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Tytuł:
Читатель и авторская метарефлексия в „Мертвых душах” Гоголя
Czytelnik i autorska metarefleksja w „Martwych duszach” Gogola
The reader and author’s metareflection in Gogol’s “Dead Souls”
Autorzy:
Kriwonos, Władisław
Powiązania:
https://bibliotekanauki.pl/articles/1623535.pdf
Data publikacji:
2018-06-19
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
The article analyzes the functions and semantics of the term of the metatext “reader” playing an important role in metanarration in Gogol’s Dead Souls. The reader whom the author addresses is not only an imagined addressee, but also the imagined character of the author’s thinking who plays the role of the reader and stabilizes a possible relation to the written product. The author is discharged if the reader can mediate between the world of creativity and the world of heroes and can express a potentially possible opinion or judgement on the written product. Reproducing the reader’s reflection expressed in a certain form concerning a subject or imagen means the author, as a rule, foresees and anticipates that the reader will become acquainted with what is represented now, at the moment of creation, or in the prospective future.
Źródło:
Studia Rossica Posnaniensia; 2012, 37; 129-138
0081-6884
Pojawia się w:
Studia Rossica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Талент разумення: да пытання метадалогii даследаванняў Уладзiмiра Калеснiка
Talent pojmowania: o metodologii badań Włodzimierza Kolesnika
Talent of understanding: about methodology of Vladimir Kolesnik’s research
Autorzy:
Iшчанка, Галiна
Powiązania:
https://bibliotekanauki.pl/articles/2106859.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
hermeneutyka
autor
czytelnik jako odbiorca
zrozumienie
interpretacja
badanie spuścizny M. Tanka
interpretacja aksjologiczna
hermeneutics
author
reader as recipient
understanding
interpretation
M. Tank studies
axiological interpretation
Opis:
W artykule omówiono rolę Włodzimierza Kolesnika w formowaniu białoruskiego literaturoznawstwa zorientowanego hermeneutycznie. Na przykładzie analizy twórczych relacji poety Maksima Tanka i krytyka Włodzimierza Kolesnika zostają doprecyzowana metodologia badacza i jego pozycja estetyczna.
The article discusses the role of V. Kolesnik in the formation of the Belarusian hermeneutically-oriented literary criticism. The notions of methodology of the researcher and his aesthetic position are explained through the analysis of the creative relations between the poet Maxim Tank and the critic Vladimir Kolesnik.
Źródło:
Białorutenistyka Białostocka; 2016; 11-21
2081-2515
Pojawia się w:
Białorutenistyka Białostocka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Талент разумення: да пытання метадалогii даследаванняў Уладзiмiра Калеснiка
Talent pojmowania: o metodologii badań Włodzimierza Kolesnika
Talent of understanding: about methodology of Vladimir Kolesnik’s research
Autorzy:
Iшчанка, Галiна
Powiązania:
https://bibliotekanauki.pl/articles/944643.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
hermeneutics
author
reader as recipient
understanding
interpretation
M. Tank studies
axiological interpretation
hermeneutyka
autor
czytelnik jako odbiorca
zrozumienie
interpretacja
badanie spuścizny m. tanka
interpretacja aksjologiczna
Opis:
W artykule omówiono rolę Włodzimierza Kolesnika w formowaniu białoruskiego literaturoznawstwa zorientowanego hermeneutycznie. Na przykładzie analizy twórczych relacji poety Maksima Tanka i krytyka Włodzimierza Kolesnika zostają doprecyzowana metodologia badacza i jego pozycja estetyczna.
The article discusses the role of V. Kolesnik in the formation of the Belarusian hermeneutically-oriented literary criticism. The notions of methodology of the researcher and his aesthetic position are explained through the analysis of the creative relations between the poet Maxim Tank and the critic Vladimir Kolesnik.
Źródło:
Białorutenistyka Białostocka; 2016, 8; 11-21
2081-2515
Pojawia się w:
Białorutenistyka Białostocka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Спроба паразумецца: перакладчыцкая канцэпцыя i чытацкая рэцэпцыя ў практычным узаемадзеяннi
An attempt to understand: the translator’s concept and the reader’s reception in practical interaction
Autorzy:
Yakavenka, Natalia
Powiązania:
https://bibliotekanauki.pl/articles/2131022.pdf
Data publikacji:
2021
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
text
bilingualism
translation
translator
reader
reception
concept
understanding
hermeneutics
Opis:
The article reveals the actual problem of understanding and reception of the translation of a literary work in the context of Belarusian-Russian bilingualism with the dominant use of the Russian language. Although the translation in a bilingual context often helps readers to understand better, it can also hinder the reception when bilingual readers comparing both texts are not satisfied with translation. It is not possible to establish general limitations on account of the variability of both understanding and subsequent creation of the work which is by nature subjective and ambiguous. Not only should translators have a thorough knowledge of the language of the original work but they also are expected to know social-cultural conditions of the society for whom they translate.
Źródło:
Białorutenistyka Białostocka; 2021; 203-214
2081-2515
Pojawia się w:
Białorutenistyka Białostocka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Соціальна мережа як онлайн-платформа експериментальної художньої літератури
Social network as an online platform of experimental fiction
Autorzy:
Підопригора (Pidopryhora), Світлана (Svitlana)
Powiązania:
https://bibliotekanauki.pl/articles/2177496.pdf
Data publikacji:
2022-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
твіттература
фейсбук-роман
цифрова
епоха
літературна гра
«новий читач»
Twitter literature
Facebook novel
digital age
literary game
“new reader”
Opis:
The article deals with the development of digital literature. It is examined the potential of social networks in creating relevant literary texts that take into account the preferences of users and the very change in reading quality: the predominance of short forms, combining verbal and visual content in one semantic core. It is emphasized that social networks influence the development of the book market and literature, in particular, unite writers, provide resources for the promotion, sale of works of art, become creative platforms for artistic experiments. Social networks “Twitter” and “Facebook” are becoming especially popular among creative people. It has been determined that original genre forms appear on Twitter, along with a kind of reworking of classic texts - prose, poetry, dramatic works, in which the minimum number of characters is combined with an extremely emotional load and deep subtext. An interesting example of the use of Facebook as a platform for artistic experimentation is the successful attempt of Ukrainian author O. Shynkaruk, who createed a Facebook novel. In addition to the story itself (which is about the world 100 after the Russian-Ukrainian war that lasted 100 years), there are author’s and readers’ comments that create an atmosphere of interactivity. In the comments, the author reveals the ideas of his plan, sometimes clarifies and clarifies unclear points. With separate hypertext references O. Shynkarenko introduces into the text his own musical compositions, interludes in the genre of “concrete” music. The visual images complement the verbal, and visual metaphors and actualize additional meanings. The emergence of various genres of Twitter literature, Facebook novels shows that artists are looking for new ways to create texts, new ways to include contemporaries in literature and the formation of a “new reader”. The article tries to prove that the online literature format offered by the social networks “Twitter” and “Facebook” is not a sign of a simplification of the literary text, but a manifestation of literary game and artistic experimentation in the digital age.
У статті йдеться про розвиток цифрової літератури. Зокрема розглядають потенційні можливості соціальних мереж у створенні актуальних художних текстів, що враховують уподобання користувачів та саму зміну якості читання: перевага коротких форм, поєднання вербального та візуального контенту в одному смисловому ядрі. Акцентовано, що соціальні мережі впливають на розвиток книжкового ринку та літератури, зокрема згуртовують навколо себе письменників, надають ресурси для популяризації, продажу художніх творів, стають творчим майданчикам для художніх експериментів. Особливо стають популярними серед творчих людей соціальні мережі «Твіттер» та «Фейсбук». Визначено, що в твіттері поряд із своєрідною переробкою класичних текстів з’являються оригінальні жанрові форми – проза, поезія, драматичні твори, в яких мінімальна кількість знаків поєднується з надзвичайно емоційним навантаженням та глибоким підтекстом. Цікавим прикладом використання фейсбуку як майданчика для художнього експериментування є вдала спроба українського автора О.Шинкарука створити фейсбук-роман. Окрім самої історії (а йдеться про світ через 100 років після російсько-української війни), впадають в очі авторські та читацькі коментарі, що створюють атмосферу інтерактивності. У коментарях автор розкриває ідеї свого задуму, подекуди уточнює та роз’яснює незрозумілі моменти. Окремими гіпертекстовими посиланнями О. Шинкаренко уводить в текст власні музичні композиції, інтермедії у жанру конкретної музики. Візуальний ряд доповнює вербальний, а візуальні метафори актуалізують додаткові смисли. Поява різножанрової твіттератури, фейсбук-роману свідчить про пошук митцями нових шляхів творення текстів, нових способів долучення до літератури сучасників та формування «нового читача». У статті зроблено спробу довести, що онлайн-формат літератури, який пропонують соціальні мережі «Твіттер» та «Фейсбук», не є ознакою своєрідного спрощення художнього тексту, а є виявом літературної гри та художнього експериментування в епоху розвитку цифрового суспільства.
Źródło:
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe; 2022, 7(4); 87-95
2543-9227
Pojawia się w:
Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Советская поэзия в 1926 году в зеркале анкетирования писателей и читателей
Soviet poetry in 1926 in the light of writers’ and readers’ opinion surveys
Autorzy:
Павловец, Михаил
Powiązania:
https://bibliotekanauki.pl/articles/650980.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
поэзия
лирика
Борис Пастернак
рецепция
читатель
poetry
lyric poetry
Boris Pasternak
reception
reader
audience
Opis:
The article researches the issue of the relevance of poetry in the USSR, using as an example the year 1926, when several literary periodicals simultaneously decided to investigate the attitude of their readers and of poets towards this issue. The analysis of the surveys conducted among readers and in libraries confirms the statement made by Boris Pasternak that lyric poetry was then undergoing a crisis, caused by the loss of its past audience and by not yet having any new audience who would need the subjectivity of an author to be presented to tchem in a lyrical form.
В статье рассматривается проблема востребованности поэзии в СССР на примере всего одного – 1926 года, когда одновременно несколько литературных изданий решило исследовать отношение к ней читателей и самих поэтов. Анализ проведенных опросов читателей и библиотек показывает правоту Бориса Пастернака, который утверждал, что в настоящее время лирическая поэзия переживает кризис, связанный с утратой прежнего ее адресата и несформированности нового реципиента, который бы нуждался в лирических формах презентации субъектности ее автора.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2017, 10
1427-9681
2353-4834
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Русская литература второй половины ХIХ века в диалоге с государством
Russian Literature of the Second Half of the 19th Century in Dialogue with the State
Autorzy:
Уртминцева, Марина
Powiązania:
https://bibliotekanauki.pl/articles/968718.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
controversy
dialogical relationship
author’s position
system of speech
reader
Opis:
The aim of the paper is to analyze the nature and strength of literature’s impact on the self-consciousness of the Russian society. The author points out the historical mechanism of emergence of a new form of novel, one in which the presence of political commentary became a generic feature. The poetics of this sub-genre, as well as issues tackled in it, are further characterized.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2014, 07; 97-104
1427-9681
2353-4834
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
(Не)Пересекая рубежи: читатель на пограничье смыслов
(Not) Crossing Borders: Reader on the Borderland of Meanings
Autorzy:
Legeza, Sergej
Powiązania:
https://bibliotekanauki.pl/articles/1376041.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Zielonogórski. Wydział Humanistyczny
Tematy:
popular culture
borderland
the “Other” figure
post-soviet fantastic literature
reader-text
interaction
semiotics of text
Opis:
The article discusses the transformation of the Other’s concept in Post-Soviet popular culture, as well as the transformation of perception of “Self” and “Other” due to the emergence of real (state) and cultural borders and demarcations, which appear during the reader-text interaction. The paper explores such novels as M. Galina’s “Autochthony” and “The Little Glusha”, and V. Arenev’s “Gunpowder of the Dragon Bones”, to identify the types of the reader’s comprehension. The readers, in their turn, are divided into groups, which identify “Self” and “Other” in accordance with the division, represented in the novels. The author of the paper explores the version of the time gap (the comprehension of M. Galina’s “The Little Glusha”), as well as the different comprehension of the above-mentioned concepts by Russian and Ukrainian readers, regarding the social and cultural distances between these countries. The presented study explains the awareness of the Other’s concept, as well as recognition of Self, which is represented from the outside of the actual cultural tradition.
Źródło:
International Journal of Slavic Studies Transgressive, Pragmatic and Speculative Horizons of Popular Literature and Culture; 2019, 1, 1; 109-121
2658-154X
Pojawia się w:
International Journal of Slavic Studies Transgressive, Pragmatic and Speculative Horizons of Popular Literature and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Национальное сознание переводчика и эмоции читателя (на материале Огнем и мечом Генрика Сенкевича)
The national consciousness of the translator and the reader’s emotions: the example of Henryk Sienkiewicz’s With Fire and Sword
Autorzy:
Hryhorieva, Iryna
Powiązania:
https://bibliotekanauki.pl/articles/650994.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
эмоции
переводы
включения иностранного языка
архаизмы
латинизмы
интерпретация
emotions
translation
foreign intrusions
archaisms
Latinisms
interpretation
Opis:
The article is devoted to the analysis of the novel With Fire and Sword by Henryk Sienkiewicz and of selected aspects of its translation into Ukrainian, Russian and English. Due to the fact that each translation can be seen as an independent work of art, the present material offers a chance to observe how the original can be interpreted by the translator who relies (or perhaps does not) on his or her cultural values and national consciousness. Emphasis has been put on the author’s and translators’ artistic techniques which influence the readers’ emotions. Attention has also been paid to how Polish cultural phenomena are expressed in the related (Ukrainian and Russian) and non-related (English) cultures. The problem of translators’ competence boundaries is considered as well.
Данная статья посвящена анализу романа Генрика Сенкевича Огнем и мечом и некоторых аспектов его переводов на украинский, русский и английский языки. Благодаря тому, что каждый перевод может быть рассмотрен как самостоятельное литературное произведение, мы можем наблюдать, как меняется (и меняется ли?) интерпретация оригинала в зависимости от культурных ценностей и национального самосознания переводчика. Акцент сделан на авторских и переводческих средствах художественной выразительности, влияющих на эмоции читателя. Кроме того, уделяется внимание тому, как польские исторические реалии переданы в родственных (украинская, русская) и неродственных (английская) культурах. В статье представлены размышления на тему границ компетенций переводчика.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2017, 10
1427-9681
2353-4834
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Між експериментом та інтелектуальним письмом: гра з літературною традицією у романі Майка Йогансена „Подорож ученого доктора Леонардо і його майбутньої коханки прекрасної Альчести у Слобожанську Швайцарію”
Autorzy:
Hirnyak, Mar‘yana
Powiązania:
https://bibliotekanauki.pl/articles/1789180.pdf
Data publikacji:
2020-08-31
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
experiment
game
tradition
intellectualization
philosophy
intertextuality
landscape
author
reader
експеримент
гра
традиція
інтелектуалізація
філософія
інтертекстуальність
пейзаж
автор
читач
Opis:
The article deals with the novel The Travel of Scientist Dr. Leonardo […] by Mike Johansen which manifests the author’s predisposition to experimental game with literary tradition and classic poetics as well as to the intellectual writing. The experiment can be observed foremost in the decentration of the novel’s structure and textual communicative strategies. The author creates “the book of Landscape” as opposed to the narrative about events and characters. He plays with the reader, emphasizing on his presence permanently and exposing artistic techniques, uses language code switching and inserted constructions, creating an eff ect of cinematography. The intellectualization of writing is proved by intertextual links (fi rst of all, parodying diff erent literary styles), presence of irony as worldview principle in the work, motivation for the reader to construct possible worlds and to oscillate at the limit of the factuality and fi ctionality as well as by refl ections devoted to the philosophy of things, landscapes, travels and laws of being.
Źródło:
Studia Ucrainica Varsoviensia; 2020, 8; 217-232
2299-7237
Pojawia się w:
Studia Ucrainica Varsoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ЛІНГВІСТИЧНІ СХЕМИ ІНІЦІАЦІЇ ЧИТАЧА В УКРАЇНОМОВНОМУ ДИСКУРСІ ЖАХІВ
LINGUISTIC SCHEMES OF READER’S INITIATION IN UKRAINIAN HORROR DISCOURSE
Autorzy:
Сазонова, Ярослава
Powiązania:
https://bibliotekanauki.pl/articles/1042794.pdf
Data publikacji:
2015-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
Artykuł poświęcono problemowi tworzenia i percepcji tekstów hororrów w języku ukraińskim. Analiza tekstów horrorów ukraińskich pisarzy XIX wieku pozwoliła wyodrębnić i przedstawić schematy inicjacji czytelnika oraz wykazać specyfikę narodową tworzenia tekstów tego gatunku. Wnioski płynące z analizy pozwalają określić perspektywy dalszych badań w obrębie jednego języka, jak również w aspekcie porównawczym.
The article is devoted to the problem of text creation and text perception of samples of horror genre in Ukrainian. The analysis of Ukrainian horror texts of the 19th century allowed not only defining and formulating the reader’s initiation schemes but also revealing national specifi city of text creation in this genre. The results of the analysis presuppose further perspectives of these studies within the bounds of one language or comparatively.
Źródło:
Studia Ukrainica Posnaniensia; 2015, 3; 273-280
2300-4754
Pojawia się w:
Studia Ukrainica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Апавядальнiцкiя стратэгii ў раманах «Заходнiкi» Генрыха Далiдовiча i «Ахвяры» Таiсы Бондар
Narrative strategies in the novels “Westerners” by Henryk Dalidovich and “Victims” by Taisa Bondar
Autorzy:
Nawasielcawa, Hanna
Powiązania:
https://bibliotekanauki.pl/articles/2117829.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
novel
genre
aesthetic strategy
author
reader
Henry Dalidovich
Taisa Bondar
Opis:
Belarusian literature witnessed artistic renewal of a novel between 1990–1995. “I” as a dominant aesthetic strategy was used by Heinrich Dalidovich and Taisa Bondar. “Westerners” – the novel with one character and “Victims” – the novel with many characters discuss many questions, present the authors’ increased interest in an individual in difficult historical circumstances. Writers explore the past and the present of their characters in moral and social conditions, emphasize national content of philosophical context.
Źródło:
Białorutenistyka Białostocka; 2019; 149-157
2081-2515
Pojawia się w:
Białorutenistyka Białostocka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zygmunt Haupt – pisarz, tłumacz, redaktor „Głosu Ameryki”, popularyzator książek i czytelnik
Zygmunt Haupt – Writer, Translator, Editor of „Głos Ameryka”, Populariser of Books and Reader
Autorzy:
Krupa, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/472434.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Warszawski. Wydział Dziennikarstwa, Informacji i Bibliologii
Tematy:
Polish literature
émigré
Polish newspapers
20th century
Zygmunt Haupt
Polska literatura emigracyjna
Polska prasa emigracyjna
XX w.
Opis:
The article presents the broad relationship between Zygmunt Haupt and books, based on source materials from the Zygmut Haupt Papers collection at Special Collections, Stanford University Library in California. Zygmunt Haupt (1907-1975) was a Polish émigré writer and painter, who was published in the leading Polish émigré publications, such as „Culture” in Paris, „Wiadomości” in London, and „Tematy” in New York. He was a recipient of the Culture Award in 1962 and the Kościelski Foundation Award in 1971, but was not published in Poland during his lifetime. The author presents Z. Haupt as an author; a translator; a promoter of books not available to Polish readers at that time, on the waves of the Voice of America and the US Information Agency; and finally, a reader. By keeping contact with leading figures of the Polish émigré - Jerzy Giedroyc and the team of the Literary Institute in Paris, Mieczysław Grydzewski, Zygmunt Hładki and Zdzisław Ruszkowski in London, Paweł Mayewski, Józef Wittlin and Aleksander Janta-Połczyński in New York - he had the opportunity to exchange information about books published in the USA and Poland, as well as their readings. His extensive correspondence with booksellers in Poland, Great Britain, France, Switzerland, and the USA showcases his reading interests, as well as a rich collection of index cards with the titles he read, owned or ordered from booksellers abroad and in the USA.
Źródło:
Z Badań nad Książką i Księgozbiorami Historycznymi; 2017, 11; 231-252
1897-0788
2544-8730
Pojawia się w:
Z Badań nad Książką i Księgozbiorami Historycznymi
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zenon Przesmycki jako czytelnik Norwida
Zenon Przesmycki as a Reader of Norwid
Autorzy:
Buś, Marek
Powiązania:
https://bibliotekanauki.pl/articles/16729052.pdf
Data publikacji:
2020-02-24
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
About the year 1900 the forty-year old Zenon Przesmycki (Miriam), already a renowned poet, translator, aesthete and animator of the literary life of the Young Poland, first came into contact with the work of Norwid. He subsequently devoted the rest of his long life to seeking out, editing and commenting on the works of the forgotten poet. The subject of this study is not the story of Miriam’s private fascination with Norwid, which perhaps led him to abandon his own original work; we shall deal instead with those aspects of Miriam’s reading of Norwid which found their expression in his commentaries and had such a decisive effect on the shape of Norwid studies. By looking at Miriam’s work on Norwid as an integral part of his programme for the renaissance of the spiritual and artistic culture of the Polish nation, for the propagation of the ideal of a great, universal and autonomous art, and for the foundation of aesthetic criticism we can call in question some widespread unfair convictions about him. It is often claimed, for instance, that as regards both his criticism and his original work Miriam “outlived his day”, that his true end came with the close of the Young Poland period. His preoccupation with Norwid is regarded as an escape, a substitute activity. Miriam’s aim in this is said to have been to create, even by recourse to overestimation and instrumental false interpretation of Norwid, a myth of a brilliant “poete maudit” and to establish a cult of Norwid as a protection against his own sense of impotence as a writer and the loss of his position as “lawgiver” in matters of art. According to this view, Miriam, who preached about Norwid’s genius but was in fact spiritually alien to Norwid and unable to understand him, became the patron of “pathetic, overemotional and apostolic interpretations”. He started the Norwid snobbery and the tendency towards impressionistic and uncritically apologetic ways of writing about Norwid. Our proof of the groundlessness of these accusations is based first of all on an analysis of the main factors in Przesmycki’s attitude and critical language. We concentrate on his Notes to Cyprian Norwid’s Poezje wybrane (Selected Poems of Cyprian Norwid), which are his only major work on Norwid designed to constitute a whole, a commentary on the editor’s own selection of Norwid’s poetry which he intended to represent Norwid’s profile as a creative artist. That is why Miriam’s selection and his comments appear to provide the fullest answer to the question of how Miriam read Norwid. The concepts and descriptive formulae most characteristic of Miriam’s critical method fall into several groups. The elements of each group are linked by semantic affinity and by a common function in the critic’s presentation of his opinions or of the characteristics of the poetic phenomena he describes. Among the most essential of these groups is the set of expressions signalling the importance, solemnity, depth or “loftiness” of the works described or dealing with properties of the writer’s ideology, his artistic outlook or his type of poetic imagination. These expressions are usually accompanied by terms bringing out the forcefulness, strength and power of Norwid’s poetry. The power is seen in the suggestiveness of Norwid’s artistic structures, graphic expressiveness, and the ability to impress, that is, shock, delight or fascinate the reader. The two aspects usually go together, so that a single formula renders both the expressive qualities of a work and the strength of its effect on the receiver. The impression of vastness and great difficulty of Norwid’s poetic fabric, of its mysteriousness, is enhanced by occasional terms such as “succinctness” and “conciseness”, which combine the qualities of brevity, compactness and semantic density. These groups of terms emphasize the monumental, absolute dimension of Norwid’s work, which probably represented for Miriam the embodiment of his own concept of art as the sphere where we find manifested the eternal essence and mystery of being. For all that, Miriam’s commentaries do not create an image of Norwid’s work as a monumental temple or an object of static, aestheticizing contemplation. For even all those depths, heights, brevities and mysteries appear in Miriam’s comments, or are contextually determined, in a way that brings out their hidden energy and dynamic tension. This reflects Miriam’s conviction that the dominant note of Norwid’s work is vitality, movement, metaphorical iridescence and pulsation; hence the critic does, not so much examine states of affairs, as express the reader’s wonderment and try to show the strangeness and uniqueness of Norwid’s poetry. This alert receptive attitude on the part of the critic is evidenced in his frequent use of such terms as “unheard of”, “astounding”, “extraordinary”, “stupefying”, and especially in the many different terms for “strangeness”. The central term of this group is “wonderfulness” (“wonderfully”, “wonderful”), which has become one of the favourite terms with Norwid scholars (another one is “conciseness”). In Przesmycki’s vocabulary, “wonderfulness” expresses on the one hand rapture, amazement, high evaluation, and on the other an inability to fully capture and verbalize the unique and mysterious properties of the phenomena described as “wonderful”. The crucial role that these terms play in Miriam’s texts allows us to conclude that his basic intention was not to give an objective description of an “object of art”, based on the traditional categories of poetics; it was, instead, to constitute an “aesthetic object”, to share with his readers his own interpretive skill and the fruit of his interpretations. Miriam’S goal was to render the “wonderfully lively pulsation” of Norwid’s work and the no less lively critical reaction, which modestly refrained from expressing authoritative and established opinions in favour of a steady readiness to accept varying points of view, to be surprised or amazed, and to subordinate erudition to the postulate of freshness and authenticity of the emotional, ideological and aesthetic experience. The critic does not baulk at creating his own concepts, seemingly quite unprofessional but in fact precise and correct. What is remarkable, for example, is Miriam’s attitude to the traditional opposition of form vs. content; in this, he was modern and free from the simplifications of his time. He generally avoids using these terms, preferring instead to speak of “the ideological” and “the poetic”, but never losing perspective on the whole and ever intent on capturing the multi-faceted meaning of the poem with its artistic and concretized essence. Many places in Miriam’s commentaries demonstrate that he was acutely conscious of the complicated multi-layered nature of both the structure and the communicative situation of the literary work. The final section of the present article deals with the constructional and compositional qualities of Przesmycki’s Notes. We can reaffirm the view of some earlier students, such as Borowy, that the Notes form something like a separate Norwid monograph, one closely related to the poems found in the anthology but at the same time having a more general, autonomous value and capable of being read quite apart from the anthology. Miriam manages to preserve the impression of concreteness and uniqueness of the individual poems while also taking note of their multiple organic interconnections. He manages to combine a running commentary with a synthetic issue-oriented approach. The arrangement of the commentary which Miriam adopted and his general and consistent unwillingness to produce separate syntheses may be due to a commentator’s modesty and to his conviction that, in the case of Norwid, successive approximations are better than a systematic exposition; they may also be due to his desire to popularize Norwid and above all to teach others how to read the poet.
Źródło:
Studia Norwidiana; 1989, 7; 41-62
0860-0562
Pojawia się w:
Studia Norwidiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 191

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