Widzieć siebie — z czasu minionego ("Tamten" Bolesława Leśmiana i "Kilkunastoletnia" Wisławy Szymborskiej)

The article presents a juxtaposition of the following two brilliant poems "Tamten" (from the collection of poems entitled "Napój cienisty", 1936) and "Kilkunastoletnia" (from the collection of poems entitled "Tutaj", 2009) that employ the same idea of an encounter with oneself – an adolescent person (in the former poem) and a teenage girl (in the latter). The poems exceed the literary convention of just a lyrical reminiscence of the past, they rather form a particular dialogue with the narrator as he/she was years ago, or even propose a kind of a confrontation. Both poems indirectly feature reflections on the passing time and on the author's identity. The poem written by Leśmian fits perfectly into his poetical system, both in terms of the introduction of metaphysical threads and the application of the elements of a love poem and in terms of the plot outline, somewhat reminiscent of his ballads. Szymborska's poem also concurs with her own poetics mostly due to the characteristic subtle auto-irony.

Wergiliusz jako twórca labiryntu

Romani antiqui putabant litteras aedificiis similes esse. Nonnulli scriptores Latini tali modo metaphoras suas composuerunt, ut descriptio aedificii una cum descriptione operis poetici esset. Aeneis etiam effigiem suam continet, quae est ecphrasis portae templi Apollinis. In fabulam Aeneae Vergilius fabulam Daedali introduxit, quae diu doctis ad nihil pertinere videbatur. Falsissime quidem, quia non solum coniunctio fabularum exsistit, sed etiam multae sunt causae fabulae Daedali hoc loco imponendae. Imprimis caelamen monstrat multos casus ex vita Daedali et Aeneae similes fuisse, deinde ostendere Daedalum creatorem hibridarum esse videtur. Aeneis etiam hibrida est, quia constat ex duabus partibus, quae sunt, ut ita dicam, „pars Odysseica” et „pars Iliadica”. Utri (Daedalus Vergiliusque scilicet) sunt ergo creatores hibridarum. Maximi momenti est quaestio: quis dicit “miserum!” in hac parte poematis? Auctrix commentationis censet illum clamantem Vergilium esse, quia poeta constructorem „alter ego” suum esse credebat. Auctrix scripsit etiam imaginem illam, in qua caelata est fabula de Minotauro sine Theseo, viam esse pietatis Aeneae minuendae. Scripsit verba illa quoque opinionem Vergilii de natura poesis et vocem Augusti absconditam esse.

Sacrum w drodze. Moskwa-Pietuszki Wieniedikta Jerofiejewa i Pulp Fiction Quentina Taranino w kluczu montażowego czytania

The aim of this monograph is the attempt of reading the poem Moscow-Petushki by Venedikt Erofeev and the film Pulp Fiction by Quentin Tarantino using the comparative approach, in which we go beyond the range of factual relationships, historical influences or similarities functioning in the structure of the presented world. The purpose of the book is to see both works of art from the angle of the montage theory of Sergei Eisenstein – the outstanding and highly regarded Russian director and film philosopher – which means studying cultural phenomena in their mutual intertextual relationships. The book focuses on the interpretation of the selected Tarantino’s and Erofeev’s texts of culture, in which the subject of the city, the search for the concept of the body at the end of 20th century and the problem of addictions constitute the dominant thematic issues. The monograph also offers the insight into the nature of the phenomenon of postmodernism and treats Eisenstein’s philosophy as the specific type of anticipation of postmodern tendencies in cinematography.

A Lesson for the King: Sotades’ Invective against Ptolemy (fr. 1 and 16 Powell) and Callimachus’ “Epigram” 1 Pfeiffer

The paper discusses the fable-like form of Callimachus’ Epigram 1 Pfeiffer and of Sotades’ fragmentary Invective against Ptolemy, and suggests that the former poem may contain an allusion to the latter. In the light of this reading, both poems are to be viewed as playfully encouraging the Ptolemies’ incestuous marriage.