Academic literature on the topic 'Parnassianism'

The article aims to discuss the Chinese culture inspirations in Polish and Portuguese modernist poetry. In the context of Polish-Portuguese literary relationships, late Romantic, Symbolic, Parnassianism-related and Oriental tendencies are presented in the works of a Portuguese poet Antón Feijó (1859–1917), with references to a selected aspect of Leopold Staff’s works (1878–1957). A historical-literary analysis is accompanied by literary and cultural comparative studies. Within the comparative method of presenting the Parnassian palimpsests, as 'The Chinese Lyric Book' ('Cancioneiro Chinês', 1890) by António Feijó and 'Chinese Flute' ('Fletnia chińska', 1922) by Leopold Staff are categorised, the thesis about the independent status of the works in question was built. Modernist visions of the Orient, understood to date a paraphrase or an adaptation of Chinese poetry read in translations from French, gain the status of original works. In view of blurring the differences between the European adaptations – Portuguese poem and Polish poetic prose, based on Oriental motifs drawn from two different French sources (translations): Judith Gautier’s and Franz Touissant’s works – and the Chinese original, the methodological approach to the text as to a palimpsest is justified. Feijó’s “Chinese Poetry” and Oriental poetic landscapes in Staff’s prose are therefore independent literary works, analysed in parallel, as mirror reflections of the fascination with the Orient’s culture. The literary works in question fully deserve the title of cultural texts, the recipient of which will be a Polish reader, a lover of poetry inspired by French Parnassianism.

Manuel Reina (1856-1905) was a cosmopolitan author who assimilated literary mod-els from outside Spain through his translated and original texts. In the essay that follows, we study in an exhaustive manner a part of his production that has been forgotten by literary criticism, that is, his work as a translator; and, furthermore, we group together for analysis, following a chronological reading that ranges from the first to the last writings in his literary career, the poems by Manuel Reina that provide evidence of the reception of the new French lyric poetry, of his advance from Romantic postulates towards Parnassianism and Decaden-tism, and of his contribution to the modernist aesthetics.

The article polemicizes with those findings in the history of literature that situate Norwid’s output within the Romantic movement, especially conclusions drawn by Zofia Stefanowska, Zofia Trojanowiczowaand Edward Kasperski, but also certain ideas developed by Rev. Antoni Dunajski, who argues that the poet’s historiosophic reflection is rooted in Hegelian dialectics (or German philosophy in general), seasoned with the Christian tradition and readings from the Bible. The authoremphasizes certain properties of Norwid’s poetics: an original concept of the protagonist, a personalist concept of history, irony, and the development of both the lyrical subject and the virtual lyrical audience, which all decidedly confirm that the poet functioned outside the said literary and ideological movement. These claims are also informed by the idea that even though Norwid operated beyond the Romantic convention, he would not embrace some other, existing trend (e.g. positivism or Parnassianism), or already represent one from the future (e.g. modernism). Instead, as a pre-modernist and precursor of contemporary lyricism, or a symbolist, he foreshadowed future literary movements. Accordingly, the article claims that Norwid’s work constitutes a separate and original phenomenon, at least in Polish literature.

The article polemicizes with those findings in the history of literature that situate Norwid’s output within the Romantic movement, especially conclusions drawn by Zofia Stefanowska, Zofia Trojanowiczowaand Edward Kasperski, but also certain ideas developed by Rev. Antoni Dunajski, who argues that the poet’s historiosophic reflection is rooted in Hegelian dialectics (or German philosophy in general), seasoned with the Christian tradition and readings from the Bible. The authoremphasizes certain properties of Norwid’s poetics: an original concept of the protagonist, a personalist concept of history, irony, and the development of both the lyrical subject and the virtual lyrical audience, which all decidedly confirm that the poet functioned outside the said literary and ideological movement. These claims are also informed by the idea that even though Norwid operated beyond the Romantic convention, he would not embrace some other, existing trend (e.g. positivism or Parnassianism), or already represent one from the future (e.g. modernism). Instead, as a pre-modernist and precursor of contemporary lyricism, or a symbolist, he foreshadowed future literary movements. Accordingly, the article claims that Norwid’s work constitutes a separate and original phenomenon, at least in Polish literature.

The article is devoted to the poet and professional revolutionary D. Gluškov-Oleron and his posthumously published Olympic sonnets (1922). What makes the presentation of classical antiquity in this cycle unique is that ancient culture is perceived by the author through the prism of the French Parnassians and Russian Symbolists. Antiquity turns out to be a “seven-voiced portico” that sounds the voices of seven different cultures : Greek, Roman, Egyptian, Persian, French, German and Russian. This highlights the atemporal character of the ancient world as an unchanging model. The integrity of the whole design, the strict inner logic of ordering the twenty-six sonnets contributes to the plot dynamics and internal consistency of the entire cycle.

This article deals with the correlation of the work of Vojislav Ilić, the most signifi cant Serbian poet of the late nineteenth century, with various literary trends: classicism, romanticism, realism, and the Parnassian-Symbolist school. Various points of view have been expressed on this issue for a number of years. V. Ilić is recognised mainly as a romantic with some authors noting inherent features of classicism, aestheticism, and symbolism in his work (Dragiša Živković and Dragiša Vitošević), some noting a closeness to realism and a break with romanticism (Jovan Deretić), and others recognising and at the same time denying Ilic’s belonging to any of these trends (Milorad Pavić). The syntheticity of Ilic’s talent is also noted, although the question of its nature is not considered (Regina Friedrikhovna Doronina). In this article, the starting point is the romantic principle in Ilić’s poetry and, owing to the spirit of the times, the further gradual overcoming of his romantic aspirations. Rejecting the subjectivity of romanticism, the poet turns to the early experience of his father, the famous poet Jovan Ilić, that is, to the experience of “objective lyrics” of the 1820s–40s. The appeal to antiquity, to the cult of tangible beauty, the perfection of the art form brought V. Ilić closer to the Parnassians, which naturally led the Serbian poet to symbolism. At the same time, V. Ilić, in the spirit of the modern development of national literature, also turns to realism, including “folkloric”, to a critique of the social foundations of the surrounding reality, to the social landscape. However, in general, the landscape descriptive lyrics of V. Ilić, often perceived as a manifestation of realistic tendencies, mean at the same time a return to the ancient idyll, and thus the approach to poetry of the Parnassians, who were close to the static idyllic landscape. In the landscape poetry of V. Ilić, his highest creative achievement, a synthesis of subjective and objective principles, modernity and antiquity, national traditions and experience of modern Western European literature, is manifested.

The question of literary translation of poems that are important in the context of developing a new artistic strategy by the leaders of the poetic movements of the Silver Age is considered. The relevance of the study is due to the fact that the multicultural and multilingual dialogue of translators is analyzed both with the texts of the original and with each other. The results of a comparative analysis of poems by Paul Verlaine “Art Poétique” in the translation of Valery Bryusov and Teofil Gautier “L’Art” in the translation of Nikolai Gumilyov are presented. The author notes that Bryusov saw ideas that resonate with his idea of symbolism as a stylistic phenomenon in Verlaine’s work. Particular attention is paid to the fact that Verlaine is polemicizing with the previous tradition - the poetry of the Parnassians, whose principles were embodied in the work of Gautier. The question is raised that Nikolai Gumilev, translating Gautier, engaged in implicit controversy with both Bryusov and Verlaine. The author dwells on the fact that the background of this polemic is the justification of the “neoparnassian” and “neoclassical” foundations in the style and poetics of acmeism. It is proved that the purpose of this polemic is the manifestation of the program mindsets of symbolism (in Bruce's version) and acmeism (in Gumilev version) based on the authority of Verlaine and Gautier.

This paper analyses the essay entitled "The Word as a Principle" by Yvan Goll (1891-1950), published in Zenit (Issue 9, November 1921), which shows the non European tendency of Avant-garde poetics. In his text, Goll emphasises the need to create a new form of poetry quoting the verses of the Japanese poet Daigaku Horiguchi (1892-1981), one of the most important Japanese poets and translators of the last century. As the son of a distinguished diplomat, a rare bilingual poet among the Japanese at the time, he published poems in French and Japanese. After reviewing research on Zenit conducted in Japan so far, the first part of this paper determines the original text of the mentioned poem. In December 1921, Horiguchi published in Paris his first collection of Tankas in French. The foreword to it was written by the famous French poet Paul Fort (1872-1960). Goll, however, did not take it from there, but from the manuscript of his anthology Les Cinq Continents, which was published in Paris in 1922. The chosen song by Horiguchi is not traditional, but shows a new poetic spirit. Although it was written in five lines, which is reminiscent of the tanka form (5; 7; 5; 7; 7), the poet introduced a new topic: how the Japanese feel in a foreign country. In order to clarify the nature of Goll's connection with Horiguchi, a detailed description of Horiguchi's life is given, focusing on his stay abroad from 1911 to 1925. It can be seen from his biography that the meeting with the French painter Marie Laurencin (1883-1956) in Madrid in 1915 marked Horiguchi's poetic turn: his interest shifted from the poetics of symbolism to the Avant-garde, as the painter introduced him to Guillaume Apollinaire's (1880-1918) poetry. After staying in foreign countries (Mexico, Belgium, Switzerland, Spain, Brazil and Romania), when he returned to Japan in 1925, Horiguchi published the Crowd under the Moon anthology, which contains translations of French songs from Parnassians to Avant-garde poets, including Yvan Goll. Although no traces of their connection can be established, it is clear that they both felt poetically related and close, with mutual respect. Finally, Goll's understanding of Japanese poetry in the context of Avant-garde poetics is considered in comparison with Miloš Crnjanski's essay entitled "For Free Verse" (1922), which also mentions Japanese poetry. While Goll emphasises the simplicity and conciseness of Japanese poetry, Crnjanski points to the improvisation as its significant feature. While Goll is searching for new poetry that is in line with living fast in the high-tech society, Crnjanski sees the everlasting connection of man with nature, which Japanese poetry is all about.

This essay considers a heterogeneous and often unreadable group of fin-de-siècle Brazilian writers that includes Parnassians, Symbolists, and Decadents. These artists imagined themselves part of a cosmopolitan, transnational movement that posed as extravagant or queer, turning their back on both emerging nationalist sentiments and urgent social issues of their time. This detachment, I argue, points to a queer mode of historicity. I further argue that an affirmative rhetoric of hope and community is insufficient to understand or cope with negative figures, that is, those who turn away from social life, communication, and, ultimately, from futurity. I first focus on two queer fin-de-siècle writers who committed suicide, Raul Pompeia (1863-95) and the playwright Roberto Gomes (1882-1922). I then propose that an archive of Brazilian "suicidals" may provide ways of reading these fin-de-siècle writers, as well as others who resist accommodation in the genealogy of national culture.

Submitted by Josiane ribeiro (josiane.caic@gmail.com) on 2015-04-24T17:40:21Z No. of bitstreams: 1 CLAUDIA JANE DUARTE MAYDANA.pdf: 672314 bytes, checksum: 39bc019d59e64b9df174bba6ce4becfe (MD5)<br>Rejected by Vitor de Carvalho (vitor_carvalho_im@hotmail.com), reason: Citação incorreta. on 2015-05-19T17:39:43Z (GMT)<br>Submitted by Josiane ribeiro (josiane.caic@gmail.com) on 2015-05-26T18:24:35Z No. of bitstreams: 1 CLAUDIA JANE DUARTE MAYDANA.pdf: 672314 bytes, checksum: 39bc019d59e64b9df174bba6ce4becfe (MD5)<br>Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-06-08T17:50:30Z (GMT) No. of bitstreams: 1 CLAUDIA JANE DUARTE MAYDANA.pdf: 672314 bytes, checksum: 39bc019d59e64b9df174bba6ce4becfe (MD5)<br>Made available in DSpace on 2015-06-08T17:50:30Z (GMT). No. of bitstreams: 1 CLAUDIA JANE DUARTE MAYDANA.pdf: 672314 bytes, checksum: 39bc019d59e64b9df174bba6ce4becfe (MD5) Previous issue date: 2010<br>Coelho Neto, apesar de sua vultosa produção literária, que dá conta de períodos que abrangem desde o Realismo ao Simbolismo, bebendo igualmente de fontes que se alimentam do Parnasianismo, Decadentismo e Pré-Modernismo, representa um paradoxo dentro do ideário histórico da literatura brasileira: considerado o escritor mais prolixo de sua geração, é também nos dias de hoje um dos escritores menos lembrados e citados nas histórias da literatura, em consequência, ocupando lugar desconfortável junto ao espólio literário brasileiro. Rechaçado pelos modernistas de 22 por manter-se adepto do preciosismo vocabular e por desconsiderar quase integralmente a identidade nacional, volta-se para um tom impregnado de uma ultrapassada belle époque na maioria das obras. Dessa forma dá continuidade a seu estilo literário, a despeito de toda a crítica desfavorável, e produz por quase mais 20 anos. A proposta desta dissertação é evidenciar através da obra Esphinge, de 1908, que Coelho Neto aponta para a conscientização dos novos tempos, e revela características que corroboram o advento da Modernidade, conforme proposto por Charles Baudelaire. O objetivo principal é demonstrar que é possível o seu resgate do limbo literário, e devolver-lhe motivos para que novamente faça parte da História da Literatura Brasileira.<br>Coelho Neto, despite his huge literary production, which comprises periods from Realism to Symbolism, as well as taking part in Parnassianism, Decadentism and Pre-Modernism, accounts for a paradox in the history of Brazilian literature: known as the most prolific from his generation, he is equally one of the least remembered and quoted writers in the history of literature these days, thus occupying an uncomfortable place in the Brazilian literary heritage. Cast aside by the modernists from the “week of 22” for remaining devoted to the preciousness in vocabulary and for disregarding the national identity almost entirely, he approached an outdated belle époque tune in most of his books, thus, Coelho Neto carried on with his literary style, producing for almost 20 years, in spite of all unfavourable criticism. This dissertation proposes highlighting, through the 1908´s book, Esphinge, that Coelho Neto points out to some awareness of the times to come, revealing characteristics which corroborate the Modernity advent, as proposed by Charles Baudelaire. The main aim is to demonstrate that Coelho Neto's rescue from the “literary limbo” is possible, drumming up support, hence, to his role in the Brazilian literary history once again.

As últimas décadas do século XIX foram marcadas por grandes transformações na sociedade brasileira. Além do fim da escravidão e da instauração do regime republicano, assistiu-se a um significativo crescimento das cidades, o que impactou o estilo de vida das classes instruídas e os valores herdados do sistema patriarcal. Em A musa de espartilho, o erotismo na poesia parnasiana brasileira é investigado em suas possíveis relações com seu contexto histórico-social, levando-se em conta as continuidades e descontinuidades com a sensibilidade romântica. Quatro poetas são estudados: Raimundo Correia, Alberto de Oliveira, Francisca Júlia e Luiz Delfino.<br>The last decades of the nineteenth century were marked by major changes in Brazilian society. In addition to the end of slavery and the establishment of the Republican regime, there has been a significant growth of cities, which impacted the lifestyle of the educated classes and the inherited values from the patriarchal system. In A musa de espartilho (The muse wearing a corset), the eroticism in Brazilian Parnassian poetry is investigated in its possible relations to its historical and social contexts, taking into account the continuities and discontinuities with the romantic sensitivity. Four poets are studied: Raimundo Correia, Alberto de Oliveira, Francisca Julia and Luiz Delfino.

A dissertação focaliza Mário de Andrade leitor dos parnasianos brasileiros a partir de sua marginália nos autores e obras com os quais ele dialoga, em sua biblioteca particular, na segunda metade do decênio de 1910 e antes de 1921, quando o Jornal do Comércio estampa a série de sete artigos, Mestres do passado, em que ele se posiciona como modernista. Aos doze títulos vinculados à abordagem dos poetas parnasianos Francisca Júlia, Raimundo Corrêa, Alberto de Oliveira, Olavo Bilac e Vicente de Carvalho, nos artigos referidos, circunscreve-se a exploração das anotações autógrafas que preservam instâncias do processo criativo do crítico e de Mário de Andrade poeta em formação, na primeira parte deste mestrado. A recuperação integral dessa marginália, mediante transcrição e classificação acompanhada de notas da pesquisa esclarecendo determinados aspectos e traçando correlações com obras do escritor, compõe a segunda parte da dissertação, parte que constitui também um rigoroso instrumento de trabalho para os estudos sobre o escritor e sobre o parnasianismo no Brasil.<br>The dissertation focuses on Mario de Andrade reader of brazilian parnassians from his margin notes in the authors and works with whom he dialogues, in his private library in the second half of the decennary of 1910 and before 1921, when the Jornal do Comércio stamp a series of seven articles, \"Mestres do passado\", in wich he stands as modernist. To the twelve titles linked to the approach of the parnassian poets Francisca Julia, Raimundo Corrêa, Alberto de Oliveira, Olavo Bilac and Vicente de Carvalho, in the articles referred, is limited to exploitation of handwritten notes that preserve instances of the creative process and critical of Mário de Andrade poet in training, in the first part of this masters degree. The full recovery of his margin notes, by transcription and classification accompanied by notes explaining certain aspects of the research and plotting correlations with works of the writer composes the second part of the dissertation, which is also part of a rigorous working tool for studies on the writer and on the parnassianism in Brazil.

A la fin du dix-neuvième siècle et au commencement du vingtième, la poésie péruvienne a eu une particulière relation avec différentes traditions littéraires, et surtout avec la poésie française. Dans la présente thèse on cherche à expliquer les liens entre le Symbolisme français et quelques poètes péruviens de cette période : Nicanor Della Rocca de Vergalo, Manuel González Prada et José María Eguren. On cherche à établir une lecture « intertextuelle » entre les textes des « Maîtres » du Symbolisme (Baudelaire, Verlaine, Rimbaud et Mallarmé) et les poètes péruviens mentionnés. En plus, cette lecture doit considérer les rapports et les différences avec des mouvements et concepts proches du Symbolisme, comme le Parnassianisme et le Décadentisme, ainsi que le Modernisme hispano-américain. Alors, cette recherche est une étude comparative entre deux traditions qui ont établi un « dialogue » particulier: Rocca de Vergalo, dont les livres ont été écrits en français, contribue au processus du vers libéré français ; González Prada a rénové la poésie péruvienne avec des formes européennes (par exemple le rondeau français) et a été aussi le diffuseur du Parnasse et du Symbolisme au Pérou ; et José María Eguren est le créateur d’un symbolisme particulier en langue espagnole. Sa poésie est un mélange de diverses traditions européennes, « acclimatées » dans son original modernisme et même postmodernisme. C’est une vision fantastique du monde à partir de sujets « obscurs » à partir de l’enfance, l’absence et la mort<br>From ends of 19th century and beginnings of the XXth, the Peruvian poetry had a particular relation with different traditions, and especially with the French poetry. In the present thesis we try to explain the links between the French Symbolism and some Peruvian poets of this period: Nicanor Della Rocca de Vergalo, Manuel González Prada and Jose María Eguren. We try to establish an "intertextual" reading between the texts of "teachers" of Symbolism (Baudelaire, Verlaine, Rimbaud and Mallarmé) and the Peruvian poets. In addition, these analysis must to consider the relations and differences with movements and concepts next the Symbolism, as the Parnassianism and the Decadentism, and also with the Spanish-American Modernism. Since then, this research is a comparative study between two traditions that established an peculiar "dialog": Rocca de Vergalo, whose books have been written in French, is a part of the process of "liberated verse"; González Prada renewed the Peruvian poetry with European forms (for example the French "rondeau") and was also the diffuser of Parnassianism and Symbolism in Peru; and Jose Maria Eguren is the creator of a particular symbolism in Spanish. His poetry is a mixture of diverse traditions, "acclimated" in his original modernism and postmodernism. It is a fantastic vision of the world from "dark" topics as the infancy, the absence and the death

The work aims to analyse and interpret the Czech satirical output of the second half of the 19th century considering the so called Parnassianism. Following the work Concepts of Satire in the National Revival Literature, the first part introduces the genre of satire, its origination and forming during the literary history, then the concept of Parnassianism is worked out together with its current state of research. In the second part, the initial premises are confronted with the results of the studies of the particular works in which the poetics and the literary genre are implemented. The attention is paid to the pieces written by S. Čech: poems Evropa, Hanuman and Šotek and three prosaic texts with the main character called Matěj Brouček - Pravý výlet pana Broučka do Měsíce, Nový epochální výlet pana Broučka, tentokráte do XV. století and Matěj Brouček na výstavě.

Celem dysertacji było wykazanie, że parnasizm stanowi tradycję, która w sposób znaczący zaważyła na poetyce Norwidowego wiersza. Rozpatrywanie dojrzałej twórczości Cypriana Norwida bez uwzględnienia kontekstu kultury francuskiej staje się niepełne i niewystarczające, jeśli chcemy mówić o historycznoliterackiej wartości i rzeczywistej oryginalności dzieła artystycznego polskiego poety. Badania zwracały uwagę na związki autora Vade-mecum z kulturą anglosaską włoską czy niemiecką Częstokroć pomijano natomiast związki autora Jeszcze Francja nie zginęła z kulturą francuską, mimo że to nad Sekwaną spędził Cyprian Norwid ogromną część swego życia. Zasadą konstrukcji dysertacji była szeroko rozumiana chronologia. Pierwsza jej część dotyczy tradycji, z jakiej czerpali parnasiści francuscy oraz autor Kleopatry i Cezara. Główną inspiracją parnasistów był antyk. Kwestia antyku od początku zajmowała także Cypriana Norwida i stale towarzyszyła mu w refleksjach zarówno stricte osobistych (por np. Vendôme), jak też w rozważaniach „ogólnoludzkich”. Nie mniejsze znaczenie ma dziedzictwo antyku, gdy poeta podejmował zagadnienia narodowej historii Z parnasistami francuskimi łączyło Norwida podobne traktowanie antycznych źródeł oraz zachowanie klimatu starożytności w dziełach. Tworzyli oni sztukę autonomiczną (czasem hieroglificzną) i wolną od jakiejkolwiek wpływów politycznych. Dla polskiego poety, doświadczonego przez klęskę ruchów narodowo-wyzwoleńczych, brak niepodległości politycznej, cenzurę oraz później niezrozumienie przez odbiorców, postulat sztuki niezależnej, sztuki jako wartości ponadczasowej, docenionej dopiero przez „późnego wnuka”, stanowił jedyną możliwą drogę rzeczywistego rozwoju artystycznego. Następne rozdziały zostały poświęcone teorii i praktyce parnasizmu. Kolejno są przedstawione wspólne cechy dla twórczości Norwida i parnasistów: samowystarczalność sztuki, autonomiczność sztuki względem twórcy, Boska proweniencja sztuki, idea jedności obrazu i słowa Sztuka w ujęciu Norwida i parnasistów francuskich była wartością samą w sobie, istniała niezależnie od artysty, oczekiwań odbiorców, momentu historycznego. Stanowiła odbicie tego, co idealne, jedną z postaci idealnego piękna, wzbogacającego duszę człowieka. Dla parnasistów francuskich sztuka stawała się najwyższą doskonałością i celem poznawczym. Takie ujęcie boskiej proweniencji sztuki wywodziło się z antyku i nawiązywało do samej nazwy parnasistów, do Parnasu. Synteza sztuk obecna w dziele parnasistów francuskich i Norwida także miała swoje tradycje antyczne. Była ona stosowana jako zasada, która umożliwia uchwycenie istoty idealnego piękna pod różnymi postaciami, obiektywnej idei, przejawiającej wielorakie formy. Bliskie wymienionym twórcom okazuje się pojęcie nauki jako narzędzia, za pomocą którego możliwe było obiektywne i precyzyjne ujmowanie zjawisk. Stawała się ona dla parnasistów, jak pisał Leconte de Lisle, główny adept naukowości wśród parnasistów, orężem w walce ze zmiennością świata. Nauka wnosiła także wymiar uniwersalności do ich dzieł. Pozwalała odnaleźć stałość w zmienności i zatrzymanie w pędzie ówczesnego świata Kluczem do rozumienia i przedstawiania świata była harmonia, czyli w tym ujęciu równowaga ściśle łącząca się ze stylem naukowym. Harmonia stanowiła synonim równowagi i dystansu wobec zmieniającej się rzeczywistości, a także narzędzie niezbędne do precyzyjnego i pełnego wyrażania prawdy o świecie. Harmonia nie była więc tylko i wyłącznie postrzegana przez parnasistów jako środek gwarantujący piękno estetyczne dzieła, lecz wiązała się z potrzebą wykreowania usystematyzowanego przekazu. Służyła ona także do wytworzenia kontrastu, gdyż z pozoru uporządkowane i przepełnione pięknem formalnym utwory kryły złożoną, wyrafinowaną, niekiedy brutalną prawdę o rzeczywistości. Forma jako składnik języka poetyckiego miała dla parnasistów francuskich, jak i dla Norwida bardzo duże znaczenie. Stanowiła o jakości przekazu i o jego wyrazistości. Rym na przykład był bowiem nie tylko środkiem stylistycznym, ornamentem brzmieniowym, lecz integralną częścią filozofii dzieła. Rym funkcjonował w tej poetyce również jako odsyłacz zawierający w sobie sugestię wielu znaczeń i wzbogacający poetycki przekaz. Podobnie, poezja parnasistów, odwołując się do rymu, nie przejawiała sie się jedynie w pięknych formach, lecz stosowała rym jako słowo magiczne, które pozostawia przed odbiorcą wiele otwartych drzwi. To właśnie było istotą poezji parnasistów i Norwida – kondensacja treści w pięknej formie, by pobudzić czytelnika do refleksji, uczynić poezję środkiem do aktywnego obcowania ze sztuką. Forma była sama w sobie nową treścią, postrzeganą na równi z przekazem słownym. Zawierała wskazówki dla odbiorcy poprzez rym, odpowiednie rozmieszczenie akcentów znaczeniowych, znaki graficzne, przyznając mu rolę aktywną w odczytaniu dzieła, podobnie, jak miało to miejsce w późniejszych epokach aż do czasów obecnych. Następnie staram się wykazać, że postulat „Sztuka dla sztuki” nie był hasłem kreacji artystycznej nakierowanej na samą siebie, a pozbawiony kontekstu społeczno-historycznego, stawał się już wtedy niezrozumiały i źle interpretowany. Poezja nastawiona na przekazywanie wartości, idei estetyczno-moralnych pełniła niezwykle istotną rolę w programie artystycznym omawianej przeze mnie grupy twórców. Jej zadaniem było kształtowanie moralności jednostki przez ukazywanie fałszu i hipokryzji ludzkich dążeń. Ostatnia część dysertacji to świadectwa epoki. Dotyczy ona odwołań do czasów, w jakich żyli parnasiści. Przekazywali oni obraz rzeczywistości, ukrywając się pod postacią flâneura, eseisty czy antycznego narratora, by dać świadectwo kulturze ich współczesności. Podróż do przeszłości, do innej przestrzeni geograficznej stawała się pretekstem do wypowiadania, tak ważnej dla Norwida, prawdy o świecie. Poetyckie obrazy „malarza życia”, przedstawiające określone sceny codzienne lub, jeśli tak można powiedzieć, „codzienno-antyczneˮ mają zawsze głębsze, często niewypowiedziane znaczenie. Podróż jest więc utożsamiana z wędrówką przez życie (a śmierć stanowi jej zakończenie). Dla Norwida motyw wędrówki łączył się dodatkowo z przyjęciem postawy pielgrzyma, a więc miał wymiar religijny i nawiązywał bezpośrednio do tradycji biblijnej, w której życie oznaczało wieczne pielgrzymowanie na ziemi. The aim of my dissertation was to elucidate both the traditional impact and the influence that Parnassianism had on Cyprian Norwid’s poetry. Indeed, the unorthodox style of his literary works is inseparable from the French cultural context of that time as well as its compelling historical preponderance and originality whereof we discuss, not least the hints of English, Italian and German culture in relation to the Vade-mecum’s author. Moreover, even though he spent much time in Napoleon’s home-country, his intent to enlighten the presence of French culture in his literary work Jeszcze Francja nie zginęła was often overlooked. Another premise I had in editing my insight was to shed light on the chronology of his works and, to begin with it, primarily, whilst reading Kleopatra i Cezar, it is marvelous to appreciate how good it references to the French amateurs, partisans and to himself alike, all of whom shared a particular attraction to and tried to emulate the French movement’s style, notwithstanding that it always was the lust for antiquity which fueled their true inspiration. This very issue existed, though latent, in Norwid’s covert as well as overt reflections (for instance, Vendome). Likewise, similar relevance can be attributed to the antique canon, thence the Polish poet’s concern for national history emerged. In addition to that, it is by skimming the French Parnassians’ scripts that Norwid acknowledged the relationship between the treatment of ancient sources and the preservation of unperturbed similar register amongst the literary works. These individuals did indeed give rise to a new art (oft hieroglyphic) and devoid of any political paroxysm. Yet to Norwid, aggrieved by the defeat from the side of nationalistic movements, marred by the sheer incomprehension of his literary style, and by meddling of the trendy political power contributing to widening his unmet purpose, „late grandson” represented the only viable way to gain acknowledgement for his workings. Next, by looking into the theoretical and practical motif of Parnassianism, we can draw common features from both Norwid and other like-partisans: the conviction of art’s self-sufficiency, art’s autonomy in perspective of the Creator, art’s divine provenance and the idea of image-cum-word bond. Paradoxically, to Norwid and French Parnassians alike art was wealth in itself and, thus, did not need any warrant from either artists or customers’ needs, oft led by momentous trends. Art was more than just that; it was a reflection of what is desirable, what beauty is all about and all that enriches a person’s soul. Art was to Norwid’s French peers, actually, the embodiment of perfect completion and cognitive wholesomeness whereupon they rooted art’s divine provenance to antiquity, of which the Parnassus mount served as inkling to Apollo. The genre used by both the Polish author and his French Parnassian peers highlights the transcendental importance of old tradition in art and the capacity of beauty essence in its various forms and unadulterated multiple derivations. More hints of Cyprian Norwid’s cunning and avant-garde style amongst other short-listed writers of his time can be retrieved by perusing his Count of Lisle oeuvre, wherein he references to the role of good instruction and science as a means to stave off the insecurity and instability enacted in a world of flippant psychological boundaries and the need of harmony as opposed to the divisiveness now becoming ever more widespread in the society as a whole and as a key to assert the art’s candour, too. Harmony was not merely seen by these partisans as a genuine composite of aesthetics widening the content of the works. It also stressed their commitment to effectively communicating the works’ significance. It served as foil in that, even though Krylya had plenty of orderly formal bearings asserting beauty as the main object, the brutality of reality often transpired. In fact, the use of rhyme as genre in poetical language had great importance to French Parnassians and Cyprian Norwid; it did indeed, from a philosophical perspective, convey communicative quality and clarity to the literary works thereby portraying a wide range of suggestions conducive to the texts’ meaning. Similarly, by analyzing the writing style amongst Parnassian poetical texts, rhyme is not only referred to as a catalyst of effulgent oeuvre. It leaves the reader ravenous, too. This magnetism acted as a trigger to instill interest in the reflexive reading of that particular genre – essence of the Parnassians’ and Norwid’s literary works – as regards to its input on the content’s relationship with art. Besides, the importance of the verbal message and genre in his literary works was de facto equivalent, as it emerges from Cyprian Norwid’s poetry’s canon concerning his use of semantics, rhyme and scripts ever since he pursued his research of the perfect literary-style. More careful attention should be paid, too, to Cyprian Norwid’s „Art for art's sake” and, particularly so, if we are to address the flawed principle of denying his genuine interest in art in itself as well as refuting the intent to dissuade his pupils from ackwnowledging the difficult customary social context in which the Polish author chased his aim, holding off the incomprehension and misunderstanding he suffered from normal people. Furthermore, by consulting the artistic programme of other active Parnassian peers, it is undeniable that, on one hand, the accurate portrayal of value, premise, aesthetics and morality in the literary works of the Polish author functions as the pillar of his genre, while on the other, it denounces the deceptive and hypocritical nature of human aspirations. Last, though not least, we will try to fathom Cyprian Norwid’s as well as his peers’ boundless literary genres in relation to the consensus that Parnassianism applied thereto. The evidence suggests the disguise of reality as flaneur, expectant of the ancient narrative and essayist’s writing-style, all of which conveys to it an everlasting transcendence. Norwid’s need to find inspiration in past geographical contexts and other similar historical trends of former times, originates from his desire to speak the truth about the world and that is particularly noticeable by glancing at the portraits of poetic images concerning the Polish author, wherein nostalgia for retrograde life-style contributes to the vastness of latent interpretations attributable to Cyprian Norwid’s workings, for whom life is no more and no less than a journey with death constituting its final destination, though, not the end. Other than that, amongst his literary works, similarities between life and therefore – biblical morale - transpire thereby evincing the author’s strong appreciation of religious dimension, that which groups all of the human kind as brethren along the pilgrimage of life.

The subject of this thesis is a characterisation of key motivic units in lyrical works of Jaroslav Vrchlický and Jiří Karásek ze Lvovic, thus it explores Czech parnassian and decadent poetry of the end of 19th century. It observes and traces literal, esthetical and thought shifts of both authors from the aspect of various motives usage. The thesis is divided into five chapters, each of them dealing with one specific motivic unit. The chapters are: 1. Motives of woman, body and sexuality. 2. Motives of dream, imaginary and escape. 3. Motives of dying, disease and decay. 4. Motives of depressiveness, grief, bitterness and vanity. 5. Motives of nature and landscape. Each chapter compares these motives, examines their usage by both authors and looks at how their form and expression undergo a process of certain changes. It also focuses on those motives that appear as completely new elements in their poetry. The conclusion provides with brief summaries of all chapters and a short look through frequency word dictionary of relevant volumes of poems.

Abstract Suzanne Cesaire’s characterization of literary production on Martinique, in an article in Tropiques (1941), ‘Misere d’une poesie’, holds for French writing in the other French territories in the Caribbean. Poetry was the dominant genre and romanticism, Parnassianism, and symbolism had been the literary movements to which West Indian writers had contributed. The poets regarded as models were Baudelaire, Hugo, Verlaine, Leconte de Lisle (born on La Reunion), Theodore de Banville and Jose-Maria de Heredia (both born in Cuba). Classical forms dominated and the themes were conventional: the description of ‘exotic’ landscapes, melancholic meditations in the twilight hours, and so on.

This chapter examines the Sierra Nevada parnassian, a butterfly species which dwell nowhere else in the world but in the Range of Light. Despite their voracious appetites, the young parnassians cannot manage to consume quite enough calories during the short, high elevation summer to reach full maturation. Upon shedding its chrysalis, the adult Sierra Nevada parnassian bears a leonine ruff and a fuzzy coat of fur flocking the entirety of its black body. The striking designs of the parnassian's wings warn predators they had better think twice, lest they get a bitter mouthful of poison. In the Sierra fellfields, the parnassian does two things we all must do: it finds the nutrition it needs in the place where it has been given life, and it finds a way to protect itself.

This second case study of Part I focuses on the English Parnassian revival, and, specifically, on Gleeson White’s definitive anthology of Parnassian poetry (featuring poets such as Graham R. Tomson, W. E Henley, John Payne and A. Mary F. Robinson). The chapter argues for the strict metrical structures of the Parnassian poet as engaging not in a nostalgia for a secure and orderly ideal of the past, but with the machine and commodity rhythms and forms of the ‘second’ industrial revolution. This engagement with the past in fact a means of engaging with the present. Ultimately asking what kind of historicism the new Parnassians were practicing in their borrowing of medieval French forms, the chapter finds models that speak to Benjaminian, post-Enlightenment, ideals, and move lyric away from the older, Hegelian lyric temporalities.

The article is devoted to the problem of continuity of Parnassianism in the oeuvre of poets of the first wave of emigration and it is based on material of an analysis of three poems by V. Khodasevich, G. Ivanov and Yu. Terapiano. The poetic controversy between Khodasevich and G. Ivanov in the early 1920s revolved around different views on the role of the poet in difficult historical times, as well as around the dispute about where art comes from, from above or from the soul of the poet. Ideas close to the views of G. Ivanov stemmed from the views of his teacher N. Gumilev, expressed in his article about Theophile Gautier. Already in the 1930s, the same ideas resonated in the work of Yu. Terapiano. He creates a cycle of poems “French Poets”. The Parnassian poet Leconte de Lisle in his poem subordinates the feelings and the world around him in difficult times when “there is no support”.