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Tytuł:
Anty-Gombrowicz i Różewicz
Anti-Gombrowicz and Różewicz
Autorzy:
Skrendo, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1391054.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Tadeusz Różewicz
Witold Gombrowicz
literatura nowoczesna
teatr
Opis:
This article deals with Tadeusz Różewicz’s opinions of Witold Gombrowicz’s creations. The author compares both writers’ views on literature, especially poetry and theater. He states that Różewicz has created a character who can be called “Anti-Gombrowicz”. The author reveals how Różewicz thought up this peculiar concept and then tried to release himself from it.
Źródło:
Przestrzenie Teorii; 2014, 21; 93-107
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Różewicz – praktyki dodatków
Różewicz – Practices of Addition
Autorzy:
Skrendo, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1358838.pdf
Data publikacji:
2016-10-28
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
edyting
Tadeusz Różewicz
Addition
Poetics
text
edytorstwo
dodatek
poetyka
tekst
Opis:
Tematem szkicu są działania, jakim poddaje swoje teksty – zwłaszcza poetyckie, ale nie tylko – Tadeusz Różewicz. Polegają one na różnorodnych przekształceniach, w wyniku których wiersze Różewicza stają się tekstami wielorakimi, okazują się swego rodzaju wariantami bez oryginału. Autor opisuje sposoby dokonywania owych przekształceń oraz zastanawia się nad ich konsekwencjami.
The essay focuses on the operations to which Tadeusz Różewicz submits his (poetic and other) texts. These involve various kinds of transformations, as a result of which Różewicz’s poems become multiple texts and are revealed to be, in a sense, variants with no clear “original.” Skrendo describes the ways in which these transformations take place and considers their consequences.
Źródło:
Forum Poetyki; 2016, 6; 12-23
2451-1404
Pojawia się w:
Forum Poetyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Różewicz o sobie samym jako innym
Różewicz about himself as someone else
Autorzy:
Przybylski, Ryszard Kazimierz
Powiązania:
https://bibliotekanauki.pl/articles/1391051.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
poezja polska
Tadeusz Różewicz
"inny"
dystans
ironia
Opis:
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.
Źródło:
Przestrzenie Teorii; 2014, 21; 77-92
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wspólna twarz – Różewicz, Rembrandt i starość
The common face: Różewicz, Rembrandt and old age
Autorzy:
Rosales Rodriguez, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1391061.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Różewicz
Rembrandt
zwierciadło
starość
śmierć
Zeuksis
Opis:
This article proposes an interpretation of Rembrandt’s Self-Portrait as Zeuxis Laughing (Wallraf- -Richartz Museum, Cologne) as it appears in Tadeusz Różewicz’s poem Mirror. The 17th-century Dutch artist was known as a painter who portrayed the human body as it really is, i.e. with all its imperfections and changes that are brought about by the passage of time. He has also been regarded as a master who expressed the disappearance and decay of form (Simmel) and the anticipation of death (Malraux) by using an unconventional technique. Różewicz “appropriated” Rembrandt’s face to speak of the inevitability of getting old and dying, the limits of Logos and poetry as well as the powerlessness of a poet whose fatal destiny is to describe and testify to suffering. Rembrandt’s figure appears in a flash of light, but at the same time seems to melt into thick paint, to disappear, like the poet’s words on the surface of silence, thus suggestively representing the moment of the subject’s transformation and crossing the border between life and death, the artist’s withdrawal from the world and last breath as well as the limits of literature, i.e. the loss of discourse. In this poetic epiphany, Rembrandt is – let us refer to Harold Bloom’s famous concept of apophrades – the great dead returning in Różewicz’s work.
Źródło:
Przestrzenie Teorii; 2014, 21; 167-180
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ikonoklazm odwrócony. Tadeusz Różewicz w poszukiwaniu form „wewnętrznego obrazu”
Reversed iconoclasm: Tadeusz Różewicz seeks forms of an “inner image”
Autorzy:
Stankowska, Agata
Powiązania:
https://bibliotekanauki.pl/articles/1391056.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
literatura
sztuka
ikonoklazm
obraz
Tadeusz Różewicz
Opis:
Tadeusz 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.
Źródło:
Przestrzenie Teorii; 2014, 21; 109-133
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Różewicza sztuki splątane. Interpretacja performatywna
Różewicz’s entangled arts. A performative interpretation
Autorzy:
Krajewska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1391045.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
literatura polska
Tadeusz Różewicz
"sztuki splątane"
performatyka
Opis:
This article attempts to analyze Tadeusz Różewicz’s works by using methods that are associated with performative literary studies. The author refers to concepts of quantum physics and introduces a new aesthetic category, “entangled arts”. Among these arts are, for example, drama and theater, which are seen from an anti-binary perspective. This approach eliminates the traditional division of arts into the art of literature and performing arts, thus leading us to look on literature as a performing art. Therefore, the idea of “entangled arts” is not about “the synthesis of arts”, but about their unresolvedness and an act of reading which requires one to simultaneously exist and be active in two different realities, for example, in a digital and imagined world, or in film and on stage. Różewicz adheres to the same principle as Diego Velázquez when he was painting Las Meninas, which represents a trap of a performative painting. This is true of Kartoteka rozrzucona [The Scattered Card Index], Pułapka [The Trap] and the short story Grzech [The Sin]. The author of this article considers Tadeusz Różewicz to be the greatest modern writer, a dramatic poet who pushes the boundaries of art, and an artist who is both present and absent.
Źródło:
Przestrzenie Teorii; 2014, 21; 39-58
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O marginaliach (i nie tylko) Tadeusza Różewicza
On Różewicz’s margin notes (and not only)
Autorzy:
Degler, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/1391032.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
literatura polska
Tadeusz Różewicz
Witkacy
marginalia
Opis:
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.
Źródło:
Przestrzenie Teorii; 2014, 21; 11-22
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tadeusz Różewicz pisze wiersze w roku 1946, czyli poeta modernistyczny wobec wojny
Tadeusz Różewicz Writes Poems in 1946, Modernist Poet and War
Autorzy:
Pietrych, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/1389789.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
poetry by Tadeusz Różewicz
poems from the volume Niepokój (1947)
modernist poetry and World War II
Opis:
The starting point for the remarks on the early oeuvre of Tadeusz Różewicz is the poem “Śmierć podchorążego” (“Death of a Cadet”) published in 1946 in the weekly Odrodzenie, and later included by the author in his famous volume Niepokój (1947) – which, however, was not reprinted later. “Śmierć podchorążego” shows fascination of young Różewicz with avant-garde poetry, especially the poetry of his contemporary master – Julian Przyboś. However, what is finally more interesting, the poem shows also—different than in the poem emblematic for Różewicz’s writings “Ocalony”—the attitude of the young poet to the subject of war. This different attitude is visible in his poetics as well as the interpretation of war experience included in this poem. Although, apart from the differences between “Śmierć podchorążego” and “Ocalony” there are also similarities. In both, Różewicz, as befits a modernist poet, tries to realize the postulate of the search for “new things”, which he formulated in his poetic manifesto published in April 1945.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2014, 24; 256-267
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Śmierć w starych dekoracjach”, czyli „aisthesis” według Tadeusza Różewicza
Death in the Old Decorations, i.e. aisthesis, according to Tadeusz Różewicz
Autorzy:
Górska, Irena
Powiązania:
https://bibliotekanauki.pl/articles/1391062.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Tadeusz Różewicz
literatura
estetyka
doświadczenie zmysłowe
aisthesis
Opis:
The aim of this article is to present Różewicz’s way of thinking about the concept of aisthesis based on his short story Śmierć w starych dekoracjach [Death in the Old Decorations]. Różewicz, who follows current trends in aesthetics which appreciate the role that the body and all of the senses play in an aesthetic experience, ennobles the very body that remains a center of sensory and aesthetic perception, in accordance with Richard Shusterman’s somatic philosophy. However, Różewicz’s character, who starts with simple sensory impressions, constantly goes beyond the senses and provides a commentary on each new ordinary, everyday experience as well as an experience of art. These commentaries are constructed from memories, images, reflections or free digressions which are often very remote from what they were triggered by. Różewicz emphasizes both the importance of what is rational and what is sensory for an aesthetic experience, thus overcoming a belief which was promoted by traditional aesthetics, i.e. about the exceptionality of psychological attitudes to aesthetic experiences. He extends aestheticism to include areas that are traditionally considered to be unaesthetic in order to capture the full essence of aisthesis. Therefore, he does not differentiate between the experience of art and ordinary, everyday experiences. This is because aisthesis in Śmierć w starych dekoracjach is a force that merges all these experiences into one whole, thus turning an experience of art into an experience of existence.
Źródło:
Przestrzenie Teorii; 2014, 21; 181-194
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Strategia nierozstrzygalności w wierszu jest taki pomnik Tadeusza Różewicza
The strategy of undecidability in Tadeusz Rożewicz’s poem jest taki pomnik
Autorzy:
Mikołajczak, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/1039349.pdf
Data publikacji:
2019-12-06
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Tadeusz Różewicz
strategy of undecidability
photography
intertextual encryption
laughter
Opis:
The article deals with Tadeusz Rożewicz’s poem jest taki pomnik and puts forward a new interpretation concerning the mechanisms he uses to construct meanings. The author focuses on three issues: (1) the role of photography as an interpreter, (2) intertextual encryption of key contexts for the spiritual idea of the poem, (3) the allopathic function of laughter. She also indicates components of the strategy of undecidability, as a result of which a work containing what might seem an unambiguous ideological statement launches mechanisms guarding against one-way reading.
Źródło:
Przestrzenie Teorii; 2019, 31; 143-156
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Ci, co pomarli, widzą nas, widzą nasze grzechy i nasze cierpienia”, czyli o Głosie z tamtego świata Stanisława Różewicza
‘Those who have died see us, see our sins and our suffering’: The voice from the other world of Stanisław Różewicz
Autorzy:
Śmiałowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/921255.pdf
Data publikacji:
2017-08-17
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Stanisław Różewicz
Tadeusz Różewicz
Kornel Filipowicz
screenwriting
hope
fraud
faith
acting
Opis:
Stanisław Różewicz’s The voice from the other world is one of these masterpieces od polish cinematography, which draws inspiration from the authentic case: two fraudsters impersonate a doctor and quack medium. But at the same time Różewicz’s movie has become an artistic event showing the drama of frauders’ victims – people struggling with pain, loneliness and lack of hope. Formation of concept of The voice from the other world and the analysis of its following realization’s stages are the attempt to describe the essence of Stanisław Różewicz’s unique style and his sensitivity as a director.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 20, 29; 161-177
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przeszłość, przyjaźń. Dwie glosy do poematu nożyk profesora Tadeusza Różewicza
Past, Friendship. Two glosses to Tadeusz Różewicz’s nożyk profesora
Autorzy:
Jaworski, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/1533567.pdf
Data publikacji:
2013-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Tadeusz Różewicz
Holocaust
post-memory
old age
friendship
poetry after 1989
Opis:
The article is an interpretation of the eponymous long poem from Tadeusz Różewicz’s volume nożyk profesora [professor’s knife]. The first part discusses the modes modes of narration of the experience of the Holocaust. The discussion focuses on meanings of the words “memory” and “history”, on the ironic use of pastoral convention, and on the transformation of the metaphor from Cyprian Norwid’s Przeszłość [The Past]. The poem recycling from the volume zawsze fragment. recycling is an important context. The second part of the article is devoted to the friendship between Tadeusz Różewicz and Mieczysław Porębski. The description of the friends’ breakfast points out to an interpretation of their relation in the context of their wartime biography: a death camp for Porębski, and resistance fighting for Różewicz. The poet, in spite of his memory and long-time friendship with the former prisoner, presents the Holocaust as a mediated experience that is virtually inaccessible. However, in many ways he still tries to bring it closer to the reader and does not let the reader forget it.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2013, 22; 131-142
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Skreślenia - gry tekstowe Tadeusza Różewicza
Deletions - text games of Tadeusz Różewicz
Autorzy:
Jaworski, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/1392943.pdf
Data publikacji:
2007-09-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
For nearly thirty years now Tadeusz Różewicz has published his poems with their earlier version (e.g. Płaskorzeźba Bas-relief), (1991). It can be described in terms of genetic criticism, talking of a way to the ultimate version, a way to self-cognition. It is also possible - and this is the task of this essay - to see in it a specific text game, aiming at double conveyance. A new whole is being created, which consists as if of the discarded, deleted elements, but here revoked in a new function - manifestation of the text in its many plots. From the clash of rough first drafts, deletions and "ultimate" versions as if a new poem arises, "the third poem", which exists only on the scene of reading.
Źródło:
Przestrzenie Teorii; 2006, 6; 133-139
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Acheiropoietes – mimesis doskonała?
Acheiropoietes – perfect mimesis?
Autorzy:
Zawadzki, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1391066.pdf
Data publikacji:
2014-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
literatura
sztuka
obraz
mimesis
Tadeusz Różewicz
Opis:
The paper deals with the topic of an acheiropoietes (an image “not made by hands”) and, more broadly, with the motif of the so-called true or natural image. Such images were known to ancient Greek thinkers (Dionysius of Halicarnassus and Plotinus), but their importance grew significantly in the Christian theology of icons which treated Christ as the perfect image of His Father. In modern times true images mostly function in folklore and they are also referred to in modern art. From the perspective of the philosophy of representation, a true image is an interesting utopia of perfect mimesis – it comes into being in a natural, not artificial way, whereas a copy is regarded as equivalent to the original.
Źródło:
Przestrzenie Teorii; 2014, 21; 211-217
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Łuciuk, Przyboś, Różewicz. Muzyka i poezja wobec niewyrażalności
Łuciuk, Przyboś, Różewicz. Music and poetry towards ineffability
Autorzy:
Dobkowska, Renata
Powiązania:
https://bibliotekanauki.pl/articles/1036714.pdf
Data publikacji:
2018-05-14
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
The main purpose of this article is to characterize the concept of  ineffability in the light of the art of poetry and song. Presented interpretations and analysis of two selected twentieth century songs composed by Julisz Łuciuk to the texts of Julian Przyboś and Tadeusz Różewicz are the practical supplement of theoretical contemplation of ineffability contained in the first part of this article.
Źródło:
Investigationes Linguisticae; 2017, 36; 54-69
1426-188X
1733-1757
Pojawia się w:
Investigationes Linguisticae
Dostawca treści:
Biblioteka Nauki
Artykuł
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