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    Wyświetlanie 1-7 z 7
    Tytuł:
    From “Accelerated Grimace” to Catastrophe: Ethics of Aesthetics in Ezra Pound’s Hugh Selwyn Mauberley
    Autorzy:
    Pietrzak, Wit
    Powiązania:
    https://bibliotekanauki.pl/articles/2076261.pdf
    Data publikacji:
    2016
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Ezra Pound
    Confucius
    ethics
    modernist poetry
    Opis:
    The article proposes to read Ezra Pound’s long poem Hugh Selwyn Mauberley with a view to unravelling an ethic that informs the poem. It is demonstrated that the source of the English national intellectual stasis is located in the depreciation of arts and letters in the contemporary world but the consequences of this collapse of literature lead to a genocidal catastrophe, which is shown to also hover about section two of the poem, customarily read as a denunciation of apathy that was rife among Pound’s contemporary poets and artists. The notion of ethics is derived from Pound’s own writings of the period and one of his principal philosophical sources: Confucius.
    Źródło:
    Kwartalnik Neofilologiczny; 2016, 1; 114-128
    0023-5911
    Pojawia się w:
    Kwartalnik Neofilologiczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Prze-pisywanie romantyzmu? O jednej z poetyckich dykcji Aleksandra Wata
    Re-writing Romanticism? About One of the Poetic Dictions of Aleksander Wat
    Autorzy:
    Pietrych, Krystyna
    Powiązania:
    https://bibliotekanauki.pl/articles/1389734.pdf
    Data publikacji:
    2014-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    poems by Aleksander Wat
    modernist poetry
    Romanticism
    subjectivity
    intertextuality
    Opis:
    The article is an attempt to read Wiersze śródziemnomorskie (Mediterranean Poems) – one of the most prominent texts of the modernist Polish poet Aleksander Wat. The author is interested in the relation of this text with Romanticism, consisting not only in a variety of intertextual and aesthetic references, but, what is most significant, in the realization of a Romantic concept of subjectivity in the way of perceiving and experiencing the world. The author follows the demonstrations of this subjectivity in the consecutive fragments of the Mediterranean poem, indicating multifaceted character of Romantic trappings and dependencies, especially those of epistemological kind. This kind of reading of the Mediterranean poem inclines one to pose a fundamental question: why Wat, in a revisionist fashion, makes use of the Romantic diction in Mediterranean Poems, making of it a kind of a subcode of his own language? It happens so because the difficulties of modernist identity have their source in Romanticism, which, firstly, discovers the world as a domain of conflicting oppositions, secondly, – as a meditative consciousness questioning the substantive unity of the subject, thirdly, – subjectivity as a task to be realized by various types of articulations and narrations.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2014, 24; 213-228
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Genius, Appropriation and Transnational Collaboration in Ezra Pound’s Cathay
    Autorzy:
    Vali, Abid
    Powiązania:
    https://bibliotekanauki.pl/articles/889010.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    American literature
    modernist poetry
    imagism
    Ezra Pound
    Cathay
    Classical Chinese poetry
    Opis:
    When we discuss the cross-cultural relationships of Euro-American modernists we often fall between the poles of either celebrating the ‘coming together of traditions’ or suspiciously decrying the power play involved. A case in point is the divergent critical understanding most often posited of Ezra Pound’s relationship to the materials he produced from Ernest Fenollosa’s notes – notably Classical Chinese poetry in the form of Cathay (1915). The first position is Hugh Kenner’s who holds that its meaning, its primary function, was as an anti-WWI volume, rather than as any representation of Chinese poetry or an extension of Imagism (1971, 202–204). In seeming opposition to this vision of an ideal aesthetic come at by the application of genius, we have those who highlight the source material of Fenollosa’s notes to discuss various modes of Pound as translator. Interestingly, these critics, who resist the Kennerian celebration of Poundian genius and insist that Pound is engaged here in an act of translation, “essentially [...] appropriative” (Xie 232), or otherwise, also reinforce a reading whereby “the precise nature of the translator’s authorship remains unformulated, and so the notion of authorial originality continues” (Venuti 6). This is the issue I wish to address when we study the disparities between Fenollosa’s notes and the Cathay poems, i.e. Pound’s own choices with regard to those poems’ content, as a key chapter in the study of transnational collaboration.
    Źródło:
    Anglica. An International Journal of English Studies; 2018, 27/1; 97-110
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    What is a "Sebastian"?: A nonsensical look at the poetry of Yona Wallach
    Autorzy:
    Porat, Ailor
    Powiązania:
    https://bibliotekanauki.pl/articles/2143103.pdf
    Data publikacji:
    2017-11-21
    Wydawca:
    Krakowskie Towarzystwo TERTIUM
    Tematy:
    Lewis Carroll
    Yona Wallach
    nonsense
    modernist poetry
    language-games
    Opis:
    This article compares the nonsense works of Lewis Carroll to the poetry of the canonical Hebrew poet Yona Wallach. Both writers present literary works which are not based on the logic of 'ordinary' reality, but rather on systems of unfamiliar, surreal and 'dreamlike' logic. However, Carroll's logical nonsense is famously comical and playful in nature. Unlike him, Yona Wallach's poetry is mostly regarded as 'serious', even tragic, with a 'doom-like' atmosphere hovering over it. Nonetheless, and precisely because of their considerable dissimilarity, the comparison between Yona Wallach and Lewis Carroll discloses their surprising similarity. In this artiel will examine two mechanisms in which they both play with the conventional meanings of words and use them incongruously, non-commonsensically.Throughout this article, Carroll reveals his serious and gloomy face whereas Wallach reveals her (hardly spoken of) logical and amused face.Thus, the contrasts between the comically playful accuracy of Carroll's work and Wallach's ambiguous and mostly "dark" poetry, sheds light on their respective mechanisms of signification and humor-making, in a manner indiscernible when each is treated in isolation.
    Źródło:
    The European Journal of Humour Research; 2017, 5, 3; 68-81
    2307-700X
    Pojawia się w:
    The European Journal of Humour Research
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ars poetyka
    Ars Poetica
    Autorzy:
    Grądziel-Wójcik, Joanna
    Kwiatkowska, Agnieszka
    Kraskowska, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/1363807.pdf
    Data publikacji:
    2015-07-06
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    modernist poetry
    the writer’s art
    creative writing
    ars poetica
    liryka modernistyczna
    sztuka pisarska
    twórcze pisanie
    ars poetyka
    Opis:
    Hasło „ars poetyka” zawiera definicję i charakterystykę tego nowego terminu, nawiązującego do łac. ars poetica. Proponuje się objąć nim trzy obszary zjawisk literackich i metaliterackich: 1) klasyczne poetyki normatywno-opisowe; 2) wiersze autorefleksyjne poświęcone sztuce poetyckiej; 3) poradniki twórczego pisania i eseistykę poświęconą tajnikom warsztatu pisarskiego.
    The term „ars poetica” can refer both to a relatively new (sub)genre of poetry and to the classical Latin works (often) bearing the title ars poetica. The article proposes to use it to cover three areas of literary and metaliterary work: 1) classical normative-descriptive poetics; 2) self-reflexive poems devoted to the art of poetry; 3) guides to creative writing and essays on secrets of the writer’s craft.
    Źródło:
    Forum Poetyki; 2015, 1; 76-85
    2451-1404
    Pojawia się w:
    Forum Poetyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    António Feijó i Leopold Staff – poetyckie wizje Orientu na tle polsko-portugalskich relacji literackich i kulturalnych (od parnasizmu do palimpsestu)
    António Feijó and Leopold Staff – poetic visions of the Orient against the background of Polish-Portuguese literary and cultural relations (from Parnassianism to palimpsest)
    Autorzy:
    Kalewska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/2080531.pdf
    Data publikacji:
    2021-12-23
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    studia portugalistyczne
    relacje polsko-portugalskie
    poezja modernistyczna
    tekst kultury
    palimpsest
    Portuguese studies
    Polish-Portuguese relations
    modernist poetry
    culture text
    Opis:
    The article aims to discuss the Chinese culture inspirations in Polish and Portuguese modernist poetry. In the context of Polish-Portuguese literary relationships, late Romantic, Symbolic, Parnassianism-related and Oriental tendencies are presented in the works of a Portuguese poet Antón Feijó (1859-1917), with references to a selected aspect of Leopold Staff’s works (1878-1957). A historical-literary analysis is accompanied by literary and cultural comparative studies. Within the comparative method of presenting the Parnassian palimpsests, as 'The Chinese Lyric Book' ('Cancioneiro Chinês', 1890) by António Feijó and 'Chinese Flute' ('Fletnia chińska', 1922) by Leopold Staff are categorised, the thesis about the independent status of the works in question was built. Modernist visions of the Orient, understood to date a paraphrase or an adaptation of Chinese poetry read in translations from French, gain the status of original works. In view of blurring the differences between the European adaptations - Portuguese poem and Polish poetic prose, based on Oriental motifs drawn from two different French sources (translations): Judith Gautier’s and Franz Touissant’s works - and the Chinese original, the methodological approach to the text as to a palimpsest is justified. Feijó’s “Chinese Poetry” and Oriental poetic landscapes in Staff’s prose are therefore independent literary works, analysed in parallel, as mirror reflections of the fascination with the Orient’s culture. The literary works in question fully deserve the title of cultural texts, the recipient of which will be a Polish reader, a lover of poetry inspired by French Parnassianism.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria; 2021, 21; 167-200
    2081-1853
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    What is the androgyne? The androgynous character and Kazimierz Lewandowski ‘morbid modernity’
    Kim jest androgyne? Figura androgyne – o „chorobliwym modernizmie” Kazimierza Lewandowskiego
    Autorzy:
    Ejzak, Bartosz
    Powiązania:
    https://bibliotekanauki.pl/articles/2087624.pdf
    Data publikacji:
    2021
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Polish literature of the turn of the 19th century
    Young Poland movement
    modernist poetry
    androgyne
    Mephistophelian personality
    Kazimierz Lewandowski (1869– 1938)
    Kazimierz Lewandowski
    Lais
    Szella
    Androgyne
    Opis:
    On the basis of a close reading of the poetry of Kazimierz Lewandowski (Lais and the poems in Szella) this article presents a revised view of the androgyne in the perception of the Young Poland modernism. The article examines the symbolism and the spaces with which the androgyne is associated, the androgyne’s destructive influence on men and demonic, Mephistophelian personality traits.
    Źródło:
    Ruch Literacki; 2021, 4; 479-492
    0035-9602
    Pojawia się w:
    Ruch Literacki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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