http://hdl.handle.net/11089/2208 Muzyka i muzyczność w literaturze od Młodej Polski do czasów najnowszych (I) Tue, 21 Apr 2026 16:30:40 GMT 2026-04-21T16:30:40Z https://dspace.uni.lodz.pl:443/xmlui/bitstream/id/75c8ee3c-5518-4130-8091-67424391d58e/ http://hdl.handle.net/11089/2208 http://hdl.handle.net/11089/2313 Tadeusz Nowak: „przez kolędę” (wyobraźnia) Jarzyna, Anita The article shows the importance of a Christmas carol in the poetic imagination of Tadeusz Nowak. First of all is the presence of a word carol itself, especially because many poems, titled carol are not even connected with the carol’s motives. Then it’s vital, how Nowak is referring to traditional carols and how he is reinterpreting typical themes connected with it, such as: annunciation, motherhood (and parenthood generally), relation between man and animals, identity of the Other, of someone, who (like Jesus, Holly Family) is different than everybody else. It turns out that words specifically connected with carol like: hay, the Star of Bethlehem, Christmas eve, chorus from polish folk song hej kolęda, kolęda are part of his language, he uses them to describe his world, apart from idyllic associations, even apart from Christmas context. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/11089/2313 2012-01-01T00:00:00Z http://hdl.handle.net/11089/2312 Muzyczne wyzwolenie z języka? Filozoficzne aspekty muzycznych inspiracji w poezji Mirona Białoszewskiego Bochyńska, Agata Miron Bialoszewski is known for his untypical and idiosyncratic language of his poetry, as well as prose and drama that he has created. However, it is possible to find many connections between those linguistic experiments and the strategies used by polish avant-garde poets during the interwar years. It makes the works of Bialoszewski both innovative and dependent on the history of literature. Through the analysis of his specific language and the content of his poetry, as well as the comparison to the works and statements of the polish avant-garde representatives, author of this paper tries to recreate the philosophical backgroud of Bialoszewski’s poems and explain how is the concept of music present in them. The article is divided into two main parts. The first main problem is a question about the philosophical condition of the language that we can encounter in this poetry — are we free in using our language or maybe we are limited by the word? The negative response to the first question leads to the necessity of possible solutions. Here music appears. It seems to be for Bialoszewski as the possibility of escaping from the limitations of the language. At the same time, music in his poetry is a new way of describing the world and a form of expressing ones thoughts. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/11089/2312 2012-01-01T00:00:00Z http://hdl.handle.net/11089/2311 Brahms i Rachmaninow Iwaszkiewicza Tenczyńska, Anna The poetry of Jarosław Iwaszkiewicz includes various - and unique in the 20th century Polish literature – references to actual musical compositions. Johannes Brahms and Sergei Rachmaninoff are among the composers, whose pieces are most often present in this poetry. Close reading of chosen poems, which conduct intertextual and intersemiotic dialog with Brahms’ and Rachmaninoff’s compositions, allows one to distinguish various models of this dialog and its functions. It becomes possible – in the wider biographical context – to ask about the meaning of German and Russian music to the writer and to the, often autobiographical, subjects of his poems. It leads also to the question of the relation between music and memory in Iwaszkiewicz’s poetry, based sometimes on a surprising counterpoint with respect to the serenite motive. In the context of this relation another motive seems to come to the fore, the motive of the lost world, to which, as the protagonist of Brzezina says, ‘I will never return, and which I have never truly experienced Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/11089/2311 2012-01-01T00:00:00Z http://hdl.handle.net/11089/2310 Franz Liszt i jego muzyka fortepianowa w ujęciu Jarosława Iwaszkiewicza oraz Pawła Kubisza Gamrat, Małgorzata Franz Liszt is one of the greatest artists of the 19th century. He has attended the most important artistic and social events providing comments on their literature and musical aspects. In his articles published in ‘Gazette Musicale’ (1835—1841) he treats the artist, their place in the society till in his correspondence he reflects the life condition of the workers. This social sensibility can be observed in Lyon (1837) in the cycle Impressions et poesies. The literature was one of his main interests. All his life he kept reading and commenting in his correspondence the works he had read and most importantly he tried to implement it in his musical works. The result of these attempts was the creation of the program music, a music inspired very often by the literature or preceded by a literature piece. In my article I am presenting the music of Liszt that has inspired literature deeds. My research is directed towards two works — the novel entitled Mefisto-Walc by Jarosław Iwaszkiewicz and the poem by Paweł Kubisz entitled Rapsod o Oszeldzie. Both are very different. In the first work it is the music (Erster Mephisto-Walzer) one of the main actors, equal to the others, the composer is just mentioned. In the work of Kubisz, Liszt is a principle actor who inspires the struggle of the workers and leads towards liberty and his music occupies secondary place (Lyon, Mazeppa, Mephisto-Walz). Both the works have one common point — Franz Liszt and his music. They both also refer to Faust. Ein Gedicht of Nikolas Lenau that has preceded Erster Mephisto-Walzer. They both have not only a common musical intertext but also a literature intertext though the musical work, what I have called intertext of second degree. This is proof that Liszt was right that it is possible to implement the ideas in the music. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/11089/2310 2012-01-01T00:00:00Z