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    Tytuł:
    Norwid jako strateg w kontekście rozważań o walce i wojnie
    Norwid as a strategist in the context of deliberations about struggle and war
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/16729611.pdf
    Data publikacji:
    2020-05-07
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    archistrategia
    strategia
    walka
    wojna
    bitwa
    pojedynek
    tszin
    heroizm
    personalizm
    sztuka
    wróg (l’ennemi)
    ciemiężca (l'oppresseur)
    przeciwnik (l’adversaire)
    oponent (l’opposant)
    taktyka
    logistyka
    żołnierz
    historia
    ciągłość
    powstanie 1863
    presja moralna
    Mickiewicz
    polarność
    archstrategy
    strategy
    struggle
    war
    battle
    duel
    polarity
    heroism
    personalism
    art
    enemy (l’ennemi)
    oppressor (l’oppresseur)
    adversary (l’adversaire) opponent (l’opposant)
    tactics
    logistics
    soldier
    history
    continuity
    the 1863 Uprising
    moral pressure
    Opis:
    Norwid’s deliberations about strategy were not a very well known but important and inventive current in his thought and literary work. In his concise essay La philosophie de la guerre, in the rhapsody Fulminant and in numerous poems, poetical digressions, remarks, notes and memorials the writer defined strategy as a domain of knowledge, a kind of art and a practical skill, necessary to reach long-range historical aims, and especially – in the particular situation of the partitions of Poland and in the face of the lost uprisings – to conduct an efficient struggle for independence, ending in a success. Opposing the long-term planning and strategic actions to a war, a battle, a skirmish and short-term plots – or in one word: to “bloody episodes, “convulsive straining”, futile martyrdom and fatalities, Norwid advocated a peaceful struggle carried on incessantly and consistently, a struggle that aimed at realizing positive human values, and not selfish goals. He thought that this kind of “struggle is a normal task of Humanity” and a universal law of history; whereas bloody war – is a license and an exception, acceptable only in the situation of a “just war”, in defense of universal values that were violated.  According to this conception the writer contrasted the “soldier’s” attitude capable of he-roism first of all in everyday life and everyday work, with the “marauding soldier’s” one, taking one’s anger out on other people in aggression, violence; one greedy for blood and revenge. Hence in Norwid’s understanding it was the ability to predict and forestall events and to take precautionary measures in time that was the essence of strategy. He also connected successful strategy with working out and keeping to “a perfectly well conceived plan” that, owing to earlier preparations, concentrating the means in the right place and time, as well as to well thought out maneuvers, eliminated or reduced to a necessary minimum the use of physical force and violence towards the opponent. The basis of strategy was then formed by a long-range intellectual conception, and also by the ability to carry on struggle with various means, including also struggle “on the field of the idea” and “on the field of the word”.
    Źródło:
    Studia Norwidiana; 2015, 33; 51-76
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Poetyka jako dyskurs
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/2030307.pdf
    Data publikacji:
    2021-06-05
    Wydawca:
    Uniwersytet Rzeszowski. Wydawnictwo Uniwersytetu Rzeszowskiego
    Tematy:
    poetics
    discourse
    literary theory
    postmodern
    poetyka
    dyskurs
    poetyka normatywna
    tradycja poetologiczna
    nomotetyzm
    formalizm
    strukturalizm
    postmodernizm
    teoria literatury
    Opis:
    Artykuł rozważa trzy różne typy i zastosowania poetyki: 1) jako praktykę normatywną, polegającą na ocenie i skalowaniu utworów, formułowaniu reguł literackich i postulowaniu rozwiązań estetycznych i kierunków twórczości, 2) jako nomotetycznie rozumianą naukę i wiedzę o literaturze, która zmierza do wykrycia zarówno strukturalnych, jak historycznych praw i prawidłowości rządzących literaturą oraz 3) jako specyficzny dyskurs o literaturze, który w obliczu wielości, różnorodności i historycznej zmienności zjawisk literackich jest świadomy własnej relatywności, elastyczności i ograniczoności. Poetyka normatywna osadza się w krytyce literackiej i roztrząsa zazwyczaj aktualne (współczesne) problemy literatury. Poetyka nomotetyczna kieruje się ku temu, co trwałe, regularne i niejako „wieczne” w literaturze. Z kolei poetyka jako dyskurs stara się podążać za przemianami literatury. Od poetyki teoretycznej i historycznej różni się jednakże tym, że nie tylko uwzględnia zmienność i różnorodność literatury, lecz także koryguje i dostosowuje własny aparat do jej właściwości. Zachowując dystans i pewną dozę nieufności do samej siebie, poetyka tego typu stara się nie stawiać się ponad badaną rzeczywistością literacką i nie ulegać mistyfikacji, iż to teoria (poetyka) rządzi literaturą oraz określa jej kształty i sensy. Wynika stąd konieczność ciągłej rewizji aparatu badawczego, pojęć, terminologii oraz zakresu i przedmiotu poetyki. Uczestniczy ona w ten sposób w ruchu przemian, którym podlega sama literatura. Sytuując wspomniane poetyki w perspektywie dziejowej, artykuł omawia także ich kondycję współczesną. Wskazuje na ich związki z mitologią, filozofią, poszczególnymi dziedzinami nauki, metodologią, innymi sztukami itd. Zwraca uwagę na teoriopoznawczą i metodologiczną krytykę poetyki, która charakteryzowała ostatnie dekady i wstrząsnęła jej posadami. Posiała ona wątpliwości w naukowy autorytet dominującej dotąd poetyki formalistyczno-strukturalnej. Usankcjonowała z jednej strony bolesną świadomość tego, że rozpadł się stary, dwudziestowieczny paradygmat w dziedzinie poetyki, z drugiej strony uzmysłowiła, że powstałą pustkę muszą wypełnić poszukiwania i rozwiązania adekwatne do warunków i potrzeb XXI wieku.  Ta wiara w odrodzenie się i siłę tradycji poetologicznej rodzi nadzieję na ukonstytuowanie się poetyki, dla której punktem odniesienia i wyróżnikiem nie będzie tradycyjna teraźniejszość, przeszłość lub statyczna wieczność, lecz dynamiczna przyszłość, owa, jak orzekł poeta, „korektorka wieczna”.
    The article discusses three different types and applications of poetics: 1) poetics as a normative practice aimed at the assessment and calibration of literary works, formulating rules that literature should comply with and postulating aesthetic solutions and literary trends, 2) poetics as a nomothetic theory, the purpose of which is to discover both historical and structural laws and regularities underlying literature, 3) poetics as a specific discourse on literature, which in the face of a multitude, diversity and historical variability of literary phenomena is aware of its own relativity, flexibility and limitations. Normative poetics is embedded in literary criticism and usually debates contemporary problems of literature. Nomothetic poetics leans toward what is permanent, regular and, as it were, ‘eternal’ in literature. In turn, poetics understood as discourse attempts to follow transformations of literature. However, what distinguishes it from theoretical and historical poetics is that it not only takes into account the diversity and variability of literature but it also corrects and adjusts its own conceptual framework to the properties of literature. Maintaining distance from itself and regarding itself with a certain amount of mistrust, this type of poetics tries to avoid placing itself above the studied literary reality and succumbing to the delusion that it is theory (poetics) that governs literature, defining its form and sense. This results in the need for constant revisions of research methods, concept, terminology as well as the scope and object of poetics. In this way poetics participates in the process of transformation that literature is subject to. Putting the above-mentioned types of poetics in the historical perspective, the article also discusses their contemporary condition. It indicates their relations to mythology, philosophy, methodology, various branches of knowledge and fields of art. The paper focuses on methodological, cognitive and theoretical criticism of poetics, which has characterized recent decades and rocked it to its foundations. It has cast doubt on the academic standing of formalist and structural poetics that has been dominating so far. On the one hand, it has legitimized painful consciousness of the fact that the old twentieth-century paradigm of poetics disintegrated, while on the other, it made it clear that the resultant void should be filled with research and solutions adequate for the conditions and needs of the 21st century. This belief in the rebirth and strength of the poetic tradition breeds hope for the establishment of poetics for which the point of reference and distinguishing mark will not be traditional presence, past, or static eternity, but dynamic future – that, as the poet has it, “eternal corrector”.
    Źródło:
    Tematy i Konteksty; 2013, 8, 3; 63-77
    2299-8365
    Pojawia się w:
    Tematy i Konteksty
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O poezji cmentarnej (graveyard poetry) – Robert Blair i Edward Young
    On graveyard poetry – Robert Blair and Edward Young
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/2012211.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    literatura angielska
    Robert Blair
    Edward Young
    poezja grobów
    English literature
    Graveyard School of Poetry
    Opis:
    The term ‘graveyard poetry’ or Graveyard School of Poetry is used in the history of literature to refer to a collection of English poems of the 18th century whose character is primarily meditative and refl exive. The graveyard poets chose intensely emotional lyric genres such as dramatised and full of strong emotions meditative monologue, elegy or last will. They allowed the authors to express deeply subjective and intimate feelings, which revealed the supressed and hidden in the social discourse unoffi cial aspect of their psyche. They led to poetry which is direct, personal, confessional, intimate and reaching out of the rigour of Neoclassical convention. The compositions refl ected on mortality and immortality, passing of time, fragility of human life, horror of death, interment, grave, ‘coffi n bed’ after death, symbolism of the dead, decomposing bodies and bleak cemetery night and silence. They were full of sorrow, lugubriousness, grievance, dispair and melancholy caused by irreparable loss of a close person who passed away. They asked dramatic questions about the sense of life and death, about the meaning of the symbolism of graves for the living and the postmortem ‘what’s next’. The graveyard poetry literary and artistically wise ennobled and canonised the motif of grave and cemetery, which changed into meaningful and symbolic scenery. The Graveyard School of Poetry might have appeared to be a reaction to modern and scientifi c conversion of the world and universe image and therefore might have seemed to be a regressive and nostalgic turn towards Middle Ages and Baroque. In fact, it was paving the way for the future as well as for the romantic, radical revaluation and changes in literature, especially through opening towards subjective, extreme emotions of an individual, striving for direct poetic form of expression and by virtue of concentrating on boundary existential refl ection. The history of literature features above others the names of two poets who were the fi rst to compose poems initiating the graveyard poetry movement as a collective historical-literary phenomenon and infl uencing the successors – a Scottish poet, Robert Blair, the author of The Grave and Edward Young, the author of The Complaint, or Night Thoughts on Life, Death, and Immortality.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2012, 2(5); 179-198
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kategoria możliwości w myśli i pisarstwie Sørena Kierkegaarda
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/1187251.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    Kierkegaard
    category of possibility
    culture
    entity
    Opis:
    The article presents the category of possibility, inferred from Kierkegaard’s works as one of primary for him. Contexts, responsible for both the typology of the concept, as well as an extension of its semantics and hermeneutical capabilities, situate at the same time the notion of possibility within the limits of modern and contemporary reflection on culture. The philosophical and theological existence of possibility as a basis for subjective recognition of the world of category culture, finally leads to the anthropological approach, in which the choice of will is being contrasted with externally interpreted histories and philosophies recognized in the spirit of historical Hegelianism. Reflections on the ‘opportunity’ define and expand the concept itself, and in a way they also affect the individualistic figure of the philosopher-writer, whom turns out to be Kiekegaard. They bring out the specificities not only in the field of writing, but also polemics and dialogue. Having allowed us to understand the polemical nature of the notion of possibility, he shows culture – not only romantic and incoherent, but also contemporary, full of possibility, based on the choice of the path belonging to an entity participating in culture (believing, philosophizing, writing, operating, communicating with others).
    Źródło:
    Załącznik Kulturoznawczy; 2016, 3; 226-253
    2392-2338
    Pojawia się w:
    Załącznik Kulturoznawczy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Romantyzm i poprzednicy. Wokół dyskursów prefundacyjnych
    European romanticism in the light of the pre-foundational, post-foundational and anti-foundational discourses
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/564311.pdf
    Data publikacji:
    2013-04-02
    Wydawca:
    Akademia Pomorska w Słupsku
    Opis:
    The article considers coming into being European, first of all English and German roman-ticism in the light so called pre-foundational discourses that are not fully romantic but they foreshadow or contain some typical romantic elements and traits. An example of such a pre-foundational discourse may be Edward Young’s Conjectures on Original Composition (1759), also regarded sometimes as the first truly romantic foundational discourse. Other such an example of the pre-foundational discourse is The New Science (La scienza nuova, 1725) written by Italian Giambattista Vico. The article discusses at the same time some different forms of the discourses founding, canonizing or deconstructing European romanticism as well, among them post-foundational i and anti-foundational ones, and gives their description and definition. The author proposes not only genetic or historical analysis of this kind of discourses but functional as well.
    Źródło:
    Świat Tekstów. Rocznik Słupski; 2012, 10; 5-22
    2083-4721
    Pojawia się w:
    Świat Tekstów. Rocznik Słupski
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czym jest kulturologia?
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/555573.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    kulturologia
    delimitacje kultury
    wielokulturowość
    kulturalizm
    Opis:
    Kulturologia jako odrębna refleksja o kulturze pojawiła się w drugiej połowie XX wieku, a bodźcem dla jej rozwoju stał się tak zwany zwrot kulturowy w naukach humanistycznych, który uświadomił ich kulturowe zaplecze i podstawy. Niniejszy artykuł stara się sprecyzować, czym zajmuje się współczesna kulturologia, jaki jest przedmiot jej badań, jakie założenia teoretyczne przyjmuje ona w stosunku do niego oraz jakie cele poznawcze stawia przed sobą. Jedno z kluczowych pytań, na które kulturologia stara się odpowiedzieć, dotyczy tego, czym jest kultura, jakie są jej granice, czym jej formy różnią między sobą w czasie i przestrzeni oraz czy lub w jakiej mierze tworzą one mimo różnic wspólnotę, jedność i całość. Artykuł wskazuje z jednej strony na dynamiczny, procesualny i kreatywny charakter kultury, z drugiej zaś – na jej otwartość, a w konsekwencji na utopijność dążeń, które pragnęłyby raz na zawsze ustalić niezmienną „istotę” kultury oraz jej ponadczasowe wyznaczniki i ramy systemowe. Artykuł składa się z trzech części: 1) Kontekst, przedmiot i właściwości kulturologii, 2) Delimitacje kultury, 3) Akceleracja, piśmienność, wielokulturowość, kulturalizm.
    Źródło:
    Załącznik Kulturoznawczy; 2015, 2; 12-49
    2392-2338
    Pojawia się w:
    Załącznik Kulturoznawczy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Trudny Norwid, trudna metodologia. Jak badać Norwida?
    Difficult Norwid, Difficult Methodology. How to Study Norwid? (transl. by Jan Kłos)
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/2117109.pdf
    Data publikacji:
    2010
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    dystans historyczny
    dystans hermeneutyczny
    dystans poznaczy
    hermetyzm
    historia
    interpretacja
    krytyka
    metodologia
    Norwid
    norwidologia
    norwidolog
    poznanie
    recepcja
    rekonstrukcja
    relatywizacja
    uniwersalizm
    historical distance
    hermeneutical distance
    cognitive distance
    hermeticism
    story
    interpretation
    criticism
    methodology
    Norwidology
    Norwidologian
    knowledge
    reception
    reconstruction
    relativisation
    universalism
    Opis:
    Cyprian Norwid's literary biography, his literary and artistic endeavour show a boundary situation in the humanities and challenge the existing technique of study and methods of interpretation. This boundary situation was composed by the following elements: a) Norwid's peripheral in his own epoch that resulted in a lack of acceptance and communication, b) poverty and the struggle for survival, c) few publications during his lifetime, dispersal and loss of a part of his manuscripts, d) isolation during his sojourn abroad in France, Italy, and the United States, e) his hermetic language and thought, f) universalistic aesthetic and philosophical attitude that was in conflict with the positivistic and utilitaritarian tendencies of the epoch, g) an unusually broad and heterogenic group of sourcews, h) discontinuity and multifarious reception, i) combination of innovation and traditionalism The author confronts the writer's boundary situation with the current research standards and methodologies. In part I, he considers the influence of the historical, hermeneutic, and cognitive distance on the modes of research interpretation and presentation of Norwid; he discusses the methods and effects of taming and consuming his historical novelty, and puts together the real and historical presence in the writer's epoch with postmortem symbolical presence Part II analyses methods of the reconstruction of the “true Norwid” and stresses the impact of the writer's image, promoted as “true,” on the time, circumstances, and manner of the reconstruction itself. This part claims that if we make one of many Norwid's images “always and everywhere true,” then we have aspirations to cognitive exclusiveness, make it uniform and appropriate the poet's image. As a result, his interpretation is made rigid Part III discusses the tension between the poet's universalism – e.g. his declaration of eternal and universally valid truths – the historical genesis and the shape of this kind of messages typical of the epoch. The ahistorical relationship to the poet's declarations gives rise to a phenomenon that is called interpretation of “Norwid by way of Norwid” in Norwidology, a fact that should be deemed vicious circle from the methodological point of view Part IV Mythologies and Methodologies evaluates the usefulness of contemporary standard research methods in solving difficulties that compose the knowledge of Norwid. This part indicates the incommensurable character of cognitive and methodological presuppositions, which Norwid himself used in his interpretation and description of the world together with the presuppositions that are used in contemporary theories of knowledge and methodologies The final conclusion of the paper reads that the difficulties in studying Norwid make us aware that the author of Silence is not for the contemporary methodologies merely a passive “object” with which, as the “hermeneutics of violence” declares, one can make everything whatever one wills, but it is a challenge for them that unveils both their strong and weak points. He is therefore their critical partner, and at times also a constructive alternative
    Źródło:
    Studia Norwidiana; 2010, 27-28; 53-76
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dyskursy romantyzmologii. Studium (samo)krytyczne
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/564492.pdf
    Data publikacji:
    2010-12-30
    Wydawca:
    Akademia Pomorska w Słupsku
    Opis:
    The article investigates the critical and scientific discourses that have been functioning in the studies of Polish Romanticism for the period of the last 150 years. These discourses locate the center of almost any romantic problem, text or discourse predominantly within the intel-lectual and conceptual logos being constructed or accepted by critics and researchers. The secondary and tertiary literature have become so extensive and thorough that they almost fully cover original Romantic texts. In this way various methods of reading romantic literature and products of that reading are self-sufficient. They form an independent and primary object of the study. It is one of the paradoxes of our postmodern time that the original Romantic lite- rature step by step is losing its own identity and is taking one, which is being created by its readers.
    Źródło:
    Świat Tekstów. Rocznik Słupski; 2010, 8; 7-23
    2083-4721
    Pojawia się w:
    Świat Tekstów. Rocznik Słupski
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Gotycyzm i śmiech. Groza, groteska i parodia u E.A. Poego
    Gothicism and laughter. Horror, grotesque and parody in E.A. Poe’s short tales
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/2012174.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Opis:
    There are long-standing critical opinions that Poe was a master of Gothic macabre tales implying the appreciation of extreme emotions, the thrills of fearfulness and awe inherent in the sublime, although he was, in fact, only one of the late heirs to the Gothic tradition. However, these opinions stood in contradiction to the fact that Poe was also an excellent humorist inspired by parody, grotesque, hoax and self-mockery. In contrast to the Gothic tradition, his macabre tales became often the hybrid mixture of comics and horror. Placing Poe’s arabesque and grotesque tales in the historical context, the article differentiates between three various literary strategies which define relationship of horror and comics: 1) the orthodox strategy oppressing and eliminating the laughter, 2) the strategy of the so called ‘satanic laughter’, which was practiced by Ch.R. Maturin in the novel Melmoth the Wanderer (1820) and described by Ch. Baudelaire in his essay De l’essence de rire, 3) the strategy of the laughter keeping distance from the horror and terror scenes and parodying them, e.g. in Poe’s tale How to write a Blackwood article. It is the thesis of the article that the third strategy was especially typical of E.A. Poe. In this respect American writer was a legal heir of the literary tradition represented by W. Shakespeare, F. Rabelais, M. Cervantes, J. Swift, Moliere, L. Sterne, Voltaire and D. Diderot.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2010, 59, (3); 181-198
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pseudo-Norwid, czyli co się komu podoba
    Pseudo-Norwid, or whatever you like
    Autorzy:
    Kasperski, Edward
    Powiązania:
    https://bibliotekanauki.pl/articles/16729536.pdf
    Data publikacji:
    2020-05-07
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Rzońca
    premodernizm
    Norwid
    romantyzm
    pre-modernism
    Romanticism
    Opis:
    The present text critically discusses Wiesław Rzońca’s book Premodernizm Norwida – na tle symbolizmu literackiego drugiej połowy XIX wieku (Norwid’s Pre-modernism – Against the Background of the Literary Symbolism of the Second Half of the 19th Century) (Warszawa 2013). In the subsequent chapters the present polemics formulates the following charges against the book: 1). The division of Norwid’s work into “the mature period” and “the imma ture one” is unjustified and devoid of factual foundations; especially when in the allegedly “immature” period (until 1857) a lot of the poet’s undoubted masterpieces were written, also, the work after 1857 continued the earlier forms, ideas and motifs, and in this sense it was characterized by a relative – dynamic, flexible and open to changes – continuity. 2). One of Rzońca’s theses – an exceptionally doubtful one – puts Norwid’s allegedly “mature” works after 1857 outside Romanticism, which differs from the truth, both textual and historicalliterary, because Norwid till the end of his life drew on the Romantic tradition and traces of this practice can be discovered in most of his writings and poems, starting from his lectures On Juliusz Słowacki putting Byron (and not Baudelaire!) in the position of “poets’ Socrates”, and ending with Rzecz o wolności słowa (On the Freedom of Speech), perfectly well analyzed in the past by the late Zofia Stefanowska with respect to the Romantic influences retained in the poem, and with Milczenie (Silence), Ad leones!, Stygmat (Stigma) and Tajemnica lorda Singleworth (Lord Singleworth’s Secret). 3). Rzońca’s false diagnoses concerning Norwid’s relation towards Romantics and Romanticism result from a) accepting an extraordinarily narrow, static and basically false conception of Romanticism, reducing it personally to Mickiewicz and Byron, and ignoring the German, English, French, American, or even Polish Romanticism that was intellectually rich and creative (“not-well-enough-read” Krasiński or Słowacki plus the interesting Polish nationalist philosophy), and on which the whole 19th century, not only Norwid drew; b) the false (and grotesque) assumption that since Norwid drew on the European Romantics ample heritage, he necessarily deserves the strict etiquette of a “Romantic”, and the period of 1848-1857 should be absolutely associated with his “immaturity”. 4). Rzońca’s flagship theses about Norwid’s “pre-modernism” does not meet the conditions of sense, for anything you like may be associated with the concepts of “pre-modernism” or “modernism” that are used in the book. 5). The above charge also concerns the thesis about Norwid’s alleged “modernist symbolism”, as this kind of symbolism appeared only after the death of the poet. 6). Hence if it is possible to ascribe some significant historical-literary discovery to Rzońca, it is probably only the one creating Norwid as a posthumous symbolist. 7). Rzońca’s self-appraisal saying that his book presents “an attempt at a synthesis of Norwid’s mature work” (p. 9) should be assessed not only as an attempt – in an arrogant language, which Rzońca does not hesitate to use towards Norwid – decidedly “immature”, but as an unintentional parody of a “synthesis”. This is because Premodernism is a collection of subjective, not thought through impressions that say a lot about their author and his ambitions, but not much about the real, historical Norwid. Hence the title of the review: Pseudo-Norwid.
    Źródło:
    Studia Norwidiana; 2014, 32; 290-325
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-10 z 10

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