Search

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article studies how the acousmatic experience of literature revises and expands the concept of the voice deposited in poetry. The author analyzes existing interpretations of voice and poetic voice from the perspective of acousmatic theories. These theories redefine Western notions of the agency of voice as a metaphor of power and specific identity (which reduce voice to its representative functions). Therefore, the author states that experiencing the agency of the voice deposited in poetry may resemble experiencing the acousmatic voice. In turn, this allows one to experience the presence of the Other rather than merely its representation. According to the author, we can grasp the influence of the voice in a poem through the category of “excess,” which expresses resistance to the structural logic of language. Referring to examples from contemporary Polish engaged poetry, the author examines the category of excess in three possible configurations. [ABSTRACT FROM AUTHOR]

The article discusses the latest research on poetry performance in Polish literature. At the outset, the author situates it within the scope of sound studies as well as acoustic philology and audio anthropology. Then, the author focuses on Aleksandra Kremer’s book The Sound of Modern Polish Poetry: Performance and Recording After World War II and the research methods presented there for studying vocal performance. Kremer refers to Charles Bernstein’s concept of close listening, which she enriches with analyses using the computer program Praat, designed for scientific analysis of speech and phonetic phenomena. Kremer analyzes the sound waves of recorded poetic performances. Using this method, she examines recordings of Czesław Miłosz, Julia Hartwig, Miron Białoszewski, Wisława Szymborska, Aleksander Wat, Zbigniew Herbert, Anna Kamieńska, Anna Świrszczyńska, Tadeusz Różewicz, and Krystyna Miłobędzka. The author of the article notes that Kremer’s close listening studies have a hermeneutic character, encompassing biography, history, and culture. This extensive anthropological context, supported by sound visualization, brings us closer to capturing the phenomenon of the poet’s recorded voice. [ABSTRACT FROM AUTHOR]

The article studies Eugeniusz Tkaczyszyn-Dycki’s poems and performances as artistic representations of familial postmemory. Dycki’s poetry frequently concerns his family’s Polish-Ukrainian background and the impact of World War II and its aftermanth on the life of next generations. The article discusses how Dycki’s poetry, based on this particular family story, differs from Polish functional memory and common narratives about the war, postwar, and borderlands. The article argues that these contexts likewise shed light on Dycki’s celebrated poetry readings, which can also be seen an artistic staging of postmemory that modifies Polish cultural image of the borderland region. [ABSTRACT FROM AUTHOR]

The analysis of numerous poems from 1939–1945 requires the inclusion of their vocal dimension as they represent authors’ immediate reactions to tragic experiences. This analysis must address phenomena such as the secret practice of individual subvocalization when creating and keeping poetry, vocal presentations for a closed circle of listeners, and collective recitations that evoke a community-forming “affirmative resonance.” Moreover, since contrafacta and allusions in the form of “auditory ellipsis” invoke established patterns of sound affectivity, one must elucidate the relationship between selected poems, well-known genres of popular vocal music, and specific songs. [ABSTRACT FROM AUTHOR]

“We are related to enjoyment as something which intimately belongs to us, to our corporal existence and inner vitality, yet is separated from and independent from us, and thus can be surprising, bewildering, burdensome, disgusting, overwhelming, terrifying, thrilling, conflicted, uncanny, uncontrollable (and sometimes even pleasurable)” – claims Aaron Schuster (2016: 44). According to the theorist, enjoyment can manifest as its opposite, especially in the context of its representations in literature. In this essay, I would like to look at avant-garde erotic poems from the interwar period that address the fascinating entanglement of the bodily and the textual. The metaphors of reading and writing, lyrical dialogue between some of the poems, metatextual reflections on the nature of erotic poetry, and the problem of embodiment are some of the strategies that Bruno Jasieński (Moja nieśmiertelność [My Immortality], Słowo o słowie [A Word about a Word], Na bis [An Encore]), Tadeusz Peiper (Naga [Naked], Ja, Ty [Me, You]), and Mila Elin (Książka [The Book], Głód [Hunger]) use to discuss the joys and challenges of trying to represent jouissance in the text. The starting point for my reflection is Alenka Zupančič’s diagnosis of a similar type of satisfaction coming from sex and talking about sex and her insights on the procedures of intellectualizing sexuality.

The article is an attempt to reconstruct, albeit partially, a group portrait of representatives of the 1970s generation of Polish writers that emerges from Henryk Bereza’s diary Wypiski ostatnie. The author describes Bereza’s late diaries, discusses the critic’s views on literature – especially regarding the division between written and spoken language – and seeks to answer the question of whether Bereza’s notes provide grounds for a synthesis of the entire 1970s generation. [ABSTRACT FROM AUTHOR]

The article begins with the theory of the signifying silence proposed by Polish philosopher Izydora Dąmbska (1904–1988), through interpretation of the defined silence regarding God by Henryk Elzenberg (1887–1967), to arrive at a close reading of selected works by his apprentice, Zbigniew Herbert (1924–1998): “Zobacz” [See] and “Homilia” [Homily]. These texts have been interpreted in the context of the previously, and perhaps deliberately, untouched issues relating to the Indefinite, and they have been further confronted with an understanding of Christian apophatic theology. This approach seems justified as its creator is considered to be Dionysius the Areopagite (from the late 5th to early 6th century), who was one of the greatest authorities on the subject of the Supreme for Elzenberg and a source of angelological inspiration for Herbert. The main aim of the paper is to show all these converging perspectives on the subject that escapes verbalisation. [ABSTRACT FROM AUTHOR]

This article discusses Zbigniew Herbert’s attitude to Catholicism during the 1940s. The fledgling poet was then in a period of intense intellectual and religious enquiry. He began collaborating with Catholic magazines, attempting to publish his poetic and journalistic texts. In his correspondence he discussed with various other authors the ideaological attractiveness of preconciliar Catholicism, at the time the most serious counterproposal to the Marxist ideology. [ABSTRACT FROM AUTHOR]

The subject matter of my research is the black legend of Niccolò Machiavelli in Polish baroque poetry. This legend spread in the 17th century Commonwealth on such a large scale that the name of this secretary of the Florentine republicbegan to be used to describe even kings or pretenders to the throne who were political opponents. For this reason, I described in this scientific article the literary works of poets such as Wacław Potocki, Wespazjan Kochowski and Stanisław Orzelski. The second of these authors acted in a similar way in The Stone of Testimony of the Innocence of the Great Senator in the Polish Crown, comparing the actions of the royal court to an infernal council, in which such characters as Machiavelli, Richelieu and Mazarini take part. In my scientific article, I will emphasize that this Polish Baroque poet also showed the secretary of the Florentine republic in his other literary works as a perverse and demonic person. I will also note that Wacław Potocki in his work negatively refers to those people who defame John III Sobieski in lampoons and accuse him of using “Machiavellian arts”. I will not ignore Stanisław Orzelski’s Macaronica carmina Marfordii Mądzikovii poetae approbatihere.

This is an analysis of the applications and characteristics of the typography used in two volumes of poems, Trzysta cytryn do trzeciej potęgi tygrysa [Three Hundred Lemons to the Third Power of the Tiger] by Marcin Podlaski and żywe linie nowe usta [Live lines of new mouths] by Marcin Mokry. The aim is gain an understanding of the relationship between the text and its form. The typographical effects are examined one by one and in connection with their function in the author's poetic project. Both collections are analyzed from the perspective of Jacques Rancière's partage du sensible, i.e. a conceptual inclusion of everybody, including the mentally ill, by means of a literary form which engages both the intellect and the senses. [ABSTRACT FROM AUTHOR]

The present essay deals with the subject of ecological reflection undertaken by 20th-century Polish poets: Jarosław Iwaszkiewicz, Czesław Miłosz, Tadeusz Różewicz and Zbigniew Herbert. The key to reading and interpreting their poems is adopted from Jason Hickel’s book Less is More: How Degrowth Will Save the World. In the conclusion, a community of thought is discovered in regard to the ecological meltdown that today’s world is experiencing. [ABSTRACT FROM AUTHOR]

Copyright of Postscriptum Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Śląskie Studia Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the work is the analysis of translations of Herbert's poems into English by Miłosz with a focus on preserving the so-called roughness of his style. This term encompasses non-obvious and awkward structures, which, according to Miłosz, were one of the most important elements of Herbert's style and, therefore, needed to be present in the English versions. The text contains a comparative analysis of two poems by Herbert: "Elegy of Fortinbras" and "Apollo and Marsyas," with their translations into English. The translations were compared with the originals, taking into account their general form, the vocabulary, and the syntax. The analysis of vocabulary and syntax showed that to maintain the style of the original, the translator changed places where literary roughness was present. The translations into English were also more conventional and rooted more in European culture (while Polish contexts were moved to the background). One can thus conclude that the idea of spreading Polish literature across other cultures was more important for Miłosz than the translation of literary roughness. [ABSTRACT FROM AUTHOR]

The article is devoted to the rhymes in the poetry of Polish author Konstanty Ildefons Gałczyński and the ways they have been translated into the Bulgarian language. First, distinguishing features of the poetic text and the concept of rhyme are discussed, after which basic characteristics of rhymes in Polish poetry are noted. An overview of Gałczyński’s translations into Bulgarian leads to the main focus of the paper which concerns translators’ difficulties in converting the original rhyming pairs into the target language. The analysis is based on three translations of one poem: “Rozmowa liryczna” (“Lyrical Dialogue”), made by two prominent translators, Parvan Stefanov and Dimitar Pantеleev between 1960 and 1984. The observations indicate that the Bulgarian versions of the poem modify the original rhyming patterns due to the specificity of each language, as well as the translators’ individual aesthetic preferences. Almost all rhyming lexical units in the Polish text are adjacent and feminine, while there is a significantly more frequent use of cross and masculine rhymes in the three Bulgarian versions. Also, the translators refuse to preserve several irregular rhymes. The article concludes that the approaches of Stefanov and Panteleev are related to general trends in translating rhymed poetry from Polish into Bulgarian. Among them, the increased presence of masculine rhymes, largely dictated by the analytic nature of the Bulgarian language, seems prominent.

Grzegorz Kwiatkowski is a new and dynamic poetic voice from Poland, with six volumes of poetry and several translations on the way, as well as the vocalist of the psychedelic [...]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An article dedicated to the work of Roman Chojnacki (born 1954), a Polish poet who lived in Canada from 1988 and returned to Poland in 2018. The direct cause for the creation of this essay is the publication in recent years of two volumes of Chojnacki's poems - Dla tego życia (For this Life, 2018), which synthetically shows the author's poetic journey between 1978-2018, and Pasterz słoneczników (The Shepherd of Sunflowers, 2021), which announces a new stage in his work. Chojnacki's poetry prior to 2018 can be distinguished into two periods, different in terms of poetic themes and linguistic sensitivity: 1978-1986 and 2000-2018. The first period is characterized by a strong emphasis on ethical aspects of individual and collective life. During this time, volumes of poetry written under the influence of experiences from the period of martial law in Poland stand out. In the second, the Canadian period, the poet enters the world of private memories, reflects on his own identity, and moves beyond problems related to Polish culture towards universal culture. Reminiscences indirectly related to the Holocaust and directly related to the dialogue of cultures and the transformation taking place in the world prove to be important. In the latest volume of poetry, Chojnacki returns to Polish themes again, both current and historical, and addresses issues of identity upon returning to his homeland. [ABSTRACT FROM AUTHOR]

The poetry of Kamila Janiak is a record of extreme and violent emotions, such as fear bordering on panic, a sense of emptiness and alienation, despair, aggression, hatred, tenderness, and compassion. It is also an expression of the experiences of a sensitive individual in contact with a world full of constant threats. Hence the constant need for vigilance, tension, and readiness to defend oneself, even when love or motherhood is at stake. The six volumes of poetry published by Janiak since her debut in "Akcent" in 2004 create a dark and at times difficult narrative due to the load of predatory aggression supported by vivid, expressive language. The strength of this poetry lies in the accurate recognition of reality and the ability to find a linguistic equivalent for the emotions and experiences it evokes. At the same time, biographical, generational, and socio-political factors make Janiak's lyrical expression read like a document of the era. [ABSTRACT FROM AUTHOR]

The aim of this article is to present the autobiographical character in the poetry of Małgorzata Lebda, whose work is filled with personal experiences and memories, especially those of the poet’s childhood and youth spent in her family village — Żeleźnikowa Wielka. The issue is based on the example of her debut volume — Tropy (2009) and the poetic triptych — Sprawy ziemi (2020), which consists of three earlier poetry volumes published by Lebda: Border of the Forest (2013), Matecznik (2016) and Dreams of the Uckermärkers (2019). Full of autobiographical experiences, Lebda’s poetry turns out to be at the same time a site for playing with memory, with memories and for working through difficult, traumatic experiences. The article also contains an analysis of the construction of the lyrical subject — chopcula — inextricably linked to the space of Lebda's autobiographical place — Żeleźnikowa Wielka. The poet’s hometown also turns out to be a fairy-tale land of the girl’s childhood and youth, but at the same time it has been marked by trauma, which the author tries to work through with the help of memory in her poems. The article also reflects on the poet’s play with memory and her use of memories in her works, as well as on the ‘matters of the forest’ close to her, into which the lyrical subject is introduced by her father.

The purpose of this article is to analyze Halina Poświatowska’s poetry from the perspective of queer ecology. This concept, proposed by Catriona Mortimer-Sandilands, Bruce Ericson, Timothy Morton, combines ecocriticism with queer theory, which draws attention to the dynamics of sexual identity and its entanglement with power relations. By using this method, it is possible to describe fluidity and fleshiness as forms of intimate recognition of sexual identity. The author analyzes poetic images of flesh associated with blood and water, showing how, through them, the boundaries between man and the world, the living and the dead, man and nature are blurred. The queer ecology perspective makes it possible to draw attention to intimacy, delight, and pleasure, which are not revealed in a reading directed solely at examining the environmental relations present in this poetic idiom. Intimacy turns out to be a formula that clearly destabilizes the heteronormative order, and the imaginarium of substance flow and seepage allows us to see unexpected biophilic and bodily correlations. In the text I analyze poems included in poetry volumes and those scattered, which represent different periods of the poet's work. The selection of works is governed by the category of meatiness. I also analyze the poems in which the tissue of animals (dolphins) represents a more complex form of the presence of the relationality of the ecosystem, which main feature is fluidness.

The aim of the article is to discover what Jan Lechoń communicated through the mask and what role it played in his life. I consider this issue on the basis of Tischner’s experience of mask and face, closely related to the categories of truth and identity. The mask belongs to the category of phenomena, which is why I study it with phenomenological tools, taking into account the axiological perspective. The mask and the face are boundary phenomena related to the source experience, which allows us to discuss the phenomenology of the boundary. In the work of Lechoń, the mask is a key concept related to the category of the Other. The mask phenomenon exists in a specific triangle of interdependence: mask bearer – mask – observer, which means that the effectiveness of the mask depends on the viewer. The mask, then, is to be used through the fault of the Other, it is called for by social life.

The article discusses a collection of epigrams written during the Holocaust by a lesserknown Polish-Jewish poet Izabella Czermak, who survived the war on the “Aryan side” and participated in Polish literary life after the war (some of her epigrams were published in 1947). The article studies Czermak’s epigrams in the light of several questions raised by Polish literary criticism of the time, such as poeticity, irony, realism, and surrealism. The article discovers close parallels between Czermak’s poetry and her prose memoirs, and discusses Czermak’s prewar friendship with Bruno Schulz. [ABSTRACT FROM AUTHOR]

The subject matter of my research is the black legend of Niccolò Machiavelli in Polish baroque poetry. This legend spread in the 17th-century Commonwealth on such a large scale that the name of this secretary of the Florentine republicbegan to be used to describe even kings or pretenders to the throne who were political opponents. For this reason, I described in this scientific article the literary works of poets such as Wacław Potocki, Wespazjan Kochowski and Stanisław Orzelski. The second of these authors acted in a similar way in The Stone of Testimony of the Innocence of the Great Senator in the Polish Crown, comparing the actions of the royal court to an infernal council, in which such characters as Machiavelli, Richelieu and Mazarini take part. In my scientific article, I will emphasize that this Polish Baroque poet also showed the secretary of the Florentine republic in his other literary works as a perverse and demonic person. I will also note that Wacław Potocki in his work negatively refers to those people who defame John III Sobieski in lampoons and accuse him of using "Machiavellian arts". I will not ignore Stanisław Orzelski's Macaronica carmina Marfordii Mądzikovii poetae approbatihere. [ABSTRACT FROM AUTHOR]

Copyright of Biuletyn Polskiego Towarzystwa Językoznawczego is the property of Polish Linguistic Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the article is to discover what Jan Lechoń communicated through the mask and what role it played in his life. I consider this issue on the basis of Tischner’s experience of mask and face, closely related to the categories of truth and identity. The mask belongs to the category of phenomena, which is why I study it with phenomenological tools, taking into account the axiological perspective. The mask and the face are boundary phenomena related to the source experience, which allows us to discuss the phenomenology of the boundary. In the work of Lechoń, the mask is a key concept related to the category of the Other. The mask phenomenon exists in a specific triangle of interdependence: mask bearer – mask – observer, which means that the effectiveness of the mask depends on the viewer. The mask, then, is to be used through the fault of the Other, it is called for by social life. [ABSTRACT FROM AUTHOR]

The aim of this article is to present the autobiographical character in the poetry of Małgorzata Lebda, whose work is filled with personal experiences and memories, especially those of the poet's childhood and youth spent in her family village - Żeleźnikowa Wielka. The issue is based on the example of her debut volume - Tropy (2009) and the poetic triptych - Sprawy ziemi (2020), which consists of three earlier poetry volumes published by Lebda: Border of the Forest (2013), Matecznik (2016) and Dreams of the Uckermärkers (2019). Full of autobiographical experiences, Lebda's poetry turns out to be at the same time a site for playing with memory, with memories and for working through difficult, traumatic experiences. The article also contains an analysis of the construction of the lyrical subject - chopcula - inextricably linked to the space of Lebda's autobiographical place - Żeleźnikowa Wielka. The poet's hometown also turns out to be a fairy-tale land of the girl's childhood and youth, but at the same time it has been marked by trauma, which the author tries to work through with the help of memory in her poems. The article also reflects on the poet's play with memory and her use of memories in her works, as well as on the 'matters of the forest' close to her, into which the lyrical subject is introduced by her father. [ABSTRACT FROM AUTHOR]

The purpose of this article is to analyze Halina Poświatowska's poetry from the perspective of queer ecology. This concept, proposed by Catriona Mortimer-Sandilands, Bruce Ericson, Timothy Morton, combines ecocriticism with queer theory, which draws attention to the dynamics of sexual identity and its entanglement with power relations. By using this method, it is possible to describe fluidity and fleshiness as forms of intimate recognition of sexual identity. The author analyzes poetic images of flesh associated with blood and water, showing how, through them, the boundaries between man and the world, the living and the dead, man and nature are blurred. The queer ecology perspective makes it possible to draw attention to intimacy, delight, and pleasure, which are not revealed in a reading directed solely at examining the environmental relations present in this poetic idiom. Intimacy turns out to be a formula that clearly destabilizes the heteronormative order, and the imaginarium of substance flow and seepage allows us to see unexpected biophilic and bodily correlations. In the text I analyze poems included in poetry volumes and those scattered, which represent different periods of the poet's work. The selection of works is governed by the category of meatiness. I also analyze the poems in which the tissue of animals (dolphins) represents a more complex form of the presence of the relationality of the ecosystem, which main feature is fluidness. [ABSTRACT FROM AUTHOR]

Copyright of Wielogłos is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Colloquia Germanica Stetinensia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the frame of the poetic works of Tadeusz Różewicz has been observed and widely studied his inclination to avoid the closed form of his poems, changing and proposing them in different volumes in order to renew their meanings. What is still to be studied in depth, however, is the creative process regarding his unpublished works, such as the preparatory drafts kept in his archive. Genetic studies are a precious key to discover Różewicz’s creative process as well as some aspects of his poetics, which in the published works remain rather clouded. In this paper I would like to analyse the manuscripts of one poem from Płaskorzeźba [Bas-Relief, 1991], that is Do Piotra [To Piotr]. Among the most important features of this drafts take placed numerous biblical citations which disclose a religious way of reading the poem, that completely disappears in the published form of To Piotr. From the analysis of these drafts some interesting interconnections with other poems of Bas-Relief are also to be found, exposing a much deeper level of interpretation of the entire volume.

The only surviving manuscript of a sermon pronounced by Stefan Jaworski in Kyiv on 8 September 1693 includes a “funeral note” commemorating Łazarz Baranowicz’s death. Jaworski’s sermon and funeral note, which in the extant witness follows the sermon, have neither been published nor studied before. By providing an analysis of both, the aim of this paper is to investigate and compare the works of the two preachers and poets, and to draw some conclusions about their personalities, poetic style, and worldview. Baranowicz’s poems and Jaworski’s sermon also provide some interesting details which shed new light on the literary and cultural milieu of Kyiv and Czernihów in the last three decades of the 17th century.

The first part of this article discusses the specificity of Kacper Bartczak’s work, determined by the interdependence of his poetic, literary and translation activities. At the same time, the reasons for the lack of interest of critics writing about Bartczak in the issue of autobiography are indicated. The second part of the article, focused on a comparative analysis of two versions of a fragment of the autobiographical essay The Law of the Poem and the poem In Love I Have an Access to My Father’s Body from the book Naworadiowa (2019), shows that Bartczak’s purpose in including autobiographical material in his texts is not to point to the biographical underbelly of his work, but to gain new access to the matter of his own biography, allowing him to develop new techniques or forms of writing.

This article aims to analyse the motives, language, and religious figures in the poems of Szczepan Kopyt which deal with the issues of social inequality, systemic violence, and the unequal distribution of goods. The author suggests/posits that post-secular rhetoric in modern engaged poetry aims to criticize the capitalist system based on economic differences and to consolidate social structures, exposing the principles according to which violence is legitimized within neoliberal capitalism. The author shows how the poet uses the language of religion to talk about class inequalities. The article discusses the most important rhetorical figures used in Szczepan Kopyt's poems as well as characteristics of the language of the Bible or prayer forms, highlighting threads embedded in the religious imagination (such as the theme of salvation or the apocalypse), which - when recontextualized - constitute an important tool for criticizing systemic inequalities. [ABSTRACT FROM AUTHOR]

Auguste Lacaussade, in his article 'De la poésie polonaise', has identified the relevant features of Polish romantic poetry: the originality and harmony of the language, the favourite themes (silence, shadow, ghosts, and the tendency to rise above the real) and the fundamental dominants (mysticism, patriotism, suffering and the pain of expatriation). All of these elements can be found in the poem Le cimetière du Père Lachaise by Juliusz Słowacki. It is obvious that the French poet was able to reach a wider and more general point of view, but with a literary insight uncommon at the time. [ABSTRACT FROM AUTHOR]

Copyright of Slavica Litteraria is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Polonistyka. Innowacje is the property of Uniwersytetu im. Adama Mickiewicza (IH UAM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Seminare Learned Investigations / Seminare. Poszukiwania naukowe is the property of Francis de Sales Scientific Society / Towarzystwo Naukowe Franciszka Salezego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Res Rhetorica is the property of Polish Rhetoric Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Evidence of the presence of references to Jewish culture in Anna Frajlich's work can be found in many of her poems. However, the connection with Judaism is most strongly verbalized in her poetic cycle "Wiersze izraelskie" [Israel poems], included in Ogrodem i ogrodzeniem [Garden and fence, 1993], Frajlich's first volume of poems to be published in Poland. The cycle was created during the author's visit to Eretz Israel in 1991. The cycle is comprised of seven parts, each with its own title, which differ in terms of subject matter, style, and genre. Poems range from a poetic picture to a lyrical joke. The poetic cycle opens with the poem "Na pustyni" [In the desert], followed by three lyrical poems that focus on the capital of the state of Israel--"Jerozolima" [Jerusalem], "Sala dziecięca w muzeum męczeństwa Yad Vashem w Jerozolimie" [The children's hall in the museum of martyrdom Yad Vashem in Jerusalem], and "Jeszcze o Jerozolimie" [Another on Jerusalem], and closes with another sequence of three parts: "Do przyjaciela w Haifie" [To a friend in Haifa'], "Z piosenką tą" [With that/this song'], and "Cezarea" [Caesarea]. The order of the poems signals the fundamental role played by the topographic and geographic dimensions of this poetry, which as a result becomes a diary of the lyric persona's travels from the south to the north (in the context of both place and time). [ABSTRACT FROM AUTHOR]

"On Corporeal Tropes in Anna Frajlich's Poetry" is an attempt to take a closer look at the diverse ways in which corporeality is understood by the author of Łodzią jest i jest przystanią [It is both boat and harbor]. In Frajlich's works one can observe a reflection on corporeality. Even though Frajlich does not shy away from describing bodies which are sensual, erotic, and ones that experience emotions, she also pays attention to bodies which suffer and are stricken with pain. A recurrent theme in Frajlich's poetry is the body in the context of collective experiences. Displacement and exile are prominent themes in Frajlich's poetry, which affect the poet's body. The attacks of September 11, 2001, represent a collective wound, which "heals," but the scar remains. Trauma in Frajlich's poetry is shown through the body, a toothache or devastating pain. Finally, Frajlich's poetry often presents lyrical images in which the body constitutes the transmitter of nonverbal desires and human pain. On the one hand, Frajlich observes the body's physiological decay, and on the other, she does not shy away from describing the sensual, erotic, and feeling body. [ABSTRACT FROM AUTHOR]

Anna Frajlich's poetry was shaped by the shock of her forced emigration from Poland in 1969. This wound, which in time would become a creative nucleus, is amply documented in her correspondence to various recipients over the entire span of her life. Exile made Frajlich into a lifelong epistolarian, thus allowing the reader a rare glimpse into her everyday life, her professional relationships, her friendships, and the parallel progress of her scholarship and her poetry. Two sets of her correspondence stand out: her parents, because of the intensity and closeness of the letters between 1969 and 1971, and Stefania Kossowska, the editor of the London-based Wiadomości Literackie, because of the close friendship between the two women from 1973 until Kossowska's death in 2003. Both her parents and Kossowska gave Frajlich indispensable nurturing as a person and writer until she in turn became the nurturing one. The article is organized chronologically; a third section is devoted to Frajlich's use of her correspondence with several émigré Polish authors in order to write tributes that represent an important contribution to the history of émigré literature as well as to Frajlich's life. Her correspondence shows her attention to detail and her sensitivity to beauty, and her love for her correspondents. The letters narrate the building of her career, from her first publications in Poland to her doctoral studies and to the growing recognition of her work in the United States and in Poland. [ABSTRACT FROM AUTHOR]

Anna Frajlich's poetry accords a special place to themes of time, change, journeys, exile, home and habituation, tamed landscapes and remembered objects, spaces lost and regained. In this poetics of the transitory we see the influence of Frajlich's autobiography, which plays an important role in her work. Reflection on current events is combined with memories, which in turn creates a particular atmosphere of ecstatic joy and traumatic experiences. The author's Heraclitean poetry speaks about impossible returns, but it is precisely the confrontation with one's past that is among the first tasks involved in the search for one's place in the world. This rhythm of thematic return is an important feature of her work. Frajlich sometimes references real events, playing out on the larger canvas of collective history, but more often she crosses into her private realm. In Anna Frajlich's poetics the contrast of duration and dramatic changes are very important, as well as the play between the apology of life and the melancholic feelings of loss. In this poetry the effect of time is perceived sensually. In Frajlich's creative works biographic events that have been lost are retrieved by means of the artistic word. Reflection on time in her poems involves adventures of consciousness and deliberations over things in a state of flux. [ABSTRACT FROM AUTHOR]