Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Buś, Marek" wg kryterium: Autor

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-10 z 10
    Tytuł:
    Jak są zrobione wykłady Norwida o Słowackim
    Autorzy:
    Buś, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/624393.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    Norwid
    Słowacki
    Lekcje o Juliluszu Słowackim
    Opis:
    The article is interested in exploring the peculiarities and proper organiza- tion of Cyprian Norwid’s O Juliuszu Słowackim. The author analyzes cha- racteristics of the text such as its structure, internal links between elements, dynamics, and stylistic features; he focuses on their functions, which are considered manifestations of larger ideas and goals of the author, his psy- chological, or even psychophysical, traits. The article pays special attention to such issues as the text’s cohesion, the elaboration of the main theme of the work - the exposition of Słowacki’s oeuvre, or better say, expression of his own critical method/attitude - communication relationships advanced by Norwid (sender-receiver), reception styles (image of the reader), and forms of the objectification of views.
    Źródło:
    Colloquia Litteraria; 2017, 22
    1896-3455
    Pojawia się w:
    Colloquia Litteraria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Krytyczne wydanie Promethidiona
    The critical edition of Promethidion
    Autorzy:
    Buś, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/16729443.pdf
    Data publikacji:
    2020-05-05
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Norwid
    Sawicki
    poemat
    collage
    sztuka
    praca
    prawda
    sumienie
    proroctwo
    edycja krytyczna
    interpretacja
    piękno
    poem
    art
    work
    beauty
    truth
    conscience
    prophecy
    critical edition
    interpretation
    Opis:
    The article is concerned with the edition of Cyprian Norwid's Promethidion prepared by Stefan Sawicki. The recognized theoretician, historian and interpreter of literature appears here both as the author of a comprehensive monograph of Promethidion and as an experienced editor embracing the central categories of the poet's viewpoint and artistry, and, on the other hand, with a linguistic precision analyzing particular expressions and tropes. His discerning analysis, careful textological edition of the text and comprehensive interpretation of the poem serve each other. The edition, albeit designed for a broad group of readers, meets the requirements of a critical edition, gives a lot of precisely justified amendments, the necessary explanations, and a list of variants of the text. In the sphere of meanings and structures the poem glitters with variety and shows many aspects of the problems. “Concepts-keys” that are central to the poem are the concept of art (“with no limits”) whose definition is in many ways completed by the concepts of beauty, love, work, good and truth, “constantly approached as if from the side of the conscience”. They are made manifest in utterances by many subjects that have differentiated styles and genres, which is done by means of peculiar techniques (amplifications, approximations, speaking by negation assuming the form of a dialogue, the “counterpoint” technique, evoking the value “by negating anti-values”). However, the whole forms a cohesive “Norwidian collage”, and the image of a “superior speaking subject” appearing as an “image of a prophet of the contemporary Church” has a clear author's stamp. Hence, the message of the poem is perceived “as the voice of a poet: a real one, convinced that what he wants to convey to the society is just”
    Źródło:
    Studia Norwidiana; 2011, 29; 219-229
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Norwid w czasopismach. 1971-1983
    Norwid in the Periodicals. 1971-1983
    Autorzy:
    Buś, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/2109950.pdf
    Data publikacji:
    1986
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Źródło:
    Studia Norwidiana; 1986, 3-4; 255-284
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Powrót do źródeł norwidologii
    A Return to the Sources of Norwid Studies
    Autorzy:
    Buś, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/2117168.pdf
    Data publikacji:
    1992
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Źródło:
    Studia Norwidiana; 1992, 9-10; 175-207
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pożytki z czytania Norwida
    The Benefits of Reading Norwid
    Autorzy:
    Buś, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/16729039.pdf
    Data publikacji:
    2020-02-24
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Źródło:
    Studia Norwidiana; 1984, 2; 75-84
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Uczeń i znawca. Stanisław Cywiński wobec Norwida
    Disciple and Connoisseur. Stanisław Cywińskis Attitude to Norwid
    Autorzy:
    Buś, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/2116896.pdf
    Data publikacji:
    1995
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    Stanisław Cywiński (1887-l940), a Vilna teacher (he taught Czesław Miłosz among others) and literature student, is among the most outstanding, and the most completely forgotten, figures in Norwid studies. He was forgotten chiefly because of his firmly held and openly proclaimed opinions close to the national-Catholic orientation and of his uncompromising stance as a publicist; this brought him into conflict with the pre-war political establishment (culminating, to the Sanacja regime's discredit, in his conviction for an affront to the memory of Piłsudski). After the war, Cywiński was classed as a champion of the political right and of religious obscurantism. Cywiński's martyrdom and death in the Soviet labour camps reinforced the existing mechanism of political and ideological interpretation of his position and achievements, also in the area of literary criticism and research. All this affected decisions concerning the collection and reissue of his scattered publications, scholarly interest in him and even his very inclusion as part of the heritage of literary studies. Still, if any one person among the early researchers could be called a “Norwid scholar”, that appellation was almost as a matter of course linked then, and is to be linked today, with the figure of Cywiński. We have no other example among literary scholars who also wanted to leave their imprint on national culture of someone so totally engrossed in the study of Norwid and doing it with such passion, such perseverance and such acumen. If the concept of “criticism as accompaniment” could be extended so as to include accompanying the progress of the writer's reputation, posthumous representation of his interests, moulding public opinion and mediation between it and the writer's work, then Cywiński would be a rare, indeed an extreme instance of such an attitude. His attitude was notable for its unique focus not just on discovering and studying Norwid, but above all on the “social” aspect of Norwid's work and of his very existence as a model; Cywiński was eager to share the treasures he discovered; he was generous, to some perhaps even importunate, in his efforts to remove stumbling blocks from the reader's path. Nor did Cywiński rest satisfied with his role as a Norwid admirer and advocate. His zeal for knowledge as a critic was coupled with his temperament as an ideologist and constructor of a model of culture (including social and political culture). His persistent exegesis of Norwid's “testament”, lasting for many years, was to serve his own critical constructions, but it also aimed to put the poet's writings to work as a vehicle for the way of thinking and feeling that Cywiński regarded as exemplary. That is why Cywiński concentrates mainly on a search for regularities, on explaining the mechanisms behind Norwid's work. He aspires to know Norwid fully in order to promulgate him the more confidently, but also to refute objections accusing Norwid of “unintelligibility” and “excessive pride”, which have isolated him from readers, and to correct interpretations he considers erroneous or unfair. His objective is a full “apology” of Norwid, which under the circumstances becomes a restitution and rehabilitation, a justification of his high standing in poetry and culture at large and, perhaps even more importantly, of his potential role in Polish life. Cywiński's many publications (including some eighty on Norwid), diary entries, his work as a teacher and popularizer (about 150 talks and lectures), and the testimony of his friends demonstrate that Norwid occupied a quite unique position in his hierarchy of values and in the pattern of his spiritual life as a whole almost from the very beginning. The present article seeks to reconstruct the course of both Cywiński's private (personal) and scholarly fascinations with Norwid. Norwid appears frequently in Cywiński's everyday life and work and in his various writings: as an object of reflection and reminiscence, and as an ally, a source of the writer's evaluations and attitudes. One often gets the impression that Cywiński is trying to live “like Norwid” and write “like Norwid”. Our reconstruction of the images of “Norwid the man” and “Norwid the artist” (image of his work) as they emerge from Cywiński's writings leads us to conclude that those images are rich and (despite their “apologetic” character) by and large accurate. The image of Norwid's work gains perspicuity with the adoption of the critic's systems of evaluation and internal hierarchies, and of his more general convictions regarding the essence and functions of literature and art. The next problem is how Cywiński read Norwid's works, what were the horizons of his reactions and attitudes as “receiver” and whether they can be arranged in a system of “styles of reception” or “norms of interpretation” both from a private and from a critical, scholarly perspective. Cywiński has often been accused of approaching Norwid like a confessor and of subjecting the poet's work to ideological deformation. However, with the variety of critical attitudes ascribed to him, declared by him and evidenced by available testimonies of reception, we have to say that Cywiński's reading of Norwid was profound, many-sided, and marked by an ability to penetrate the writer's principal intentions. That ability perhaps sometimes was a consequence of Cywiński's declared “critical harmony” with the poet, but it must be seen primarily as a fruit of the critic's purposive work, which continued over a period of many years, on finding suitable interpretative contexts and methodological standpoints for Norwid's writings and on enriching the concept of poetry (with types he calls “prose poetry” and “poetry of ideas”) so as to make it encompass the full complexity of Norwid's uncommon literary forms. His exertions led Cywiński to conclude that Norwid's poetry calls for a “special methodology”, imposing on the critic the requirements of perfect preparation, sensitivity and interpretative skill; finally, because of the tragic fates of Norwid's reception, the critic also has to give the poet some “moral credit” and show a willingness to understand him.
    Źródło:
    Studia Norwidiana; 1995, 12-13; 91-136
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Uwagi o Próbach Norwida
    Some Remarks on Norwids Trials (Próby)
    Autorzy:
    Buś, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/16729291.pdf
    Data publikacji:
    2020-02-24
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Źródło:
    Studia Norwidiana; 2001, 19; 77-97
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wyka o Norwidzie
    Wyka on Norwid
    Autorzy:
    Buś, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/16729262.pdf
    Data publikacji:
    2020-02-24
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Źródło:
    Studia Norwidiana; 1996, 14; 121-139
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    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
    Tytuł:
    Pokolenia odchodzą : relacje źródłowe polskich sybiraków z Wielkiej Brytanii : Leeds
    Współwytwórcy:
    Chudzio, Hubert. Opracowanie
    Chłosta-Sikorska, Agnieszka. Opracowanie
    Buś, Marek (1953- ). Opracowanie
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej (Kraków). Wydawnictwo Naukowe. pbl
    Data publikacji:
    2016
    Wydawca:
    Kraków : Wydawnictwo Naukowe Uniwersytetu Pedagogicznego
    Tematy:
    Polacy
    Polacy za granicą
    II wojna światowa (1939-1945)
    Wysiedlanie
    Pamiętniki polskie 20-21 w.
    Opis:
    Zawiera słowniczek wyrażeń obcojęzycznych.
    Publikacja zawiera wspomnienia polskich sybiraków zarejestrowane w dn. 11-18 kwietnia 2013 r., podczas misji naukowej Uniwersytetu Pedagogicznego.
    Dok towarzyszący: Płyta DVD zawiera zarejestrowane w formie filmu relacje źródłowe polskich sybiraków.
    Bibliogr. s. 365-368. Indeks.
    Dostawca treści:
    Bibliografia CBW
    Książka
      Wyświetlanie 1-10 z 10

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies