Ja (po)romantyczne w poezji Czesława Miłosza. Dynamika przemian od "Trzech zim" do "Wierszy ostatnich"

Abstract

The subject of this dissertation is the transformations of the (post)romantic self in the poetry of Czesław Miłosz. Intellectually, the dissertation owes much to the foundational collective work edited by Jacek Brzozowski and Krystyna Pietrych, Strategies of the (Post)Romantic Self in Polish Poetry of the 19th-21st Century. The dissertation contains three main theses: The first indicates a close relationship between Romanticism and Modernism. According to the author's research, both movements constitute a philosophical-cultural continuum, with one of their essential common features being the central position of subjectivity in texts. The second posits that the poetic self in Czesław Miłosz's poetry is built on a modern, romanticmodernist conception of subjectivity. Thus, Czesław Miłosz is one of many twentieth-century authors continuing the romantic tradition. However, the manner of this continuation is nonobvious, surprising, and revisionist concerning the achievements of his predecessors. The third emphasizes that the monumental image of Czesław Miłosz is a stereotype. The author disputes Michał Paweł Markowski's view that Miłosz, unlike Witold Gombrowicz, fled from his chaos. The dissertation shows that Miłosz grappled with turmoil throughout his life. He was a creator for whom states such as doubt, pain, overwhelming incoherence, and existential dread were not unfamiliar. Even the constructive and consolatory contents in his work were often illusory and marked by ambiguity. These struggles are fascinating and aptly depict the portrait of a (post)romantic modern individual. The dissertation primarily employs the hermeneutic method.