http://hdl.handle.net/11089/3883 Mon, 06 Apr 2026 20:31:34 GMT 2026-04-06T20:31:34Z https://dspace.uni.lodz.pl:443/xmlui/bitstream/id/7c1ed388-df61-4c83-99d9-ffaea89dba9e/ http://hdl.handle.net/11089/3883 http://hdl.handle.net/11089/4404 Львовская поэтическая школа: история и поэтика группы Морина, Валерия The main purpose of this article is to present the scientific community of the Lvov poetry school and to describe its history, members and the main concepts of their poetic manner. Tue, 01 Jan 2013 00:00:00 GMT http://hdl.handle.net/11089/4404 2013-01-01T00:00:00Z http://hdl.handle.net/11089/4403 "Ostatni dzień Don Juana" Stanisława Rzewuskiego. Źródła i inspiracje Szymańska, Aleksandra The aim of this article is to analyze possible literary influence on the drama The Last Day of Don Juan`s Life by the Polish writer S. Zhevusky. We took into consideration the biography of Zhevusky and the detailed analysis of his work and we proposed the thesis about the possible influences of French and Russian literature on the drama The Last Day of Don Juan`s life. As we could observed, the drama by Zhevusky showed some similarity (taking into account the language and the plot) to the following literary works: Don Juan by Moliere, Demon by M. Lermontov, The Stone Guest by A. Pushkin and Don Juan by A. Tolstoy. Tue, 01 Jan 2013 00:00:00 GMT http://hdl.handle.net/11089/4403 2013-01-01T00:00:00Z http://hdl.handle.net/11089/4402 "Моцарт и Cальери" в поле интертекстуальных игр Olaszek, Barbara The reception of Alexander Pushin’s ‘little tragedy’ Mozart and Salieri – that was originally meant as a dramatic study of envy – by the Russian literary and theatre scholars, has tended to move in the direction of exhibiting two types of artistic creators: Mozart – the genius, an artist with a Godgiven talent, and Antonio Salieri – the craftsman-composer who practices his musical craft with great skill and, moreover, to using sensational plot devices, such as murder committed out of envy, and the eruptions of human passions and emotions. The authors of the latest versions of Mozart and Salieri, Nikolai Kolyada and Olga Boguslavskaya, make reference to the romantic original work by employing a model situation of contrasting two different types of artists, their opinions on the essence of art (brilliance and genius), and their disposition and ethical principles. They fill in the Pushkin’s pattern with the realities of artistic life in modern Russia. The authors use familiar quotations, situations and selected motifs and submit them to the conventions of the game, typical of the poetics of intertextuality. Thanks to the convention of the game (swapping roles, introducing contemporary themes, such as the role of cultural policy and television in building artistic careers), they manage to avoid the pathos and philosophical stigma of the original, providing, instead, a socio-cultural image of the creative individual’s fate in modern times. Tue, 01 Jan 2013 00:00:00 GMT http://hdl.handle.net/11089/4402 2013-01-01T00:00:00Z http://hdl.handle.net/11089/4401 XLI Международная научная конференция «Болдинские чтения» Sadzińska, Ewa sprawozdanie z konferencji Tue, 01 Jan 2013 00:00:00 GMT http://hdl.handle.net/11089/4401 2013-01-01T00:00:00Z