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    Tytuł:
    Moskwa w bieli i czerni - trzy filmowe portrety miasta
    Moscow in black and white - three film portraits of the city
    Autorzy:
    Czaja, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/920129.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Walking the Streets of Moscow
    Georgiy Daneliya
    Taxi Blues
    Pavel Lungin
    Moscow
    Alexandr Zeldovich
    the city in film
    Moscow in films
    Opis:
    This article presents the three different portraits of Moscow depicted in the Russian films  Walking the Streets of Moscow by Georgy Danielija, Taxi Blues by Pavel Lungin and Moscow by Alexander Zeldovich. The times the films were made (the thaw period, the period after the collapse of the Soviet Union, and the decline during the 1990s) determine differences in the directors’ perceptions. The picture of the city becomes a reflection of both hope and of more contemporary fears and anxieties.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 265-273
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Die Moskauer Sonne scheint überall“. Die sowjetische Hauptstandt als Raum der Utopie in Das neue Moskau (1938) und Die Schweinepflegerin und der Hirt (1941)
    “The Moscow Sun Shines Everywhere”. The Soviet Capital as a Utopian Space in New Moscow (1938) and The Swineherd and the Shepherd (1941)
    Autorzy:
    Chertenko, Alexander
    Powiązania:
    https://bibliotekanauki.pl/articles/1837560.pdf
    Data publikacji:
    2021-10-14
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    utopia
    Moscow
    cinema
    socialist realism
    cinematic unconscious
    terror
    Opis:
    Basing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges.
    Źródło:
    Studia Rossica Posnaniensia; 2021, 46, 2; 51-68
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Leksyka słowiańskich dialektów miejskich: egzoetnonimy w gwarze Warszawy, Brna i Moskwy
    The vocabulary of Slavonic urban dialects: Exoethnonyms in Warsaw, Brno and Moscow dialects
    Autorzy:
    Juszczak, Bartosz
    Powiązania:
    https://bibliotekanauki.pl/articles/1022139.pdf
    Data publikacji:
    2020-06-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    ethnonyms
    abusive exoethnonym
    Warsaw urban dialect
    Hantec slang of Brno
    Moscow urban dialect
    Opis:
    The present study concentrates on the issue of exoethnonyms and, in particular, exoethnonyms replacing orthonyms in the vocabulary of Slavonic urban dialects – namely, the urban dialect of Warsaw, the Hantec slang of Brno and the urban dialect of Moscow. Based on the data extracted from dictionaries, it was possible to select such designations. From the linguistic point of view, these nominations are either occasionalisms or names more deeply rooted in the lexical system of the urban dialects in question. The article includes the analysis and classification of the research data in terms of the linguistic and extralinguistic motivation and axiological evaluation of particular items.
    Źródło:
    Studia Rossica Posnaniensia; 2020, 45, 1; 195-204
    0081-6884
    Pojawia się w:
    Studia Rossica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Centrum i peryferia. Obraz Moskwy w powieści Dmitrija Głuchowskiego Tekst
    The center and the periphery. The image of Moscow in Dmitry Glukhovsky Novel Text
    Autorzy:
    Zywert, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/916047.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Dmitry Glukhovsky
    Text
    the center
    the periphery
    Moscow
    Dmitrij Głuchowski
    Tekst
    centrum
    peryferia
    Moskwa
    Opis:
    Text is a novel of manners with elements of a thriller, a noir, and a detective novel (but the above-mentioned complementary elements fulfill only a supportive role, because the criminal intrigue exposed at the very beginning is treated marginally amounts to a starting point for deeper considerations of the psychological and sociological nature). Due to the peculiar presentation of the image of the Center (here: Moscow), Text fits into the vision of Moscow as the core of Russian predatory capitalism, exuberant consumerism, glitz, semblance and ruthless struggle for recognition in the ranking of successful people, which is presented in contemporary Russian literature. Its fundamental value is the fact that the realization of the author's idea is mainly due to the confrontation of megalopolis with images of the periphery, which can be regarded as satellite cities of the capital. In his perception of Russia, Glukhovsky is close to Roman Senchin and, similarly to the latter, he believes that the traditionally understood center-periphery, city-village conflict is disappearing, because eventually it turns out that (despite the spatial and social diversity) none of these places (mainly because of conspicuous regressive tendencies) does not give a person a chance for free development and self-realization.
    Źródło:
    Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2019, 9; 195-208
    2391-470X
    Pojawia się w:
    Kultury Wschodniosłowiańskie – Oblicza i Dialog
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Modlitwy za Ukrainę i o pokój „w czas próby i rozdziału”
    Prayers for Ukraine and Peace in the “Times of Tribulation and Division”
    Autorzy:
    Naumow, Aleksander
    Powiązania:
    https://bibliotekanauki.pl/articles/635425.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    liturgical prayers
    war
    peace
    Moscow Patriarchate
    Ukrainian Orthodox Church
    Ukrainian Orthodox Church of the Kiev Patriarchate
    Opis:
    Based upon web-published materials, the article analyzes the eulogies composed in the Church Slavonic and Ukrainian languages, which have arisen following Kiev’s Maidan and its subsequent developments in the period December 2013 – December 2014. The texts under analysis come from Ukrainian Orthodox Church of the Moscow Patriarchate and from the Patriarchate of Moscow itself, from the Ukrainian Orthodox Church of the Kiev Patriarchate and some other texts. Initiatives from the laity are also taken in account (e.g. Ruslana Lyžyčko). The prayers under analysis show historical and political influences. In the Muscovite texts and in Patriarch Kirill’s statements, the attempt to impose the idea of a Russian Commonwealth (Russkij mir) is quite evident. This idea is based upon the unity and brotherhood of a people united by the christening of the Prince St. Vladimir. There are also charges brought against Greek Catholics and non-canonical Churches. The texts composed in Ukraine are either more decisively patriotic and anti-muscovite, with statements backing the European project (the Kiev Patriarchate Ukrainian Orthodox Church), or more religious in general terms, with a plea for fundamental Christian values and declarations of loyalty towards the State (the Moscow Patriarchate Ukrainian Orthodox Church).
    Źródło:
    Poznańskie Studia Slawistyczne; 2016, 10
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Moskiewska „czernucha”. Wstydliwa strona miasta?
    The Moscow noir. The shameful side of the city?
    Autorzy:
    Zywert, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/915295.pdf
    Data publikacji:
    2018-09-22
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    czernucha
    Wiktor Astafiew
    Moskwa
    Władimir Sorokin
    Roman Senczyn
    Sergiej Kuzniecow
    noir
    Moscow
    Viktor Astafiev
    Roman Senchin
    Sergei Kuznetsov
    Opis:
    The article is an attempt to answer the question of the way noir functions in the contemporary prose devoted to Moscow and the extent to which it affects the city’s literary image. The paper interprets selected works by Vladimir Sorokin, Roman Senchin and Sergei Kuznetsov. The analysis conducted by the author of the paper leads to the conclusion that the presence of the so-called “black naturalism” in the Moscow texts does not spoil the image of Russia’s capital, but complements it with new elements (previously hidden, but present since the old days). Therefore, Moscow becomes more real, tangible, flesh and blood as well as suitable for the worldwide tendency to create megapolises.
    Źródło:
    Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2016, 6; 259-272
    2391-470X
    Pojawia się w:
    Kultury Wschodniosłowiańskie – Oblicza i Dialog
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Między Kijowem a Konstantynopolem Relacje Kościoła ukraińskiego z Patriarchatem Ekumenicznym (X–XXI w.)
    Kiev and Constantinople The relations between the Ukranian Church and the Ecumenical Patriarchate (10th–21st c.)
    Autorzy:
    Kuczara, Konrad
    Powiązania:
    https://bibliotekanauki.pl/articles/916155.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Constantinopole
    Kiev
    Moscow
    metropolis
    patriarchate
    Church
    jurisdiction
    autocephaly
    Orthodoxy
    Konstantynopol
    Kijów
    Moskwa
    metropolia
    patriarchat
    Kościół
    jurysdykcja
    autokefalia
    prawosławie
    Opis:
    Relations between the Ukrainian Church and Constantinople were difficult. This goes back as far as 988, when the Christianisation of the Rus created a strong alliance between Kiev and the Byzantine Empire. There were times when Constantinople had no influence over the Kiev Metropolis. During the Mongolian invasion in 1240, the Ukranian region was broken up and Kiev lost its power. The headquarters of the Kiev Metropolis were first moved to Wlodzimierz nad Klazma in 1299 and then to Moscow in1325. In 1458 the Metropolis of Kiev was divided into two; Kiev and Moscow, but Kiev still remained under the jurisdiction of the Patriarchate of Constantinople. Since that time, the orthodox hierarchs of Moscow no longer adhered to the title Bishop of Kiev and the whole of Rus and in 1588 the Patriarchate of Moscow was founded. In 1596 when  the Union of Brest was formed,  the orthodox church of the Polish Lithuanian Commonwealth was not liquidated. Instead it was formally revived in 1620 and in 1632 it was officially recognized by king Wladyslaw Waza. In 1686 the Metropolis of Kiev which until that time was under the Patriarchate of Constantinople was handed over to the jurisdiction of Moscow. It was tsarist diplomats that bribed the Ottoman Sultan of the time to force the Patriarchate to issue a decree giving Moscow jurisdiction over the Metropolis of Kiev. In the beginning of the 19th century, Kiev lost its Metropolitan status and became a regular diocese of the Russian Orthodox Church. Only in the beginning of the 20thcentury, during the time of the Ukrainian revolution were efforts made to create an independent Church of Ukraine. In 1919 the autocephaly was announced, but the Patriarchate of Constantinople did not recognize it. . The structure of this Church was soon to be liquidated and it was restored again after the second world war at the time when Hitler occupied the Ukraine. In 1992, after the dissolution of the Soviet Union, when Ukraine gained its independence, the Metropolitan of Kiev requested that the Orthodox Church of Ukraine becomes autocephalous but his request was rejected by the Patriarchate of Moscow. Until 2018 the Patriarchate of Kiev and the autocephalous Church remained unrecognized and thus considered schismatic. In 2018 the Ecumenical Patriarchate of Constantinople looked  into the matter and on 5thJanuary 2019, the Orthodox Church of Ukraine received it’s tomos of autocephaly from Constantinople. The Patriarchate of Moscow opposed the decision of Constantinople and as a result refused to perform a common Eucharist with the new Church of Ukraine and with the Patriarchate of Constantinople.
    Źródło:
    Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2019, 9; 67-95
    2391-470X
    Pojawia się w:
    Kultury Wschodniosłowiańskie – Oblicza i Dialog
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Эхо партийного менеджмента: доверие московской молодёжи к Государственной Думе Российской Федерации
    Echo of Party Management: trust of the youth from the city of Moscow to the State Duma of the Russian Federation
    Autorzy:
    Федорченко, Сергей
    Мякотин, Сергей
    Powiązania:
    https://bibliotekanauki.pl/articles/620481.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    party management
    the State Duma of the Russian Federation
    the Russian parties
    parliament
    the youth of Moscow
    democracy Echo
    Opis:
    The article is based on the results of sociological research of the youth from the city of Moscow. The analysis showed that there is some duality in Moscow youth’s opinions in relation to the State Duma of the Russian Federation. The researchers concluded that in contrast to public sector employees, who support the political course of the current president and are ready to vote for the party „United Russia”, young people from the private sector are more interested in politics, although their criticism of parliamentarism. However, young people from the public sector are less interested in politics and endorses to a greater or lesser extent the work of the State Duma of Russia, believing that it represents the interests of ordinary people.
    Научная статья основана на результатах социологического исследования молодежи города Москвы по итогам партийного менеджмента и партийной реформы в современной России. Анализ показал, что наблюдается некоторая дуальность позиций московской молодежи по отношению к Государственной Думе Российской Федерации. Исследователи делают вывод, что молодежь из частного сектора, в большей степени интересующаяся политикой в отличие от работников бюджетной сферы, поддерживает политический курс действующего президента и готова голосовать за партию «Единая Россия», хотя и критически оценивает сам институт парламентаризма. Тогда как молодежь из бюджетного сектора меньше интересуется политикой и одобряет в большей или меньшей степени работу Государственной Думы России, считая, что она представляет интересы простого населения.
    Źródło:
    Środkowoeuropejskie Studia Polityczne; 2016, 1; 231-258
    1731-7517
    Pojawia się w:
    Środkowoeuropejskie Studia Polityczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Semiotyczne ograniczenia zakresu modernizacji dawnych przekładów biblijnych
    Semiotic limitations in the modernization of old translations of the Bible
    Autorzy:
    Duda, Henryk
    Powiązania:
    https://bibliotekanauki.pl/articles/1044641.pdf
    Data publikacji:
    2019-04-08
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    translations of the Bible into Polish
    modernization of old translations of the Bible
    semiotics
    Tartu-Moscow Semiotic School
    secondary modeling systems
    Opis:
    The most important translations of the Bible into Polish, i.e. the Catholic Jakub Wujek Bible (1599) and the Protestant Gdańsk Bible (1632) were written at the end of the reformation period and were renewed and used in catholic churches and protestant communities until the first half of the 20th century. The reprints were systematically updated. In the 20th century the need to translate again the Holy Scripture into Polish was recognized. There were a few attempts at that in the second half of the previous century. They were always accompanied by heated debates which referred to the need of new translations as well the ways translators adopted to render in Polish selected books, sentences or even words. A religious text functions in a specific system of a higher level, i.e. religion. Religion is understood here as a culture text according to the Tartu-Moscow Semiotic School. Owing to this interpretation, religion has its own language built onto natural language. Text in natural language constitutes only a fragment of a bigger sign entity. To put it most simply, since a natural text is a subcomponent of a semiotic religious text, any change introduced in the former disrupts the coherence of cultural meaning on a higher level. Because of “a secondary modeling system” (a term coined by Yuri M. Lotman) the language of religious texts is always a bit archaic. This very modeling system prevents the propellers of modernization from a more thorough linguistic update of old biblical translations in Poland and, more often than not, does not let translators depart too far from the translation tradition.    Translated by Agnieszka Bryła-Cruz
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Językoznawcza; 2018, 25, 2; 31-44
    1233-8672
    2450-4939
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Językoznawcza
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Some aspects of effectiveness in Hungarian-Vietnamese business communication
    Autorzy:
    Lenart, Istvan
    Powiązania:
    https://bibliotekanauki.pl/articles/1047874.pdf
    Data publikacji:
    2019-02-07
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Lacuna Theory
    business communication
    lacunas
    culture-specific vocabulary
    Moscow School of Ethnopsycholinguistics
    association method
    lacuna classification network
    intercultural communication
    verbal consciousness
    Hungarian-Vietnamese comparison
    Opis:
    With the aim of revealing linguocultural gaps (lacunas) in Hungarian-Vietnamese business communication, a questionnaire-based study was conducted. A total of 638 questionnaires was completed and analysed. Participants of the survey were Vietnamese individuals who had lived and graduated from university in Hungary, and had a good command of the Hungarian language. In this presentation, the results obtained will be displayed, including linguistic and cultural differences between representatives of the two aforementioned nations. The theoretical background of the study is the Lacuna Theory, developed by the Moscow School of Ethnopsycholinguistics. The results of the survey will hopefully contribute to the further development of the Lacuna Theory in general and in the business context in particular.
    Źródło:
    Scripta Neophilologica Posnaniensia; 2018, 18; 67-72
    1509-4146
    Pojawia się w:
    Scripta Neophilologica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case
    Autorzy:
    Kodres, Krista
    Powiązania:
    https://bibliotekanauki.pl/articles/909522.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Socialist art history and historiography
    Soviet studies
    Thaw era and modernisation
    centre (Moscow) and periphery (Estonian SSR) relations
    art and ideology
    progressiveness in art
    Opis:
    The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found new arguments for accepting different cultures of form, both historical and contemporary, and often these arguments were “discovered” in Marxism itself. As a result, from the middle of 1950’s Soviet art historians fell into two camps in interpreting Realism: the dogmatic and revisionist, and the latter was embraced in Estonia. In 1967, a work was published by the accomplished artist Ott Kangilaski and his nephew, the art historian Jaak Kangilaski: the Kunsti kukeaabits – Basic Art Primer – subtitled “Fundamental Knowledge of Art and Art History.” In its 200 pages, Jaak Kangilaski’s Primer laid out the art history of the world. Kangilaski also chimed in, publishing an article in 1965 entitled “Disputes in Marxist Aesthetics” in the leading Estonian SSR literary journal Looming (Creation). In this paper the Art Primer is under scrutiny and the deviations and shifts in Kangilaski’s approach from the existing socialist art history canon are introduced. For Kangilaski the defining element of art was not the economic base but the “Zeitgeist,” the spirit of the era, which, as he wrote, “does not mean anything mysterious or supernatural but is simply the sum of the social views that objectively existed and exist in each phase of the development of humankind.” Thus, he openly united the “hostile classes” of the social formations and laid a foundation for the rise of common art characteristics, denoted by the term “style.” As is evidenced by various passages in the text, art transforms pursuant to the “will-to-art” (Kunstwollen) characteristic of the entire human society. Thus, under conditions of a fragile discursive pluralism in Soviet Union, quite symbolic concepts and values from formalist Western art history were “smuggled in”: concepts and values that the professional reader certainly recognised, although no names of “bourgeois” authors were mentioned. Kangilaski relied on assistance in interpretation from two grand masters of the Vienna school of art history: Alois Riegl’s term Kunstwollen and the Zeitgeist concept from Max Dvořák (Zeitgeist, Geistesgeschichte). In particular, the declaration of art’s linear, teleological “self-development” can be considered to be inspiration from the two. But Kangilaski’s reading list obviously also included Principles of Art History by Heinrich Wölfflin, who was declared an exemplary formalist art historian in earlier official Soviet historiography. Thaw-era discursive cocktail in art historiography sometimes led Kangilaski to logical contradictions. In spite of it, the Primer was an attempt to modernise the Stalinist approach to art history. In the Primer, the litmus test of the engagement with change was the new narrative of 20th century art history and the illustrative material that depicted “formalist bourgeois” artworks; 150 of the 279 plates are reproductions of Modernist avant-garde works from the early 20th century on. Put into the wider context, one can claim that art history writing in the Estonian SSR was deeply engaged with the ambivalent aims of Late Socialist Soviet politics, politics that was feared and despised but that, beginning in the late 1950s, nevertheless had shown the desire to move on and change.
    Źródło:
    Artium Quaestiones; 2019, 30; 211-223
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Żart jest najlepszą dla mnie rekomendacją powagi.” O humorze poetyckim oraz Wisławy Szymborskiej zabawach słowem i obrazem
    “The joke, for me, is the best recommendation of seriousness.” The poetry humour and Wisława Szymborska’s play with word and image
    Autorzy:
    Ligęza, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/1111076.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Szymborska
    absurdity in poetry
    humour and wisdom
    limerick
    new literary genres
    „moskaliki” („Moscow little verses”)
    „lepieje” („better-do-something verses”)
    „altruitki” („altruistic verses”) and „podsłuchańce” („overheared pieces”)
    poezja absurdy styczna
    humor i mądrość
    limeryki
    nowe gatunki literackie
    „moskaliki”
    „lepieje”
    „altruitki”
    „podsłuchańce”
    Opis:
    W twórczości Wisławy Szymborskiej humor poetycki łączy się z filozoficznymi dociekaniami poświęconymi tak ważnym problemom, jak bycie człowieka w świecie. Poetka ujawnia reguły sprzeczności między wyobrażeniami w ludzkiej świadomości a ich realnym spełnieniem. Dwie kategorie - humor i mądrość – tworzą uzupełniający się układ i należą do domeny ironii, autoironii oraz sceptycyzmu. Humor Szymborskiej ma wartość poznawczą, weryfikuje bowiem uznane prawdy. Po Nagrodzie Nobla (1996) następuje „zwrot ludyczny”, gdyż Szymborska ogłasza w periodykach wiersze żartobliwe, zabrane później w osobnej książce Rymowanki dla dużych dzieci (2003). Ważne są tutaj aspekty towarzyskiej zabawy, jak też tworzenia nowych literackich gatunków. Poetka kontynuuje tradycje poezji absurdystycznej, modyfikuje schematy zachodniego i polskiego limeryku, jak też w osobnych cyklach rozwija małe „neogatunki”, takie jak „moskaliki”, „lepieje”, „altruitki”, „podsłuchańce”. Warto też zwrócić uwagę na kolaże Szymborskiej (formy łączące obrazy i słowa), w których poetka powraca do zabaw surrealistów. W jej krótkich utworach podziwiamy poetycką inwencję oraz pomysłowość literackich konceptów.
    In Wisława Szymborska’s creative works the poetic humour links with philosophical investigations on the important problems, such as the place of people in the surrounding world. The poet exposures discrepancy between images in human consciousness and their realisation in reality. The both cathegories – humour and wisdom – create the complementary arrangment and belong to the domain of irony, self-irony and scepticism. Szymborska’s poetic humour has cognitive value. It verifies admitted truths. After the Nobel Prize (1996) the literaty „amusement switch” took place, because Szymborska published the humorous verses in periodicals – later collected in separate book Rymowanki dla dużych dzieci (Little Rhymes to the Adult Children, 2003). Here the aspects of social games and the creation of the new literary genres are very important. The poet continues the tradition of absurdity in poetry, modyfies the schemes of West and Polish limerick and developes the small „neo-genres”, such as „moskaliki” („Moscow little verses”), „lepieje” („better-do-something verses”), „altruitki” („altruistic verses”) and „podsłuchańce” („overheared pieces”) in the separate cycles. Also pay attension to Szymborska’s collages (forms linking pictures and words), in which the poet goes back to plays of the surrealistic artists. In this very short poems we have to admire poetic invention and cleverness of literary concepts.
    Źródło:
    Polonistyka. Innowacje; 2015, 2; 1-12
    2450-6435
    Pojawia się w:
    Polonistyka. Innowacje
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-12 z 12

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