Autor przedstawia sylwetkę twórczą prozaika i poety dwudziestolecia międzywojennego, Edmunda Millera. Opisuje jego drogę do literatury przez współpracę z artystami plastykami, z którymi tworzył konstruktywizm polski. Następnie poddaje interpretacji nieliczne zachowane wiersze Millera, wskazując na ich związek z nurtami nowej sztuki, przede wszystkim z futuryzmem i konstruktywizmem, ale także z dadaizmem. Badacz zwraca uwagę na eksperymentalną formę utworów Millera i ich związek innowacjami graficznymi oraz poezją wizualną.
The article presents interpretations of the little-known late poetry of Tadeusz Miciński from 1914-1915, where the myth of revival occurs. It has been shown that alongside with the myths of individual and national revival found in the writer’s earlier works, there appears the rite of renewal of nature, which functions in the close connection with them in the poems Hymn/Anthem and Widzenie Polski/Vision of Poland. This is the new formula of the author's lyrics. It has been proved that the coherence of the mentioned myths is subordinated to the idea of renouncing personal happiness in favor of the national cause and the vision of resurrection of the homeland (Poland) in specific geographical dimension. Attention was paid to the symbolism of the language of the analyzed texts.
Autor omawia w swoim artykule mniej znaną poezję Wandy Melcer. Opisuje jej związki ze sztuką i literaturą nowoczesną, a przede wszystkim z ruchem awangardowym. Analizuje wiersze, w których występują dysonansowe napięcia, charakterystyczne dla twórczości futurystów i ekspresjonistów. Podkreśla nowatorstwo analizowanych utworów pod względem strukturalnym (formuła wiersza wolnego, symultaniczność) i tematycznym (tu wskazuje na wątki urbanizacyjne i maszynizacyjne). Badacz dostrzega również kwestię feminizmu, która pojawia się w liryce pisarki jako jeden z wiodących tematów. Szerzej rozważa dwa zagadnienia: trangresji, czyli przekraczania zasad zwyczajności i obyczajowości oraz wiwifikacji, czyli animizacji otoczenia człowieka, które tworzy kultura materialna (świat rzeczy).
The aim of this article is to show Emilia Sukertowa-Biedrawina’s enormous contribution tothe popularization of Michał Kajka’s poetry among Polish readers both in the country and beyondthe northern border. The mentioned researcher is presented as the editor of the volume of poems bythis Masurian poet and as an editor in the publishing houses where she published his works. Thejournalism of Sukertowa-Biedrawina, devoted to the biography and creativity of Kajka, is also meticulouslylisted and discussed. This article proves that, as an author of numerous works on Masurianculture, she contributed to the creation of the special image of this regional artist, who was characterizedas religious and patriotic as early as in the interwar period.
The article tackles the topie of womanhood as a typical motif in Wanda Melcer' s poetry, a topie which in historical-literary studies has so far been insufficiently discussed. Through the analysis of selected poems from her two published volumes as well as from other scattered poems, the portrait of a modern woman as presented in that poetry has been sketched out. This woman is a person who takes part in civilisational, social and manner-related changes. Her relations to culture, art and literature, her vitality and being active in life, all attest to her abandonment of roles imposed by the patriarchal system. It has been shown that the "new woman" breaks taboos and is educated. Above all she is independent and selfreliant, desires success and thirsts for new experiences, as demonstrated by how she frequently changes her surroundings and appropriates new spaces. She moulds her identity in confrontation with the outside world, she is open to otherness and changeability. At the same time she maintains personal consistency. Her creative identity is related to acting upon the principle of choice, and not obligation. Due to the multitude of biographical references present, the portrait of the female heroine contained in Wanda Melcer's poetry can be seen as a self-portrait of the author herself.
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