https://doi.org/10.21697/zk.2025.12.25
The article is devoted to the problem of correspondence of arts that is literature and painting. It takes up the issue of the picturesqueness of modern poetry. The major stages of the analyze were: 1. defining the concept of “painterly literature,” 2. discussing the ways of permeation of painterly elements into the literary text focusing on the three coherent aspects that is linguistic, textual and graphic once (with reference to the findings of Seweryna Wysłouch), 3. characterizing the verbal and iconic image (with reference to the views of Roman Ingarden), 4. the presentation of the transformations the original text undergoes in a linguistic translation (following the classification of Edward Balcerzan), and 5. the presentation of the types and purposes of literary references to painting (classified by S. Wysłouch). In this research context, the mechanism of creating contemporary poetic ekphrasis (defined by Adam Dziadek and Pawel Gogler) is discussed. The essence of the aforementioned mechanism is clarified with reference to applied ekphrasis (characterized by Rozalia Słodczyk). The theoretical problems of references to the sister art taken up in this article are shown on the basis of Stanislaw Grochowiak’s poem “Breughel (II),” which was inspired by the painting “Hunters in the Snow” by the sixteenth-century Dutch painter Pieter Breughel the Elder. Hence, the article shows the successive stages of analysis and interpretation of the literary work as inspired by the painting artifact.
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Język Polski
English