Autor: Śliwiński, Marian - Katalog OPAC zbiorów

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Tytuł:: W setną rocznicę śmierci Norwida
The Norwid Centenary
Autorzy:: Śliwiński, Marian
Powiązania:: https://bibliotekanauki.pl/articles/16729242.pdf
Data publikacji:: 2020-02-24
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Źródło:: Studia Norwidiana; 1993, 11; 169-180
0860-0562
Pojawia się w:: Studia Norwidiana
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Norwid i Cycero
Norwid and Cicero
Autorzy:: Śliwiński, Marian
Powiązania:: https://bibliotekanauki.pl/articles/16729213.pdf
Data publikacji:: 2020-02-24
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:: Cicero makes an appearance in many of Norwid’s works: the poems Z listu (Do Włodzimierza Łubieńskiego) (1862) and Do Wielmożnej Pani I. (1871), the treatise Jasność i ciemność (1850), and the dramatic fragment Teatr bez teatru (1855); he also appears in Norwid’s letters: to Emma Herwegh (Paris, 29 September 1852), to Maria Trębicka (New York, 21-23 February 1854), to Joanna Kuczyńska (Paris, May 1862) an to Julian Fontana (Paris, 26 March 1866). This high frequency makes Cicero stand out very clearly among the figures, themes and motifs that make up Norwid’s vision of antiquity, since he is mentioned so often, it may be useful to devote a whole article to him; the description of Cicero reveals the complex structure of Norwid’s vision of tradition. Cicero’s presence is conditioned by three paradigms in Norwid’s thinking about the cultural heritage of ancient Rome and indeed of Europe as a whole. The first to be dealt with is the paradigm of transition from antiquity to Christianity. The Middle Ages accepted antiquity and worked out the formula of a single ancient and Christian tradition. The modern era put an end to that unity. Norwid follows the modem view of the ancient and Christian traditions. He saw the transition from antiquity to the Middle Ages as an age that symbolized the world’s indifference and aggressiveness towards the Christian religion. In the letter to Joanna Kuczyńska written in May 1862 Cicero appears as a representative of the pagan era, which was unable to hear the voice of God; in a more general sense, he appears as a representative of all mankind, erring and plunged in sin and unbelief. The second paradigm is that of the totalitarianism of pagan Rome; this comes from the Romantic philosophy of history. Pagan Rome functions in many places in Norwid as a retrospective negative utopia; it is pictured as a totalitarian empire that subjugates other nations and aims at destroying their cultural identities. In the poem Z listu (Do Włodzimierza Łubieńskiego) Cicero appears as a consul of the Roman state who comes to the conquered tribe of Siculi on a diplomatic mission and uses the most sophisticated methods of political aagitation and propaganda to effect the intellectual and cultural subordination of the Greek people to Rome. The third paradigm invokes the coryphaei of mankind, the great artists and discoverers who outgrew their own time and took on the world as heroes and martyrs. An apology of Cicero as a heroic advocate of the coming truth of Christianity can be found in the poem Do Wielmożnej Pani I. In the poem Wielkie slowa, the treatise Jasność i ciemność and the letter to Maria Trębicka of 21-23 February 1854 Cicero figures as the herald of new ideas of immense importance for the human race.
Źródło:: Studia Norwidiana; 1990, 8; 61-76
0860-0562
Pojawia się w:: Studia Norwidiana
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Poeta kamienia
Poet of the Stone
Autorzy:: Śliwiński, Marian
Powiązania:: https://bibliotekanauki.pl/articles/2117054.pdf
Data publikacji:: 1988
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:: The word “kamień” (stone) is regarded as a key word in this study. It occurs frequently enough in Norwid’s writings to give us an insight into several of the most essential problems of his work. The analytic traditon we shall follow has been established by S. Brzozowski (whose analysis centred on the word “ruiny”) and K. Wyka (who brought out the metaphor of the sculptor). The complex semantics of “kamień” has been pointed out by M. Tatara in his analysis of the poem Adam Krafft (Section 1). The motif of “men of stone” conveys the poet’s criticism of a society frequently indifferent to the individual; it also introduces a special kind of dialogue where the collective is attacked via an “anacritical image of immobility” (M. Bachtin; J. Fert) (Section 2). The recurrent motif of an individual stoned by a mob expresses asymmetry of the relation individualxollective; the mob is aggressive, while the individual takes on the appearance of a martyr (Section 3). Norwid also makes frequent use of the motif of pavement, making it into a metonymy of civilization, of city life which stands in sharp conflict with the imponderables and the humanistic tradition. (Not included in the present study is imagery drawing on the antiquity, in particular on pagan Rome, which has been investigated by I. Sławińska) (Section 4). There is in Norwid’s work, even if never stated expressly but only metaphorically, an idea of a code of stone: since it is impossible for the artist to communicate with his contemporaries, since he feels isolated, he commits his message to stone (as a sculpture, statue, tombstone) he finds a place for himself in the generations-old order of cultural tradition and so engages in a dialogue with God and with mankind (Section 5). The motif of stone as a foundation of culture occurs many times in Norwid. In his Notatki z mitologii (Notes on Mythology) he describes stone as (a) a sign from heaven, (b) a figure of the Messiah, (c) the cornerstone (Beth-el) lying at the foundation of culture and creating a sacred space. The word "kamień” appears in Norwid’s search for native sources of culture (the drama Krakus) and in his reconstruction of the links of Polish culture with European culture and the Roman tradition. The work of a sculptor carving in stone is an allegory of man’s effort to transform reality (stone, i.e. matter, is transformed by a transcendent idea) and to continue tradition, the heritage of mankind (Section 5).
Źródło:: Studia Norwidiana; 1988, 5-6; 33-51
0860-0562
Pojawia się w:: Studia Norwidiana
Dostawca treści:: Biblioteka Nauki