http://hdl.handle.net/11089/50356 Gender non-fiction Sun, 05 Apr 2026 23:35:23 GMT 2026-04-05T23:35:23Z https://dspace.uni.lodz.pl:443/bitstream/id/3b893fe4-02d8-48d7-ab23-3f2f37d8edb3/ http://hdl.handle.net/11089/50356 http://hdl.handle.net/11089/54517 Militaryzacja ciała w wierszach Władysława Sebyły Dębińska, Aleksandra Śmieja, Wojciech; Lisowska, Katarzyna; Zatora, Anna World War I was associated with a vision that encouraged Poles to join the fight to regain independence. Romantic myths invoked in this context led to the idealization of wartime events and the heroization of those who took part in them. For this reason, Polish war literature differs from pacifist descriptions of war in Western European literature, but in the middle of the interwar period, Władysław Sebyła publishes his poetic debut, Pieśni szczurołapa (Songs of rat-catcher), in which he includes a series of Four Poems about War. His aversion to brutal militarism and armed conflict is revealed in those poems, so the main purpose of the article is to show how the poet creates an anti-military and catastrophic war landscape. I point out that the author focuses around the “bodily cycle of the soldier” — from life in the barracks through combat and finally, maiming or death. In my analysis, I will use Adam Dziadek’s project of somatic criticism to see the relationship between the body and rhythm and words in Sebyła’s poetry. Mon, 01 Jan 2024 00:00:00 GMT http://hdl.handle.net/11089/54517 2024-01-01T00:00:00Z http://hdl.handle.net/11089/54516 Echa awangardy — przypadek Juliana Kornhausera Piotrowska-Grot, Magdalena Śmieja, Wojciech; Lisowska, Katarzyna; Zatora, Anna This article examines the influence of avant-garde poetics on the poetry of one of the representatives of the New Wave — Julian Kornhauser. The text consists of two main parts. The first part explores how the creators of the New Wave perceived the avant-garde and what they aimed to achieve, and provides definitions of the avant-garde as an aesthetic phenomenon to broaden the research perspective and specify the correlation between the poetry of the New Wave and the historical avant-garde. The second part of the sketch consists of a collection of microanalyses of Julian Kornhauser’s poetic texts, which refer to avant-garde linguistic and aesthetic experiments. In the selected poems, we find, beyond intertextual references, plays with the works of Rilke, the Futurists, or Miron Białoszewski. This compilation aims to help answer whether (and to what extent) Julian Kornhauser is a post/neo-avant-garde poet. It also highlights the broad circles of cultural dialogues, which this creativity invites us to follow. This part also demonstrates the variety of forms of these references — from cryptic quotations through imitation (parody) of poetics to giving avant-garde poetic experiments new semantic and formal qualities. Julian Kornhauser appears as a descendant of the avant-garde — conscious of its power, constant presence, variability, and the impossibility of many of its demands. He is its disobedient ward, using its demands only partially, reshaping their original form. The avant-gardism of Kornhauser’s poetry, or rather, the inevitability, or, as Jan Sowa wrote, the persistence of the avant-garde, is manifested primarily at the intersection of poetry (prose) and reality, creating a new quality that allows for their correlation and coexistence. Mon, 01 Jan 2024 00:00:00 GMT http://hdl.handle.net/11089/54516 2024-01-01T00:00:00Z http://hdl.handle.net/11089/54513 Proste formy [hasło] Płuciennik, Jarosław Śmieja, Wojciech; Lisowska, Katarzyna; Zatora, Anna Mon, 01 Jan 2024 00:00:00 GMT http://hdl.handle.net/11089/54513 2024-01-01T00:00:00Z http://hdl.handle.net/11089/54512 Konstanty Gebert, Ostateczne rozwiązania. Ludobójcy i ich dzieło, wyd. II, Agora, Warszawa 2022, ss. 639 [recenzja] Juchniewicz, Andrzej Śmieja, Wojciech; Lisowska, Katarzyna; Zatora, Anna Mon, 01 Jan 2024 00:00:00 GMT http://hdl.handle.net/11089/54512 2024-01-01T00:00:00Z