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Obsesje Jerzego Lieberta. Poetycka projekcja symbolicznych treści podświadomości a metafizyczny światopogląd poety

Author(s): Anna Szóstak / Language(s): Polish Publication Year: 0

SzóstakThe present article is a polemical voice in a dispute on the author of Gusła [Hexes], who is regarded in the literature on the subject as a religious poet with an incontestable and dogmatic attitude to faith. Liebert is depicted as the artist who searches for such a formula of transcendence which would allow him to reconcile indelible contradictions, that is, thirst for faith in a benevolent creator guarding the world, comprehension and explication of evil or pantheistic view of nature conjoining beauty with the horror of biological determinants. The metaphysical elements of Liebert’s poetry express a yearning for the Absolute that was understood as an ideal of divinity of the universe, whose uniqueness is a proof and a sign of its purposefulness and sense.

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Demon Jerzego Lieberta

Author(s): Marcin Całbecki / Language(s): Polish Publication Year: 0

The author of the article provides an analysis of how the experience of evil and negativity are verbalised in Liebert’s writings. The category of the demonic is revealed in the presented texts within the framework of cultural discourse, whereas that which is evil finds itself on the side of the natural and the primeval. As a result, what comes to the fore is the directly forwarded contempt for the biological, sensual life which itself in Liebert’s imagination appears as a source of evil.

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Lisy Jerzego Lieberta, czyli jak kluczyć, sznurować i chodzić chyłkiem

Author(s): Beata Mytych-Forajter / Language(s): Polish Publication Year: 0

Interpretation of Lisy [Foxes], a late poem by Liebert allows for tracing not only the interwoven with culture and literature vulpine symbolism, but also approaching the comprehension of the dilemmas confronted by a subject who vacillates between contradictions inscribed in him. These contradictions are most discernible in the phonic layer of the poem, where strong imperatives literally clash with/collide with the soothing mantra of the sylabotonic verse system. Fortunately, for the tormented subject the fox is not only an allegory of falsehood, but also an amiable and lively animal that teaches a human how to cope with himself.

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Owady w poezji Jerzego Lieberta

Author(s): Magdalena Kokoszka / Language(s): Polish Publication Year: 0

Statistically, among not particularly abundant and diverse fauna depicted in Liebert’s poems, insects – including the metaphorically depicted ones – occupy one of the focal positions next to the usually exposed birds. The author of the article pays close attention to the poet’s actions that seem to be hiding (concealing) the existential anxieties: idyllic miniaturization of the world of insects and the “sterile” visions of the decomposition of the human body, referring itself to the costume of nature that both unconceals and conceals the drama (e.g., the human as the cosmic insect). Such endeavors are interpreted as attempts to mollify an insurmountable baroque feeling of being torn between the first (earthly) and the second (heavenly) homeland.

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„Wiara przed religijnością” O wierszu Romantyczność Jerzego Lieberta

Author(s): Ewa Bartos / Language(s): Polish Publication Year: 0

Romantyczność [The Romantic] by Jerzy Liebert records a way of an encounter with the supernatural. It is a lyrical vision presenting the ambiguity of religious experience. The article “Faith before religion”. On the poem Romantyczność by Jerzy Liebert is an attempt to depict the lyric with particular attention paid to the way of unveiling of transcendence.

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O rzeczach. Interpretacyjne „obroty” wokół wiersza Jerzego Lieberta

Author(s): Aleksander Nawarecki / Language(s): Polish Publication Year: 0

The purpose of the article is to emphasise historical, literary and philosophical range of a poem O rzeczach [On Things] by Jerzy Liebert. Written in 1928, the text displays ontological otherness of the eponymous “things.” Moreover, it views them as subjects and takes over their point of view, and also makes an attempt to give voice to them. This train of reasoning, and at the same time an experiment of “subjectification of an object” transcends the horizon of the Skamander poetics of everydayness (Tuwim, Iwaszkiewicz, Pawlikowska-Jasnorzewska) and anticipates a “reistic” reflection of Heidegger or Derrida, as well as it goes beyond the implorative “turn to things.” The uniqueness of Liebert’s poem has been presented in a native context of his writings in which everyday things have special importance, especially implements that accompany man in his sickness and death. A precursory character of Liebert’s oeuvre is evidenced by its reception – references to the poem On Things have been found in Mieczysław Braun’s Sonnet VIII (1937), in Krzysztof Kamil Baczyński’s Sprzęty [Devices] (1941), in Stanisław Swen Czachorowski’s Klęczniki oriońskie [The Orione Prie-Dieux] that appeared after World War II, and especially in Miron Białoszewski’s Obroty rzeczy [The Revolutions of Things] (1956) which derived its title from a quotation from Liebert.

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Wiersze ostatnie. Gorzkie wióry Jerzego Lieberta

Author(s): Ryszard Knapek / Language(s): Polish Publication Year: 0

The article begins with an optimistic thesis which stands that the Jerzy Liebert’s poetry is a proper material for a coherent literary history narration. It changes over the time, it has evident periods and it’s turning points are likely to recognise and describe. The only issue that stays underspecified is the end. In addition to the series of poems which concern on a tuberculosis and aproaching death of the poet, there are three more texts which can be read as „the last poems”. These are: Lisy [Foxes], Veni Sancte Spiritus and Gorzkie wióry [Bitter woodchips]. These texts are put under an interpretation in the article. The interpretation frequently turns back to earlier Liebert’s poems, and so it draws an overview of the whole Liebert’s work. Lisy evoke the most important oppositions, which constitute earlier Liebert’s poems. Instead of remaining on the level of a simple dualism, it turns to the unsettled and hurtful synthesis of the corporeal and the spiritual. Veni Sancte Spiritus is a different ending, or rather “the capstone” of the Liebert’s work, concerned on its religious and experiencable aspects. It returns to metaphysical attempts, which were undertaken in poems written between 1925 and 1927. Starting from that, author reconstructs a project of a poetry which make “a sphere of between” for a man meeting with the God or another man. The closing of Liebert’s work presented in Gorzkie wióry has a distinctive role in the interpretation. The poem tells a story of a disappointment, which come from a fail of the poetical project. In the finishing point of his work, Liebert understands that any attempts of projecting poetry or relationship (with God or another man) are sentenced for a failure. It doesn’t mean negation of the whole work, only the idea of project. Meanwhile more important become that, what happens regardless of the will or the purpose of the attends. To explain that, author of the article ask about the role of “the waste” – the woodchips – and a category of an experience in Liebert’s work.

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„Skądże słowo tak biegnie do dźwięku…” Jerzego Lieberta refleksja metapoetycka

Author(s): Katarzyna Janus / Language(s): Polish Publication Year: 0

The article attempts to interpret such pieces of poetry by Jerzy Liebert which contain metapoetic reflection. Those are religious pieces rooted both in the antique tradition transplanted onto the Christian ground by medieval thinkers and in historical and literary message. The contextuality of the poems is due to the poet’s erudition which is the aftermath of mature and consistent spiritual and intellectual formation, whose main foundation is Christ’s teachings included in the Gospel. This can be evidences by both Liebert’s art and correspondence.Apart from the poems explicated in the article, there are also fragments of correspondence with Agnieszka (Bronisława Wajngold), who shared the poet’s artistic dilemmas and was his first reader. The quoted letters constitute a germane to the presented contemplations record of the poet’s reflections on the theme of his calling to writing poetry. The explications focus on the fact that the way Liebert refers to his emotions towards his writing – a sense of a mission, an issue of his talent, and eventually a comparison of the tension connected with his anticipation of artistic disposition to illness – all derive from his enduing fascination with Tadeusz Zieleński’s lectures. The belief in the necessity of God’s blessing in creative act, the identification of the gift of word with the disposition coming from the Holy Ghost are close to Catholic mysticism.

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Liche drewienko Lieberta*

Author(s): Bartosz Małczyński / Language(s): Polish Publication Year: 0

The article makes an attempt to interpret a poem by Jerzy Liebert Na fujarce [Piping] in a broader perspective, which is delineated by such terms as the presence of musical elements in lyrical poetry by Liebert, the poet’s attitude towards music and folklore, the programme appreciation of the category of simplicity in literary writing, paradoxes of dispensability and indispensability, purposelessness and purposefulness connected with writing poetry, music and musicality in the face of the ultimate matters of the human being and humanity.

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Co ukrywa jarzębina, czyli o wierszu Przed domem jarzębina

Author(s): Janusz Pasterski / Language(s): Polish Publication Year: 0

The article is an attempt to analyse and interpret a poem by Jerzy Liebert Przed domem jarzębina [A Rowan Tree in Front of the House], written in the late period of Liebert’s life. The author discusses artistic modes of the poem (musicality, visuality and autothematism) and emphasizes a change in the poet’s attitude towards nature while preserving self-discipline. The core of this change seems to be his awareness of the impending death and a sense of impermanence of individual human beings. The cultural and natural phenomenon of Hucul country also becomes the background in this line of thought.

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Achmatowa i Liebert. Wokół wiersza Высокие своды костела…

Author(s): Marian Kisiel / Language(s): Polish Publication Year: 0

The paper examines a poem by Anna Akhmatova Высокие своды костела… as translated by Jerzy Liebert. This translation was not included in any volume released in Liebert’s lifetime. It came out posthumously. The author of the article evokes broad biographical context inscribed in the poem by the Russian poet and also compares Liebert’s rendition of the poem with the one that appeared at the same time by Józef Kramsztyk. The Polish poet’s rendition of the poems seems to be a mere sketch; however, it shows Libert’s fascination with the Russian poetry of the Silver Age – symbolic and going beyond the principles of this trend.

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Litanie poetyckie Jerzego Lieberta i Tadeusza Chabrowskiego

Author(s): Elżbieta Hurnik / Language(s): Polish Publication Year: 0

The author of this article provides a comparative analysis of the two poets of the 20th century, that is, Jerzy Liebert and Tadeusz Chabrowski, whose oeuvre is regarded as belonging to religious lyrical poetry. Bearing in mind the differences between the two poets, for example, the time these two poems were written, the author of this article has discovered some traces of their spiritual community. Both for the poet of the beginning of the 20th century (Liebert) and for the poet of the second half of the 20th century (Chabrowski), faith in God meant an inner struggle and dealing with human limitations and weaknesses, which has been discussed in the context of each of the poet’s biography. An increased focus is on the artistic realization of the litany – a tradition of the genre both poets referred to.

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Słonimski, Liebert i Samozwaniec, czyli historia pewnego żartu Przyczynek do biografii Jerzego Lieberta

Author(s): Elzbieta Wróbel / Language(s): Polish Publication Year: 0

The author of this article refers to the poet’s participation in the Second contest of “Wiadomości Literackie” in 1924. The initiator of the contest was Antoni Słonimski and its purpose was to prepare the funniest interpretation of poems by Stanisław Salkowski, who had been regarded by Słonimski as a “king of graphomaniacs.” Słonimski had a regular column in Worst books, where in a humoristic way he fought graphomanic texts. The author of this article makes references to Liebert’s social connections with the poets comprising the Skamander group. Exceptionally friendly relations were between Liebert and the Iwaszkiewiczs, Jarosław and Hanna. An important point of reference in the article was artistic work of the Skamander group (there also appears Magdalena Samozwaniec – the laureate of the contest mocking the most “inept man of letters”).

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Ponad granicami. O korespondencji Sławomira Mrożka z Gunnarem Brandellem

Author(s): Barbara Gutkowska / Language(s): Polish Publication Year: 0

The subject of investigation conducted in the article is the correspondence that had been exchanged for thirty five years by Sławomir Mrożek and Gunnar Brandell - Polish, Central-European writer and Swedish, Western-European scientist and journalist. This geographical distinctionis especially important here, as neither deep and long-standing friendship, nor conspicuous intellectual affinity were able to eliminate the boundaries marked by the distinctness of experience of the influence of the twentieth-century politics and history upon their individual experience, as well as the way of viewing Polish and European matters.

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Między sztuką a życiem. O ideologii dandyzmu w 622 upadkach Bunga, czyli Demonicznej kobiecie Stanisława Ignacego Witkiewicza

Author(s): Kamila Kania-Błachucka / Language(s): Polish Publication Year: 0

The debut prose-work by Witkacy carries a large emotional and intellectual load, which is characteristic for a youthful piece of work, but simultaneously it addresses fundamental problems for the historical period and the artist himself. In the light of the events of the revolution of 1905, the role of art was sought once more in social engagement. Aestheticism and isolationism of the author became the object of criticism. It does not change the fact that Witkacy decided to make art and the artist the central problem of his first novel. Dandyism was born in the historical reality ignorant of avant-garde, mass culture, democratization, and relaxing moral standards. In many ways, the ideology of dandyism proved to be identical to the convictions of modernists. First and foremost, because dandyism seemed to be an unrealized ideal of modernism. The Downfalls is the story about consecutive attempts at delineating borders between art and reality, and simultaneously a record of constant overstepping of these barriers, as well as mutual interactions between the sphere of creation and every-day life. The dualism of life and art is the central problem of this novel. Every artist moves between these two spheres. The author, attempting to break the deadlock, reaches for the attitude of the dandy, which, by definition, preconceives transgression (crossing the cultural and social borders, eliminating sex differences in outfit and behaviour, erasing the differences between art and reality by immanent dramatization of the latter). The fact that dandy inspirations are transferred onto his writing technique proves that in Witkacy they are not merely a decoration.

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Pisanie bez granic. O krytyce literackiej w międzywojennych dziennikach Marii Dąbrowskiej

Author(s): Przemysław Kulawik / Language(s): Polish Publication Year: 0

The aim of the present article is to demonstrate a critical-literary reflection which was contained in interwar journals of Maria Dąbrowska. The writer was a very strict judge of the twentieth – century literature. She felt the need of quick reaction to weak works of literature, and also directed many accusations at literary critics. Her activity in the interwar period can be divided into two terms: before and after the publication of Noce i Dnie. Undoubtedly, it was the success of the novel that contributed to the fact that Dąbrowska was writing about literature in a very daring way, frequently making critical remarks addressed at her fellow writers.

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Poza granicami słowa. O przestrzeni języka jako metafizycznej przestrzeni mitu miasta w Snach i kamieniach Magdaleny Tulli

Author(s): Anna Szóstak / Language(s): Polish Publication Year: 0

The article Beyond the boundaries of words. Language space as a metaphysical space of the myth of the city in Sny i kamienie by Magdalena Tulli in its reflection upon the metatextual world of the novel combines considerations upon language and designatum with the superordinate – proving of which is the main assumption of the author – category of myth. The boundaries of words and reality in such a conceptualization are no longer sharp and clear-cut, both spheres permeate and overlap at various levels and planes, influence and cocreate each other. For it seems that Tulli takes for granted the real existence of both spheres, which only in metaphysical space of myth do form a sense-saturated whole and unity. The imaginary project, idea, in this case of a city, actualizes itself by means of word-forming Logos, a creation thanks to which, on the basis of a pattern or a matrix, the domain of matter is shaped. The myth, remaining a universal formula of describing reality, understood after Claud Lévi-Strauss as bricolage, here refers also to the embodiment of ideational project and identification of meanings connected with it, which are reserved only for insiders– in the novel by Tulli, the inhabitants of our capital city, who know its topography and history, and above all who preserve its image in language, symbols, and metaphors.

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Przekroczyć granicę getta. O Dziewczynce w czerwonym płaszczyku, Tylko ja sama i Dobrym dziecku Romy Ligockiej

Author(s): Natalia Żórawska / Language(s): Polish Publication Year: 0

The aim of the present study is the interpretation of The Girl in the Red Coat, Tylko ja sama, and Dobre dziecko by Roma Ligocka from the perspective of the Holocaust literature. The article demonstrates that Ligocka, as a writer belonging to post-Holocaust generation, in her novels includes autobiographical threads strictly connected with the problem of Extermination. She investigates this matter from the point of view of a child, a teenager, and an adult woman who carries the stigma of Holocaust. The ordeal of the Second World War, her own and her mother’s experiences, health problems, as well as the post-war, communist reality all gave rise to the fact that wounds from the past and traumatic events influence on the writer’s present life. Ligocka proves that there are borders that cannot be overcome, such as cultural, psychological, religious, or barriers of descent. The author of the present article demonstrates that on the plane of both form and content, post-trauma is the key aspect for text interpretation. The article, therefore, constitutes an attempt at outlining the problem of feminine Holocaust prose against books by Roma Ligocka, as well as at inscribing her in the research conducted within trauma studies and contemporary investigations into Extermination.

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„Życie to nie są jakieś tam frywolitki”. O Jolancie Sylwii Chutnik i Pięćdziesiątce Ingi Iwasiów

Author(s): Agnieszka Nęcka / Language(s): Polish Publication Year: 0

For at least two decades the prose writers have been holding a dialogue with culture, demonstrating, among others, that the burden of experience cannot be left behind, and social conditions in which we grow up determine our present days and influence our future. The protagonists of feminine stories (as well as the writers themselves) test boundaries of various kinds: the possibilities of linguistic articulation, emotional expression, controverting the story or female endurance (mental and physical). It is sufficient to recall two novels published in 2015 (Jolanta by Sylwia Chutnik and Pięćdziesiątka by Inga Iwasiów) to see that the writers are not afraid to deal with difficult subjects and they try to prove that modern women, by developing various strategies of survival (the most important being the tactics of chameleon and the tactics of dodging), are strong, even if they do not come away unscathed from adversities.

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„Jeżeli jeszcze miała coś swojego, było to jej ciało – jedyne, co mają zwierzęta”. O Nocnych zwierzętach Patrycji Pustkowiak

Author(s): Emilia Wilk / Language(s): Polish Publication Year: 0

The aim of the article has been to present Tamara Mortus – the protagonist of Nocne Zwierzęta by Patrycja Pustkowiak – who exhibits autodestructive behaviour, struggles with addiction to psychoactive substances and with animalism manifesting itself in the lack of possibility to fix a boundary between what is human and what is feral. In consequence, Tamara represents a type of person who is excluded from society, called homo sacer, devoid of human values, therefore a human-reject. Probably, in Nocne Zwierzęta, the boundary between the human and the feral is overstepped due to the fact that –just like an animal – Tamara was able to pounce on her prey and kill it, but –like a human being – loses herself in melancholic reclaimings, unceasingly experiencing loss (from the most earthbound things to existential values, which in general cultural opinion are elusive). Moreover, in Tamara’s life, a non-trivial role is played by the feeling of unremitting emptiness connected mainly with her alcoholism, and also by very strongly exposed corporeality, as well as the impossibility of finding herself in the contemporary consumptive world. All the above-mentioned factors make us think of Tamara as of an empty and worthless woman, or, to put it colloquially, a “blown egg”.

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