Keywords: Marzynski Marian; documentary; autobiographism; Holocaust
The aim of this article is to present the method and style of Marian Marzyński’s documentary films. Marzyński is Polish-American filmmaker who explores his own biography in different ways in the documentaries that he makes. Jazdon presents the development of Marzyński’s film career from cinema vérité docs made in Poland in the 1960s up, films that he made in Denmark – where he emigrated in the beginning of the 1970s (after the anti-Semitic actions undertaken by the communist government in Poland) and his American works – beginning with "Return to Poland" (1981) up to the latest works like "Settlement" (2008) and "Skibet" (2010). Marzyński almost always appears in front of the camera in his films relating the theme from the film with his own biography of a Holocaust survival, immigrant, journalist or American citizen. He comments on the events presented in the film from off-screen and often initiates them. From film to film his works become more and more auto-documentaries up the docs rom recent years, such as "Anya in and Out of Focus" (2004) or "Life on Marz" (2007), with autobiography dominating in them.
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Keywords: history of Polish linguistics; Polish dialectology; history of Polish; linguists from Cracow; Society of Friends of the Polish Language; Marian Kucała
The paper presents Marian Kucała’s dialectological work in the chronological order. Particular attention has been given to his greatest dialectological achievement, the Porównawczy słownik trzech wsi małopolskich (1957; ‘A comparative dictionary of three villages in Lesser Poland’), emphasizing its superior cognitive and methodological qualities. While discussing Kucała’s various articles, we indicate his originality and ingenuity. Some of his papers refer to linguistic phenomena from his native village of Więciórka, while others cover the whole of the Polish dialectal area. One work that distinguishes itself among them, is the popular title Twoja mowa cię zdradza (1994a, 2002a; ‘Your speech betrays you’) in which Kucała presents to the unqualified reader the most important of Polish dialectal phenomena in an interesting and easy to understand way. While discussing Professor M. Kucała’s dialectological work, one should constantly bear in mind that these rich, diversified and grand achievements constitute only a part of his oeuvre which simultaneously includes works on the history of Polish and the contemporary Polish literary language.
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Keywords: poetry; Marian Drăghici; myth; Orpheus; poetic art;
In Ancient Greece, the Orphic doctrine has the myth of Orpheus as a starting point, thus anticipating the constitution of Greek philosophy and poetics. Plato’s dialogs, Aristotle’s Metaphysics and Poetics, even Christianism originate in the Orphism. Orpheus was endowed by Appollo, the deity of the arts, with a divine lute and the gift of poetry and song, symbols of universal harmony, thus serving the creative Logos. This mythological character also is the archetype of the Poet with a tragic destiny as well as of Love. Orphic elements are to be discovered at the great lyrical creators of all times, from Greek and Roman Antiquity (Homer, Horatius, Virgil) up to our century. Poets have found in the Orphism their poetic substance, a theory on the arts or a philosophy of life, the cult of perfection by following Orphic incantations, models of sacred poetry and the art of verse writing. Educated in the western model of knowledge, through German and French sources, acknowledging the influence of Goethe, Rilke, Trakl, Baudelaire, Rimbaud, Mallarmé, Valéry, Marian Drăghici is attracted by the high level poetry coming from a real talent. Through his poetic creed, he ranges in the Orphic spheres. My paper’s aim is to illustrate the Orphic myth of creation and creator in Marian Drăghici’s lyrics, through the anthology lumină, încet (light, slow), a real and particular ars poetica. The main obesssion of the poet is the act of creation, the core or his poems conceived as poetic arts with an aesthetic dominant. The poet is seen as the most creative, original and profound author of poetic arts in contemporary poetry, tending towards a ”total” poetic art. DOI: 10.29302/InImag.2016.7.5
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L’article met en évidence la contribution de S. Fl. Marian à l’étude des coutumes nuptiales roumaines. Il a été le premier à saisir chez nous l’unité formelle tripartite du mariage en tant que rite de passage. La monographie du prêtre de Bucovine, La fête des noces chez les Roumains est resté jusqu’aujourd’hui un point de repère dans la bibliographie de spécialité.
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The Romanian Academy had a very important role in Simeon Florea Marian’s life and scientific achievements. Without the generous and competent help of the Romanian Academy, whose member he was, the special results he achieved would be difficult to imagine.The main directions in which S. Fl. Marian carried out his reach activity within the Romanian Academy are the following: presentation of the Romanian folk culture in collections of folklore and ethno-folkloric synthesis of a high documentary and scientific value; research of the history and old Romanian culture of Bukovine, at that moment under foreign occupation; participation in the elaboration by the Romanian Academy of an important lexicographic work and the positive influencing of the scientific movement of that epoch, by the speeches sustained and the numerous reports prepared as for certain works, given his capacity of referrer of the Romanian Academy for the assignment of awards.
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Keywords: Marian Popa; postmodernisme; littérature roumaine; critique littéraire;
Cet article examine la condition de créateur postmoderne de Marian Popa, critique et historien de la littérature. Auteur de plusieurs volumes tels Homo fictus (1968), Dicţionar de literatură contemporană (1971, 1977), Camil Petrescu (1972), Forma ca deformare (1975), Comicologia (1975), de beaucoup d’études et d’articles parus dans des revues littéraires prestigieuses, Marian Popa a publié plusieurs romans écrits en manière postmoderne, signés avec divers pseudonymes, entrant ainsi dans la galerie des critiques qui créent également des oeuvres littéraires.
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Not available.
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Keywords: In memoriam; Marian Gierula; Polish media expert;
In memoriam: Odszedł Marian Gierula (11.08.1955–21.04.2020)
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The article points out Marian Wimmer’s achievements in the field of creating the State Higher School of Visual Arts in Łódź (today’s Strzemiński Academy of Fine Arts). Marian Wimmer was a versatile artist of many interests, active in various fields. He graduated as an architect and followed his vocation as a teacher, art theoretician and organizer of artistic education. He established the so-called film department, later transformed into Lodz Film School, at the State Higher School of Visual Arts (PWSSP) in Łódź (today’s Strzemiński Academy of Fine Arts) and co-organized the faculty of architecture there. Despite his tremendous achieve- ments, activity in many fields and an exceptional personality, he has slipped memory and has been erased from the history of both the film and the art school. It is difficult to reconstruct the beginnings of the PWSST, or the role that Marian Wimmer played there, mostly due to a lack of fully preserved archives. The fact that Wimmer was a member of the PWSSP Curriculum Board, as well as the positions of e.g. deputy head and head that he held, definitely underline his significant contribution to the school’s history. His role in developing the PWSSP was so important that his contemporaries called it Wimmer’s school. This is not about giving up the existing narra- tion, but filling a certain gap in history and thus creating its more comprehensive picture.
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Keywords: existential experiences; refined art of expression; poet: a stunned bee;
Dumitru Augustin Doman considers Marian Drăghici's "Păharuŝul" a memorable editorial and the poet as a creator of obsessions and nothing but imaginary dialogues, or playful repetitions (D.A.D., Arges, 6/2019, p. 2). Alexandru Oraviŝan appreciates "the preoccupation for the crystallization of a project spread over several volumes (Despre arta poetică, Partida de biliard din pădurea rusească, Lunetistul, Lunetistul şi cocoşul de tablă, Harrum cartea ratării; Lumină, încet; Negresa, Păhăruŝul, translations to English, French, etc.) ". Even from the beginning, Marian Drăghici' work manifests itself as a leaning towards form, rigor and consistency. His poetry, with metatextual accents, depicts the often complicated but, certainly, fascinating relationship between lyric and writing. The self-referential principle of self-reflecting literature, proclaimed by textualists, finds a fertile ground in the poetics of Marian Draghici, without embracing the idea of the complete disappearance of the writer from his own work. So "Păhăruŝul" is a volume-phenomenon; In it, the neotextualist influence coexists with an exciting neohermetism, born out of concern for the definition of a poetic direction. But what direction is it? About dialogueism? The dialogical skeleton is embraced in many of the defining marks for Mircea Drăghici's poetry: the organic cryptic of the resuscitation of some symbols and the transclassical consolidation of one's own motives is doubled by the careful use of the figure, still, plenary, creative, which transforms the poem into an ever-developing organism; moreover, the repetition gives the effect of a permanent rewriting, and the page acquires palimpsest tones; In addition, through transubstantiation, Drăghician poetry is saved from its inevitable semantic materialism: living within boundaries imposed by its own condition (the handler of the words - n.m.) becomes a matrix of the transubstantiation of life in the sphere of literature; the poetom transcends his sensations, feelings, deep rumours about the act of creation in a universe often drifting, precipitating to non-notification. Dan Cristea also notes the idea that "Păharuŝul" reiterates the condition of poetry as a fact of divine nature, with the fervour and the excitement of mysticism. As in the Dantescian nel mezzo del cammin di nostra vita, the poet is a war with himself, with the Kafkianized past, with the cannibalism of communist times as the culmination of the degradation of the human condition. Like all Revolutionary chroniclers (from "România literară", "Arges", "Orizont"), it is Dan Cristea's turn to hold the practice of prayer as a result of enlightening the poet's being. But Dan Cristea reproaches the book (and her author) of the story, difficult to read, mixing gravity with histrionism, the verse inspired by the purely declarative verse, and not covering the symbols in collective imagination. Few poems from this recent collection contribute to the amplification of the mystical, visionary, miraculous dimension of Marian Drăghici's creation, the poet wishing to be in old age "crazy for Christ / as he was (young) for poetry." The volume "Păhăruŝul" shows us this time a Marian Drăghici in the role, more pronounced than ever, of a civic poet and a vituperative prophet.
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Keywords: Marian Molenda;sculpture;Opole;
The end of 2020 marked the publication of Marian Molenda. Powroty do źródeł, a monograph study dedicated to the 35th anniversary of the oeuvre of this outstanding sculptor from the Opole region. In this meticulously prepared study, with an interesting graphic layout and composed of a total of about twenty chapters written by assorted authors, we learn that, i.a. Marian Molenda is connected with two towns. He resides in Nysa, where he has his atelier, and pursues scientific-didactic activity at University of Opole as professor and head of the Sculpture Atelier and Chair of Fine Arts. The presented texts dealing with the Professor’s scientific path from teaching art in Nałęczów to receiving the title of professor predominantly discuss his diverse artistic oeuvre: drawing, bas-relief, and sculpture. The authors are art experts, University colleagues, and friends. Furthermore, the mayors of Nysa and Opole express their gratitude for assorted sculptures. Finally, in a brief text Prof. Molenda explains the immense importance of incessant returns to sources for his creative undertakings. In the second part of the book, brilliantly executed and ingeniously arranged photographs allow us to examine selected works by Marian Molenda originating from his Nysa atelier. Here bronze portraits on view in a number of Polish cities, and predominantly on University Hill in Opole, feature likenesses of such representatives of the world of culture associated with The National Festival of Polish Song Festival as Czesław Niemen, Agnieszka Osiecka or Wojciech Młynarski, or with the theatre, e.g. Jerzy Grotowski. The photographs also comprise a sophisticated presentation of sculptures in wood, gouaches, and drawings.
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