Wat. This book portrays the essence of choices and intentional omissions made by the author of Ocalenie [Rescue] against a broad background of the original poetics and dramatic lives of the authors of Ciemne świecidło [A Dark Light] and The Voronezh Notebooks. The choices and evaluations made by Miłosz, when interpreted in light of Mandelstam’s and Wat’s poetologic projects, strike the reader as consistent but also reveal topics which might make one willing to dispute with the master of the despair he was overcoming.