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The article discusses the issue of the return of the forgotten poets as a function of the literary paradigm subjected to changes at the turn of the 19th and 20th centuries. In the light of such a view, the crisis in the development of poetry would be one of the factors letting the forgotten poets’ voice be heard. Another one seems to be the alienation of late 19th-century authors seeking or involuntarily finding partners for a dialogue in tradition, not in contemporary times. The text raises the subject of the sacredness of the poetic word, referring it both to the socio-literary realities of the turn of the centuries and to the broadly defined tradition. In the paper, the author focuses on Cyprian Norwid (and his reader, Zenon Przesmycki) and Stefan George (for whom Stephane Mallarmé turns out to be an important poetic reference).
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In the Romantic period, death and resurrection belonged to the most important categoriesof artistic reflection. Norwid also explored the thanatic and resurrection topics, however hewas more interested in the aesthetic dimension than the theological aspect of returning frombeyond the grave, namely how the values of truth, goodness and beauty initially become thecause of the artist’s suffering to become later a guarantee of his immortality. From the firstemigration poem titled “Adam Krafft” till late works, the poet presented the fate of artistsand the works they created as the operative substance for testing the destruction and rebirthprinciple. Norwid believed that his work, which transcended the rigid confines and obsessionsof its own era, would resurrect in the future.
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Cyprian Norwid was considered by many researchers a poet of Polish Romanticism.The author of Vade-mecum was ahead of the times in which he lived, announcing andcontesting the upcoming modernité at the same time. The aim of the article is not, however,to sum up research conducted so far on the modernity of Norwid’s work, but to show why lateRomanticism is such an important category of description of the phenomenon of the authorof Vade-mecum and what links his works created in the 1860s and 1880s with the manifestosof the birth of new poetry at the turn of the 19th and 20th centuries.
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The article collects information on Norwid’s works found in recent years. The mostimportant discoveries include song lyrics [“Blade kwiaty na odłogu...”], two Norwid’s lettersto Julia Pusłowska and an original death certificate of the poet. As to the art works, unknowngraphics (6 pieces) and one watercolor of rare beauty (Pythia) were revealed at the auctions.Most of these works enriched the collection of the Museion Norwid Foundation. In theuniversity library in Illinois, a copy of Divine Comedy, given by the poet to NumaŁepkowski, was found. Another important item for Norwidology is a family photo albumbelonging to Maria de Bonneval née Gerlicz acquired for the collection of the Bloch FamilyFoundation, which included photos of over 70 people whom Norwid knew. The article alsoinforms about fakes and works whose authorship cannot be credibly attributed to Norwid.
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The article focuses on a lesser-known issue regarding the reception of Norwid’s work andat the same time it goes beyond the perspective of reception research and points to severalsignificant relationships between thought, aesthetics, literary sensitivity and intellectualbiography of both authors. The perspective assumed here is then partly comparative, andpartly reconstructing more or less obvious inspirations. Irzykowski rarely wrote about Norwidor referred to him (the issue of incomprehensibility is best known), while many of hisconcepts are worth confrontation with Norwid’s analogical ideas. Moreover, in many casesthe author of Quidam seems to be a silent adversary of Irzykowski, unnamed, but coreflectingin the margins of the text. Undoubtedly, both of them meet at key points as to theirunderstanding of tragedy, irony, and the “pałuba” [hag] element, which is one of the mostimportant concepts of Irzykowski, has its discursive counterparts in Norwid’s reflection.
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This paper focuses on the symbolic role attributed to Cyprian Norwid (1821–1883) inthe young poets’ and critics’ circle gathered around the right-wing conspiracy journal Artand Nation (1942–1944) in occupied Warsaw. They used a paraphrase of Norwid’s words,“The artist is the organizer of national imagination”, in order to emphasize their aim of anautonomous and at the same time nationally committed art. However, in many statementsby Andrzej Trzebiński (1922–1943) and Wacław Bojarski (1921–1943), the term “nation”appears to be more of a performative gesture than a reference to a consistent, historicallyevolving reality, as conceived of by Norwid. It was only in the 1944 essay “History and Deed”, never to be printed in the underground, that the circle’s foremost poet Tadeusz Gajcy (1922–1944) critically revisited anti-traditional activism and championed a genuinely “Norwidian”, contemplation-based understanding of creativity.
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The article attempts to present the stages of Wilhelmina Zyndram-Kościałkowska’sapproach to reflection on Miriam’s understanding of aesthetic and artistic principles.A critical diagnosis related to the understanding of art and culture by Zenon Przesmycki ispossible due to observation of Kościałkowska’s holistic reflection on the concept of cultureand modernist literature (including the essence of translation, the meaning of modernistart, drama specificity and the concept of “art for art”) contained in manuscript intimistcollections. The analysis includes diaries, notes, “extracts” from life and people, calendarskept throughout the life of the Grodno writer deposited in the Lithuanian State HistoricalArchives in Vilnius. The method of examination and the nature of the approach are definedby the author of the article as a coffin portrait.
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The aim of the article is to present the issue of reception of Ugo Foscolo’s worksin Poland. A particular attention is paid to the multipart article in Kłosy from 1872(No. 374–386) devoted to the Italian artist in connection with the transfer of the poet’sremains – many years after his death in England in 1827 – to the Basilica of Santa Croce inFlorence in 1871. The paper discusses the strategies adopted in the description of elementsof the poet’s biography, including a sentimental key related to the figure of Quirina MocenniMagiotti, an economic key and a moralizing key. Emphasizing the experience of emigrationand compulsory uprooting of the Italian poet from the family land places this specialperiodical return from beyond the grave in a new context determined by the situation inPoland and the resulting condition of artists forced to emigrate. The analysis also involvesunique Polish translations of three of the most important Foscol’s sonnets (*** [Solcataho fronte]; “In morte del fratello Giovanni”; “A Zacinto”) included within the frame of thearticle in Kłosy.
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The work is devoted to the comparative presentation of Ugo Foscolo and CyprianNorwid – two outstanding representatives of the 19th-century Polish and Italian literature,respectively. Despite the obvious differences between them, such as belonging to differentliterary generations and the ideological and national entanglements of their lives and work,significant similarities between the artists (in the aspect of their works, biographical modelsand a similar individual stigma) are thought-provoking. Moreover, the ambiguity of assigningNorwid and Foscolo to one literary period still inspires polemics among literature researchers.
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The article discusses selected literary and artistic discoveries of Mallarmé’s aestheticsfrom the end of the 19th to the beginning of the 21st century. Mallarmé, whom Verlaineincluded in the circle of “poètes maudit” and who was considered a master of decadencethanks to Huysmans’s novel Against Nature, was announced a surrealist in SurrealismManifesto by André Breton and his name appeared in the writing of Valéry and other20th-century poets and writers. The Cubists were delighted with “spatialization” of poetry inA Roll of the Dice. In addition, constant discovering of the poet by the composers – fromDebussy and Ravel, through Boulez, to the contemporary artists such as Marc-AndréDalbavie or Jean-Luc Hervé cannot be overlooked.
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The author discusses the history of Xavier Forneret’s (1809–1884) reception focusingon the trend which portrayed the Romantic as a surrealist and a precursor of vers libre. Atthe heart of the considerations there is the volume Vapeurs, ni vers, ni prose (1838) regardedas exceptional in both the publishing format and the content. The author, however, arguesthat the poet’s innovation can also be seen in his presentation of typically romantic themes:love, death, poetic vocation, as well as oneiric poetics. The last part of the article isa comparative analysis of the Forneret’s poem “Elle” and Cyprian Norwid’s poem “Polka”[Polish Woman], which allows showing both romantic anticipations and traditional formsof poetic description of a woman.
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The article is a proposal to read three essays – “Paul Valéry”, “Rainer Maria Rilke” and“Valery Larbaud” by Andrzej Pleśniewicz, a largely forgotten literary critic of the inter-warperiod. Reading selected works of the mentioned poets of the turn of the 19th and 20th centuriesby Andrzej Pleśniewicz appears to be a recognition of established in them diagnosisof the state of modern spirituality – the spiritual condition of modernity.
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The article is an attempt to extract the sense used by Heidegger to refer to the “phenomenological interpretation of the Critique of Pure Reason”. It is shown that Heidegger’s method of interpretation means primarily being guided by the “things themselves”, and thus it assumes going beyond the text. For this reason, it must take on the character of a “dispute”. Then, a general overview of Heidegger’s interpretation of the Critique is presented. The central part of the article discusses how this phenomenological method of interpretation “works” in concreto on the example of transcendental aesthetics, in particular with regard to the phenomena and things themselves and pure intuitions.
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The article discusses the history of the Nasjonal Samling party (founded in 1933) andits leader Vidkun Quisling – a military, politician and prime minister of the collaborativegovernment of occupied Norway in 1942–1945. Currently, Norwegian fascism of the 1930sand 1940s does not serve as a popular exemplification of fascist ideology, although unlikemany other European movements of this type, it managed to gain power in its own country.However, this happened only after Quisling entered into an alliance with Germany and theThird Reich attacked Norway. The history of Quisling and his party seems to prove thebankruptcy of his ideas, which never gained popularity in Norwegian society.
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Man inhabits an ecological niche, creates a bond in society, settles down and managesthe niche transforming it into the environment. In this process, he creates culture. In culture,he shapes the view of the environment, which he names nature. It is important to indicate thatwhat we consider to be nature is created by a human. The environment is subject to changesdue to human activities. Transformations of views about it are not their simple consequences.Nature is a cultural interpretation. As such, it is part of the heritage, or resource consideredimportant in the construction of identity. The environment reacts to human activityin a way that views do not control. On the other hand, they influence interpretations, consciousness.In this sense, nature can become part of the national heritage.Nature played a special role after the partitions; along with the language it createdanother space of freedom. The Polish language referred to speaking and feelings focusedon the ideal of the “country of childhood”. Regaining independence transferred imagesand feelings into the realm of myth, above all the borderland myth. Then urbanization andindustrialization treated as a synonym of progress gave birth to a new form of longing fornature and opposition to its limitation through ownership. The revolution was supposed togive nature back to society and at the same time to subordinate it to the requirements ofa planned economy. In free Poland, nature has been separated from the concepts and policiesrelated to modernization. Natural heritage comes down to resources that can be commercialized.It leads to the stagnation of thinking about national identity.The author postulates to examine whether what we inherited is still a useful resourcefor the national community in constructing the necessary adaptations of Poland to globalchallenges.
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