Poznańskie Studia Polonistyczne. Seria Literacka, 2010, nr 17 (37)

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    Gest pośmiertnego pisania i inne "gesta" poetyckie (Verlaine, Rimbaud)
    (Wydawnictwo "Poznańskie Studia Polonistyczne" oraz Wydawnictwo PTPN, 2010) Kuczyńska-Koschany, Katarzyna
    The essay undertakes to investigate the phenomenon of erotic friendship as an "intertextual friendship" and, at the same time, "somatic (mis)understanding" (German: "Un-beziehung"). The following considerations include a discussion on the relationship between Paul Verlaine and Arthur Rimbaud, viewed first of all as bohemian characters of bohemian life and the protagonists of the mitologised homo-erotic relationship. Beside a hermeneutic attempt at describing the intimacy shared by both poets, or stages in the development of their intimate relations (with reference to French literature of the subject and texts that have not yet been translated into Polish), the author writes extensively on the reception of the relationship of the legendary pair of friends-lovers in Poland, examining the poems written by Jarosław Iwaszkiewicz and Stefan Napierski, a number of critical studies of the inter-war period, Agnieszka Holland's film "Total eclipse" and the most recent poetical texts by Ewa Sonnenberg. The essay is complemented by some considerations on similar cases, analogous to the instance of the relationship between the two French poets: epistolary romance between R.M. Rilke and M. Tsvetaeva and, important within the context of the reception of Rimbaud in Poland — love/friendship exhibited in the letters between Andrzej Czajkowski and Anita Janowska.
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    Nieznany wiersz Adama Mickiewicza? Rękopis tekstów poetyckich z pierwszej połowy XIX wieku w Bibliotece Poznańskiego Towarzystwa Przyjaciół Nauk. Komunikat
    (Wydawnictwo "Poznańskie Studia Polonistyczne" oraz Wydawnictwo PTPN, 2010)
    The Library of the Poznań Society of Friends of Arts and Sciences has been recently enriched by the accession of the manuscript "Poetical texts from the first half of the nineteenth century". The manuscript includes a number of patriotic poems put down in the manuscript between 1848-1849. The article provides information on the physical description of the manuscript item (its present shelf number being: rkp. 2112) and a detailed list of its contents. Individual works have been listed in alphabetical order according to the names of the authors, with annotations concerning first editions. The bulk of the poems included in the manuscript were published prior to their inclusion in the manuscript, some of them after the year 1849. At the present stage of the investigation, some of the poems have not been confirmed to have been published earlier. An anonumous 12-verse poem without a title, attached to the communique at full length, has been identified by the author of the article as a poem whose last four verses were published in 1881 in the book "Kraków — Zagrzebiowi" under the title "W albumie księcia Golicyna" by Adam Mickiewicz. The article is intended to stimulate those engaged in research of the history of literature in further investigations concerning the said collection of poems, in particular the last mentioned text.
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    Przyjaźń podług Lucjusza Anneusza Seneki. Kilka spostrzeżeń
    (Wydawnictwo "Poznańskie Studia Polonistyczne" oraz Wydawnictwo PTPN, 2010) Wesołowska, Elżbieta
    This article attempts to examine the problem of friendship as it was understood by Seneca in his letters sent to Lucillus. The author scrutinizes the main items in the philosopher's autobiography to investigate the influence of the events from Seneca's biography in the shaping of the opinions of the thinker. Lucillus, the addressee of the letters, was actually Seneca's long-time friend and confidant. The issue of friendship has a long and rich tradition of its own in the antique times. This particular relationship between human beings was of much interest to Plato, Aristotle, Epicurus, Cicero and many others. Seneca does not venture into an attempt at creating a vision for coherent science related to friendship. What he does though is to furnish a vast array of thoughts concerning such questions as: who is worthy of friendship, why is it worth having a friend and what forms the basis for friendship? Strangely enough, these establishments made by Seneca somehow seem to be more close to us than those in which the philosopher constructs the image of a superhuman wise man, a stoic.
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    Inność, którą trzeba chronić. O empatii zbudowanej na dystansie
    (Wydawnictwo "Poznańskie Studia Polonistyczne" oraz Wydawnictwo PTPN, 2010) Winiecka, Elżbieta
    The article is a review of Krystyna Pietrych's book "Co poezji po bólu. Empatyczne przestrzenie lektury" (Łódź 2009) [What good pain and suffering bring in poetry. Emphatic dimensions of reading]. Since the reviewed book presents a bold and, to a large extent, novel approach to personalistic reading — based on a subjective, compassionate experience of an encounter with uncognizable and unreductible otherness of tormented man-poet, the reviewer focuses on the issues viewed as the most important for the method of emphatic reading adopted by the author. E. Winiecka analyses aesthetical and epistemological, as well as axiological possibilities and risks that emphatic criticism opens up for reexamination. Formulates her own opinion on the analytical method used by K. Pietrych in examining poetry, which is a recording of one's mind in agony and suffering experienced by seven authors: Aleksander Wat, Zbigniew Herbert, Miron Białoszewski, Stanisław Barańczak, Janusz Szuber, as well as Julian Przyboś and Anna Świrszczyńska. Outlines the methodological perspectives of the discussed work that traces the stages in the formation of literary depiction and representation of suffering. The text is also an attempt at defining and indicating the cognitive perspectives of emphatic criticism.
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    "Niemowa z Kampen" — Hendrick Avercamp w Archiwum Z bigniewa Herberta
    (Wydawnictwo "Poznańskie Studia Polonistyczne" oraz Wydawnictwo PTPN, 2010) Śniedziewska, Magdalena
    The present article analyses the rough drafts of Zbigniew Herbert's essay on Hendrik Avercamp — the seventeenth century Dutch landscape painter who specialized in winter landscapes and scenes with numerous tiny figures. The author attempts to reconstruct the compositional idea for the essay and establishes facts concerning the research work done by Herbert concerning the life and work of Avercamp, confronts the findings with the present state of research and considers the issue of the biographical dimension of the painter's artistic output as one of the keys to solving the interpretative problems of his paintings and the artistic tradition that had influenced the shaping of the Avercamp idiom of paintings. Avercamp's works are juxtaposed in the article with the landscapes painted by Pieter Bruegel the Elder to show the difference between the visions of the world represented by the two painters. Bruegel, in Herbert's opinion, is bitter in his reflection on the subject of transiency of human existence. Avercamp, conversely, tends to have a cheerful outlook on life, the world and his compatriots. Avercamp's paintings allow us to get to know winter customs of the Dutch, their winter outdoor games participated by all — hence a thesis posed by the poet underlying the democratic character of skating rinks. In doing so, Herbert proposes to scrutinize carefully Avercamp's artistic output within the context of, defined after Schiller, the notion of naivety, understood as "the virtue of accepting reality with humility" adopted from the old masters.
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    "Makbet" Giuseppe Verdiego wobec romantycznej recepcji dramatu Williama Szekspira
    (Wydawnictwo "Poznańskie Studia Polonistyczne" oraz Wydawnictwo PTPN, 2010) Borkowska-Rychlewska, Alina
    Romantic approach to William Shakespeare's dramatic works, as well as the notions and questions so vital for the consciousness of the epoch concerning the capacity and function of destiny, unrecognizability of existence, interference of supernatural powers in the world that can be grasped with human mind and common sense, are all intriguingly transparent in Giuseppe Verdi's "Macbeth". The Italian composer, who knew the Romantic reception of Shakespeare's dramatic plays well (e.g. the Italian translations of the lectures given by August W. Schlegel), embarked upon the issue of the ambiguity of the scene with the witches that appear to Macbeth, posed a question on the cognitive value in the dreamy apparition (in the brilliantly constructed Lady Macbeth's sleepwalking scene), and, finally, emphasized the aspect of hybridity of the world that inseparably combines the grandeur and the grotesque (the point highlighted in Victor Hugo's considerations on Shakespeare). The two versions of the operatic "Macbeth" — the one produced in Florence in 1847, the other, 1865 revised version produced for Paris — relate well with the long sequence of changeable conventions in the nineteenth century theatre, taking into consideration its requirements (the need for a spectacular character of staging, the introduction of multiple actors and extras) and thus testifying to the transformations in the devices of Romantic staging. The Verdi "Macbeth" of 1865, like a Romantic implant in the operetta world of farcical braggadocio dominant on the Parisian stage at the time of the Second Empire, testifies to the enormous influence of the Romantic reception of Shakespeare exerted at the time and defining for a considerable period of time the concept of adaptation of the works of the Stradford master to meet the needs of the operatic stage.
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    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".
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    1. Spis treści
    (Wydawnictwo "Poznańskie Studia Polonistyczne" oraz Wydawnictwo PTPN, 2010)
Uniwersytet im. Adama Mickiewicza w Poznaniu
Biblioteka Uniwersytetu im. Adama Mickiewicza w Poznaniu
Ministerstwo Nauki i Szkolnictwa Wyższego