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Tytuł:
Narrator czy… poeta oralny? Mickiewiczowski „Powrót taty” w opracowaniu muzycznym Henryka Jareckiego i Jana Gołębiowskiego
Narrator or… Oral Poet? Mickiewicz’s “Powrót taty” (“Father’s Return”) in a Musical Edition by Henryk Jarecki and Jan Gołębiowski
Autorzy:
Piotrowska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/2135483.pdf
Data publikacji:
2022-09-30
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
ballad
opera
oral poet
storyteller
Opis:
The article discusses the opera-ballad Powrót taty (Father’s return) in a musical edition by Henryk Jarecki with a libretto by Jan Gołębiowski. Its goal is to present the manners of building the character and the narrative. Apart from the characteristic features of a ballad, the text also discusses the category of an oral poet, a “storyteller” and the dialogue relation (“speaking” instead of “talking”.) These are the means that gave Mickiewicz’s ballad a new dimension. Helpful in its reception are texts on cultural practices, especially those referring to oral culture (compare with e.g. Jack Goody, Albert B. Lord, Eric A. Havelock, Walter J. Ong.).
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 157-169
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Siła sprawcza afektu. O balladzie „Czaty” Adama Mickiewicza
Driving Force of Affects: Adam Mickiewicz’s Ballad “Czaty”
Autorzy:
Januszkiewicz, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1450640.pdf
Data publikacji:
2020-07-15
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
Polish poetry
Romanticism
ballad
affect
emotions
Opis:
The article analyzes the ballad Czaty by Adam Mickiewicz, which has so far received little critical attention. If it was discussed, though, the reason was merely its experimental verse form of the anapaest and the work’s stylistic merit. Aiming to re-interpret Mickiewicz’s poem, the author of the article concentrates on the narratorial voice and the connections between the literary characters (the voivode, his young wife, the lover, and the voivode’s Cossack servant—Nauman). She also underscores the driving force behind the unfolding events. The reading reveals that the characters act upon sudden affective reactions which they can hardly control.
Źródło:
Białostockie Studia Literaturoznawcze; 2020, 16; 227-241
2082-9701
2720-0078
Pojawia się w:
Białostockie Studia Literaturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przemiana martwego w żywe w balladach Karela Jaromíra Erbena
The metamorphosis of the dead into the living in Karel Jaromír Erben’s ballads
Autorzy:
Pająk, Patrycjusz
Powiązania:
https://bibliotekanauki.pl/articles/2012457.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Karel Jaromír Erben
ballada
przemiana
ballad
metamorphosis
Opis:
In the mid-nineteenth century a Czech writer and folklorist, Karel Jaromı´r Erben, publishes a collection under the title Bouquet, which consists of thirteen ballads inspired by oral folk literature. The leading theme of the collection is the metamorphosis of the dead into the living, which is derived from the primordial conceptions about monistic nature of all phenomena. Erben presents various options for reviving the dead: a metamorphosis into a vampire, a tree, a flower, a bird, and rebirth in a physical form before death. In each case, the metamorphosis involves the action of the elements of nature, which are a tool of moral instruction in the ballads. Reviving the dead is a consequence or a cause of sin, which is the exposure of human life in the name of selfish motives. Erben identifies selfishness with the betrayal of the family. From this point of view, the metamorphosis of the dead into the living reminds us of the value of human life, which is confirmed in family life conducted in accordance with Christian precepts. Erben allegorically extends this Biedermeier message, expressing faith in the rebirth of the Czech nation, which has been politically buried by the Habsburg regime.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2013, 3(6) cz.2; 309-329
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Powrót z zaświatów – ewolucja motywu w twórczości Stanisława Wyspiańskiego
Return from the Other World – the Evolution of the Motif in Stanisław Wyspiański’s Works
Autorzy:
Wedemann, Marek
Powiązania:
https://bibliotekanauki.pl/articles/1041856.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Stanisław Wyspiański
Young Poland
romanticism
drama
ballad
ghost
Opis:
The article concerns the question of the ghost, which runs through the oeuvre of Stanislaw Wyspianski (1869-1907) from his school translation of G. A. Bürger`s Lenora  until the last, unfinished drama Zygmunt August .
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2016, 28; 167-181
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Barva, jas, kontrast. Ilustrace Erbenovy Kytice jako interpretace; ukázka z většího celku
Colour, Brightness, Contrast. Illustrations of Erben’s Kytice as Interpretations; sample of a comprehensive tex
Autorzy:
Jedličková, Alice
Powiązania:
https://bibliotekanauki.pl/articles/30148698.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
ballad
book illustration
cultural tradition
transmediation
intermedial approach
Opis:
The paper is a sample of the author´s current intermedial research into the illustrations of Karel Jaromír Erben’s volume of ballads Kytice (1853). Visual transmediations of a literary pretext may be understood as interpretations sui generis: while illustrations reveal the individual attitude of the visual artist, the illustrated book bears traces of the conditions in which it was published. In case of a classical work such as Kytice, numerous illustrated editions inevitably reflect also the concept of cultural tradition in the period concerned. Relevant social, creative and spiritual problems and needs of the time may be projected onto the illustrations resulting in a meaning-making process related to and parallel to the textual one. The focus of this enquiry is expressed by the optical categories of colour, brightness, and contrast as related to the visual representations and traits of the pretext. Featured illustrators: Zdeněk Sklenář, Alén Diviš, Helena Konstantinová.
Źródło:
Poznańskie Studia Slawistyczne; 2023, 25; 209-231
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Баллады Адама Мицкевича в художественной интерпретации Александра Пушкина
Ballads by Adam Mickiewicz in Alexander Pushkin’s artistic interpretation
Autorzy:
Macapura, Walentina
Powiązania:
https://bibliotekanauki.pl/articles/482201.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
a ballad
an original
translation
artistic interpretation
artistic structure
Opis:
The main target of research in this article is the ballads by Mickiewicz Czaty (The watch), Trzech Budrysów (The three brothers Budrys) in comparison with the ballads by Pushkin Воевода (The waywode) and Будрыс и его сыновья (Budrys and his sons). In particular, there have been compared the artistic specific features of the mentioned works, the role of opposition, the role of ethnic flavour in their structure, language features, peculiarities of rhythm system and stanzaic prosody, functions of aposiopesis, rhetorical questions and exclamations and etc. When finding out the common and the different between the ballads by Mickiewicz and Pushkin, the author of the article points up the difference between the original and the translation. The type of these differences testifies, that the ballads The waywode and Budrys and his sons mediate between the translation and the original creative work and can be considered an independent interpretation of the ballads by Mickiewicz. It becomes apparent especially well in the text of Pushkin’s ballad The waywode.
Źródło:
Acta Polono-Ruthenica; 2014, 1, XIX; 99-110
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ballada i „balladowość” w poezji śpiewanej Jacka Kaczmarskiego
Ballad and balladic characteristics in Jacek Kaczmarski’s poetry set to music
Autorzy:
Lisecka, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/650138.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
ballad
history of polish song
polish poetry
Jacek Kaczmarski
Opis:
The article concerns selected aspects of genre of ballade and ballada form in singing poetry by Jacek Kaczmarski. The main object of analysis are some lyrics of this author (The Cow, The Ballad on Exclamations, The Ballad on the Burnt Synagogue), in the sphere of the text as well as the guitar and piano music. 11
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 16, 2; 121-126
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Украинские мелодии” Н. Маркевича: между Томасом Муром и Афанасием Фетом
Mykola Markevych’s “Ukrainian Melodies”: Between Thomas Moore and Afanasy Fet
Autorzy:
Ляпина, Лариса
Powiązania:
https://bibliotekanauki.pl/articles/968772.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
lyric poetry
genre
tradition
cycle
ballad
versification
Mykola Markevych
Opis:
The aim of the article is to analyze the poetics of Mykola Markevych’s main book of lyric poems (“Ukrainskiia melodii”, 1831). It belongs to a particular neo-genre called melody, which formed its own tradition. Its beginnings are connected with the followers of Thomas Moore and George Byron, while its climax in the Russian poetry came with Afanasy Fet’s “Melodies”. Within this genre Markevych formed an interesting folk-ballad type of “melody”, using special versifying methods; he made his texts both rhythmical and expressive and gave his book a complex unified composition.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2014, 07; 57-64
1427-9681
2353-4834
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Morality as a form of human socio-cultural being in oral folk poetry
Autorzy:
Kopanytsia, Liubov
Pavlova, Alla
Powiązania:
https://bibliotekanauki.pl/articles/29519694.pdf
Data publikacji:
2023-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
anthropological model
moral responsibility
ballad
emigrant song
lyrical song
plot
motive
Opis:
The article examines moral responsibility as a specific subjective-objective phenomenon of oral folk art using the example of folklore non-ritual lyric-epic texts. It is analyzed the conceptual dilemma of responsibility – irresponsibility and its role in implementing the functions of oral traditional culture. The authors focus on the correlation between the concepts of individual and social responsibility. In addition, the problem of social responsibility as an evident form of the relations between the individual and society driven by the need to comply with coexistence rules is actualized. Folk consciousness accumulates knowledge about responsibility as one of the forms of social relations, which objectively exists, is reflected in the psychological and spiritual aspects, and hence is an internal (towards oneself) and external (towards the community and humanity as a whole) manifestation of responsibility. Essential characteristics and forms of textualization of moral responsibility in folk songs are outlined: every time a practical act is compared with a proper one in real life, i.e., a moral ideal, through the reflection of the characters of a folklore work and the manifestation of behavior in a particular life situation. It is established that morality in oral literature appears simultaneously as a regulatory structure and a system of meanings of the subject and society as a whole. The imperativeness inherent in the belief system of a traditional work becomes not only a statement of a particular position but also a request for understanding the idea of life purpose at the author-audience level. The tragic event reinterpreted by folk consciousness transfers the axiological content of the depicted act to the collective memory. The essence of the responsibility–irresponsibility dilemma unfolds through a specific human reality. The analysis of non-ritual lyric-epic songs highlights a crucial axiom: moral responsibility is, first of all, the affirmation of the view of life, beliefs, and principles of a person who perceives these moments as own, imagined, and suffered. Having separated temptations of the empirical world, the essential from the insignificant, a person isolates the dominant landmarks of their existence, often leveling out the possibility of personal happiness, acting for the benefit of others. A folklore work conceives the relevance of individual and social consciousness since the depicted folk event raises the current problem to the level of collective comprehension, highlighting the imperative of human life value.
Źródło:
Pomiędzy. Polsko-Ukraińskie Studia Interdyscyplinarne; 2023, 9(2); 47-52
2543-9227
Pojawia się w:
Pomiędzy. Polsko-Ukraińskie Studia Interdyscyplinarne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Dark Shade of Lincoln Green: Violence, Cruelty, and Snger in the Robin Hood Legend
Autorzy:
Szwed-Śliwowska, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/888996.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Robin Hood
literature
ballad
Angus Donald
John Irvin
Ridley Scott
film
Opis:
The article discusses the themes of violence, aggression and cruelty in Robin Hood texts of various provenance. First, it focuses on the earliest ballads, the original source of the motif which has for various reasons been abandoned and neglected in later retellings until the second half of the twentieth century. The second part discusses the above mentioned themes in modern ‘texts’ – two novels by Angus Donald, Outlaw (2009) and Holy Warrior (2010), as well as two film adaptations of the legend, one by John Irvin (1991) and the other by Ridley Scott (2010), both of which explore the medieval origins of the story in a classic Hollywood frame. The paper analyses the above mentioned themes in the context of legal authority, presenting Robin as the ultimate agent of justice. It also disputes the authors’ use of the coercion mechanism as the factor influencing the outlaw’s distinctions between right and wrong.
Źródło:
Anglica. An International Journal of English Studies; 2012, 21/1; 117-132
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O Leśmianowskiej „Niedzieli” raz jeszcze
Again on Leśmian’s „Niedziela” (Sunday)
Autorzy:
Pietrych, Krystyna
Powiązania:
https://bibliotekanauki.pl/articles/682643.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
poetry
Bolesław Leśmian
ballad
empathy
erotic poem
poezja
ballada
empatia
erotyk
Opis:
The paper represents an attempt at a multi-aspect analysis and interpretation of Leśmian’s poem entitled Niedziela (Sunday) through putting it firstly in the context of the cycle W chmur odbiciu (In the reflection of clouds) in which it was placed, and then through extracting some immanent meaning contained in the poem. Particular attention was paid to the ballads semantics, the symbolism of Sunday (spelt with a capital letter), Biblical intertextual references and Schopenhauer’s inspirations. Careful analysis of these issues leads to conclusions concerning tasks and obligations of poetry in the world subdued to suffering and death.  
Artykuł stanowi próbę wieloaspektowej analizy i interpretacji wiersza Leśmiana Niedziela, poprzez usytuowanie go, najpierw, w kontekście cyklu W chmur odbiciu, w którym został umieszczony, a następnie – poprzez wydobycie znaczeń immanentnie zawartych w utworze. Szczególną uwagę zwrócono na: semantykę ballady, symbolikę Niedzieli (pisanej wielką literą), biblijne nawiązania intertekstualne, Schopenhauerowskie inspiracje. Wnikliwe rozważania dotyczące tych kwestii prowadzą do konkluzji, tyczących zadań i powinności poezji w świecie podporządkowanym cierpieniu i śmierci.  
Źródło:
Czytanie Literatury. Łódzkie Studia Literaturoznawcze; 2018, 7; 129-145
2299-7458
2449-8386
Pojawia się w:
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Money and social interaction in Simmel’s Philosophy of Money and Audu Wazirin Ɗanduna’s ballad Tsakanin Ɗanadam da Kuɗi
Autorzy:
Ali, Aminu
Powiązania:
https://bibliotekanauki.pl/articles/969714.pdf
Data publikacji:
2017-12-11
Wydawca:
Uniwersytet Warszawski. Wydział Orientalistyczny. Katedra Języków i Kultur Afryki
Tematy:
philosophy of money,
social interaction,
Wazirin Ɗanduna’s ballad,
Hausa,
kuɗi
Opis:
The paper juxtaposes the Simmel’s Philosophy of Money with Audu Wazirin Ɗanduna’s ballad and emphasizes a point of convergence between them. It shows that the import of Wazirin Ɗanduna’s popular ballad, Tsakanin Ɗan’ adam da Kuɗi, is akin to Simmel’s schematic-philosophical analysis of the nature or character of money in modern society and how it affects human interactions or, generally, social life. The paper demonstrates that both Simmel and Wazirin Danduna see money in a modern society as an object facilitating our understanding of social life. Simmel and Wazirin Ɗanduna describe money as being characterized by reification, growing individual freedom, a blasé attitude and impersonal relationships. They envisage money as a means fast becoming an end, which informs the greed and heightened craving for money characteristic of human society today. The paper also argues that poetry as a creative work enables us to appreciate the complexity and dynamics of human society and, therefore, the contributions of poets should not be ignored by social scientists for simply not conforming to empirical rituals.
Źródło:
Studies in African Languages and Cultures; 2017, 51; 69-85
2545-2134
2657-4187
Pojawia się w:
Studies in African Languages and Cultures
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Widzieć siebie — z czasu minionego (Tamten Bolesława Leśmianai Kilkunastoletnia Wisławy Szymborskiej)
To see oneself – from the past (Tamten by Bolesław Leśmian and Kilkunastoletnia by Wisława Szymborska)
Autorzy:
Głowiński, Michał
Powiązania:
https://bibliotekanauki.pl/articles/1535455.pdf
Data publikacji:
2009-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Leśmian
Szymborska
lyrical reminiscence of the past
love poems
ballad
auto-irony
Opis:
The article presents a juxtaposition of the following two brilliant poems Tamten (from the collection of poems entitled Napój cienisty, 1936) and Kilkunastoletnia (from the collection of poems entitled Tutaj, 2009) that employ the same idea of an encounter with oneself – an adolescent person (in the former poem) and a teenage girl (in the latter). The poems exceed the literary convention of just a lyrical reminiscence of the past, they rather form a particular dialogue with the narrator as he/she was years ago, or even propose a kind of a confrontation. Both poems  indirectly feature reflections on the passing time and on the author’s identity. The poem written by Leśmian fits perfectly into his poetical system, both in terms of the introduction of metaphysical threads and the application of the elements of a love poem and in terms of the plot outline, somewhat reminiscent of his ballads. Szymborska’s poem also concurs with her own poetics mostly due to the characteristic subtle auto-irony.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2009, 16; 63-70
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Народні балади Волині й Західного Полісся в записах Лесі Українки та членів її родини: українсько-польські паралелі
Folk ballads of Volyn and Western Polissya in the records of Lesya Ukrainka and her family members: Ukrainian-Polish parallels
Autorzy:
Semeniuk, Larysa
Danyliuk-Tereshchuk, Tetiana
Powiązania:
https://bibliotekanauki.pl/articles/2156678.pdf
Data publikacji:
2021-09-27
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Lesya Ukrainka
the Kosach family
Volyn
Western Polissia
folk ballad
version
plot
Ukrainian-Polish borderland
Opis:
The article highlights research findings of the ballad plots from the folklore repertoire of Volyn and Western Polissia of the end of the 19th century revealed in the records of Lesya Ukrainka and her family members (Mykhailo and Olha Kosach, Olena Pchilka) and also known in close Polish analogues of those days. The ballads, recorded by the Kosachs, are dominated by stories of family relationships and conflicts caused by marriage without love, long-term separation (the topic of incest), and the mother’s interference in a marital relationship that leads to murder, poisoning, and other tragic situations. A comparative analysis of ballad variants in two languages allows identifying not only the geographical area of spreading of ballad plots in the folklore of neighbouring nations, the specifics of plots, motifs, images, but also points to the features of the Ukrainian and Polish folklore works interaction on the borderlands. In the ballads, belonging to the International Ballad Fund, the plot-lines about wanderings of a dishonoured girl, the incest-related topics, mother’s poisoning of her daughter-in-law and son, about the death of a servant because of his/her mistress’ caprices, the wife’s murder of her husband are typical and similar to various languages. Ukrainian and Polish versions of the ballad-songs have similar features in the structural components of the lyrics, describing mostly life tragic collisions, everyday situations, dialogues of the characters, and artistic details. Despite the affi nity of plots, images, artistic means of expression, multilingual texts off er diff erent, oft en radically diff erent ways of resolving personal and family confl icts. In addition, they are oft en marked with national colouration and refl ect the features of local life, the social life realities of the Ukrainians, Poles, and other ethnic groups. Th e study has revealed that national attribution of the characters, their specifi c national names (especially in the Polish texts), polarization on the principle of ours/a stranger, a native/foreigner are the most noticeable features. Th e Ukrainian and Polish plots express mental ethnic stereotypes of folklore carriers, in particular, regarding women’s role in family and society.
Źródło:
Studia Polsko-Ukraińskie; 2021, 8; 39-57
2353-5644
2451-2958
Pojawia się w:
Studia Polsko-Ukraińskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Leśmianowska ballada o niedoskonałości
Leśmian’s ballad on imperfection
Autorzy:
Kokoszka, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/1401137.pdf
Data publikacji:
2019-01-09
Wydawca:
Uniwersytet Zielonogórski. Wydział Humanistyczny
Tematy:
Bolesław Leśmian
Artur Maria Swinarski
The Beggar’s Ballad
community
disability
Ballada dziadowska
wspólnota
niepełnosprawność
Opis:
Wydaje się, że Bolesław Leśmian mógł antycypować współczesną krytyczną refleksję nad niepełnosprawnością (disability studies). Za Tymoteuszem Karpowiczem poezję autora Ballady dziadowskiej odczytywać można między innymi jako obronę bycia tym, czym się jest, a niekoniecznie tym, czym by się chciało być. Teza ta jest punktem wyjścia do tego, by raz jeszcze bliżej przyjrzeć się niektórym Leśmianowskim postaciom, a także proponowanej przez poetę koncepcji wspólnoty – wspólnoty naznaczonej niedoskonałościami. Za Leśmianem, interesuje mnie ułomność jako istotna część życia manifestującego się w formach kruchych i obarczonych wadami. A w tym kontekście także – eksplorowane przez poetę pogranicze śmieszności i tragizmu. W artykule omawiane są przede wszystkim dwie parodie: Leśmianowska Ballada dziadowska (dialogująca ze Świtezianką Adama Mickiewicza) i Lipa Artura Marii Swinarskiego, nawiązująca do wspomnianej ballady Leśmiana, ale i głównych wątków jego twórczości.
It seems that Bolesław Leśmian could anticipate the contemporary critical reflection on disability (disability studies). According to Tymoteusz Karpowicz, the poetry of the author of The Beggar’s Ballad [Ballada dziadowska] can be read, among other things, as a defence of being what you are and not necessarily what you want to be. This thesis is intended to serve as a starting point to look more closely at some of Leśmian’s characters as well as his concept of the community, which was marked by imperfections. Following Leśmian, I am interested in the infirmity as an essential part of life manifested in fragile and frail forms. In this context, I also describe the borderline of ridiculousness and tragedy explored by the poet. This article draws primarily on two parodies: The Beggar’s Ballad [Ballada dziadowska] by Bolesław Leśmian (entering into dialogue with The Water Nymph of Świteź [Świtezianka] by Adam Mickiewicz) and The Linden Tree [Lipa] by Artur Maria Swinarski, referring to the mentioned Leśmian’s ballad, but also to the main themes of his work.
Źródło:
Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego; 2018, 4; 261-274
2450-3584
Pojawia się w:
Filologia Polska. Roczniki Naukowe Uniwersytetu Zielonogórskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 27

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