Relevant bibliographies by topics / Polish War poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Polish War poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Polish War poetry"

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Woldan, Alois. "Andere Stimmen – Protest gegen Krieg und Gewalt in der polnischen und ukrainischen Dichtung über den Ersten Weltkrieg." Przegląd Humanistyczny 63, no. 1 (464) (2019): 7–25. http://dx.doi.org/10.5604/01.3001.0013.4970.

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Polish and Ukrainian poetry on World War I have much in common: they were written mainly by soldier-poets, young men fighting in the Polish Legions or the Ukrainian Sich Riflemen. This poetry is, first of all, a patriotic legitimation of the war as a way of regaining political independence. Heroism and suffering for the fatherland are dominating issues. Nevertheless, besides this pathetic gesture, we can find voices that point out the horror of war and question it at all. Such criticisms is expressed by certain motives, which appear in both the Legions’ and the Sich Riflemens’ poetry, like: fratricide, lists from soldiers to their families at home, devastation of nature and culture, autumn and death, as well as pacifist notions. These voices do not form any dominant discourse in the poetry on World War I, but they are not to be ignored, as they mark a common place in the Polish and Ukrainian literature at this time, which has not been researched until now.
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Szewczyk-Haake, Katarzyna. "The Works of Marc Chagall in Polish Poetry (from the 1950s to the 1980s)." Porównania 28, no. 1 (2021): 71–99. http://dx.doi.org/10.14746/por.2021.1.4.

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The article presents a profound and artistically very successful phenomenon of the reception of Marc Chagall’s works in Polish poetry form the 1950s to the 1980s. Different from the reception of Chagall in other “Western” literatures (examples discussed in the article derive from French poetry), the Polish reception is marked first of all by the events of the Second World War and the Holocaust. As during the war almost all material and cultural traces of the Jewish presence in Poland were annihilated, the works of Chagall became a point of reference for many poets (e.g. Jerzy Ficowski, Joanna Kulmowa, Janusz S. Pasierb, Tadeusz Śliwiak), enabling them to express a part of Polish culture which was tragically deprived of its own forms of expression and existence.
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Dubyk, Halyna. "From Wolyn to "Wolyn"." Tekstualia 2, no. 33 (2013): 45–62. http://dx.doi.org/10.5604/01.3001.0013.6585.

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The article presents a rather little-known poetic group „Volyn,” founded in the 1930s by Czeslaw Janczarski. The literary work of its founder and most mature pre-war representative serves as a basis for the presentation of the group, whose members were perhaps the most convinced advocates of regionalist poetry in Polish literature of the twentieth century. In addition to pre-and post-war literary writings of Janczarski, the article also discusses works written by other members of the group, for example Podmajstrowicz and Iwaniuk.
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Aleksandra Kremer. "Polish Futurism Revisited: Anatol Stern and his Post-War Poetry Recording." Modern Language Review 111, no. 1 (2016): 208. http://dx.doi.org/10.5699/modelangrevi.111.1.0208.

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Buryła, Sławomir, and Jerzy Giebułtowski. "Representing the Warsaw Ghetto in Polish Literature." Polish Review 68, no. 1 (2023): 59–74. http://dx.doi.org/10.5406/23300841.68.1.04.

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Abstract This article discusses depictions of the Warsaw ghetto in Polish poetry, prose fiction, and drama. Of all the ghettos established by the German authorities in the former Second Republic of Poland, the Warsaw ghetto is portrayed most frequently by writers. Here, representations of the Warsaw ghetto are presented in chronological order. The article covers portrayals of the Warsaw ghetto during the war, in the immediate postwar years, in the period between the 1950s and 1980s, and after the fall of communism in 1989. The article also discusses selected literary topoi related to the Warsaw ghetto. The biggest changes in the literary portrayal of the ghetto took place after 1989 and were related to the abolition of censorship, the influence of popular culture, and the emergence of writers born after the war, including representatives of the “third generation.”
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Stachura-Lupa, Renata. "O "Polskiej pieśni niepodległej" Jana Lorentowicza." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 75–85. http://dx.doi.org/10.24917/20811853.18.6.

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The paper presents the work of Jan Lorentowicz Polska pieśń niepodległa, published before Poland regained its independence (fragments published in 1915/1916 (no. 1–2), a separate publication of the whole – 1917). This work is among those texts written by Lorentowicz which have been forgotten. Nevertheless, it is the evidence of the critic’s erudition, literateness and passion for patriotic poetry, as well as a depiction of social mood during the Great War. According to Lorentowicz, an independence song is inspired by collective experiences – of servitude, conspiracy and national liberation uprisings – shared by subsequent generations of Polish poets and poetry readers. It is a testimony of an ‘irrepressible’ Polish spirit, the faith of the nation in regaining independence and existing against all odds; it is also a record of its fight and martyrdom.
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Stanaszek, Maciej. "Życie dzielone Karla Dedeciusa (1921–2016)." Studia Interkulturowe Europy Środkowo-Wschodniej 10 (November 15, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.5765.

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The article presents the figure of Karl Dedecius (1921–2016) by exploring his activity as a translator and ambassador of Polish – but also Russian – literature and culture in German-speaking countries (mainly Germany). Having spent his youth in pre-war multicultural Łódź and – after the outbreak of WW II – having been a prisoner of war in Soviet camps, in December 1949 Dedecius moved to the GDR, from where he fled three years later with his family to West Germany. For 25 years he had divided – his life between literary translation, notably poetry, work as an insurance agent and family matters, and after retiring he managed to set up the Deutsches Polen-Institut, a non-governmental institution devoted to the popularisation of Polish literature in Germany, which he led in the years 1980–1998. As one of his close collaborators states, Dedecius’s editorial legacy comprises about 200 books which he either translated, wrote or edited, with poetry translations and literary essays being the core of his literary activity. He rendered some 3,000 poems of roughly 300 Polish poets into German and composed ca. 10 books that present and analyse – chiefly the 20th-century – Polish literature; some of them also contain essays on translation, fragments of which are cited and commented in the present article. Another important source and basis of considerations is Dedecius’s autobiography Ein Europäer aus Lodz [A European from Łódź], which explains the background of the author’s life at its different stages.
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Szewczyk-Haake, Katarzyna. "Olwid, Or the Beginnings of Polish Postcolonialism." Ruch Literacki 57, no. 4 (2016): 446–60. http://dx.doi.org/10.1515/ruch-2017-0074.

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Summary This article presents a postcolonial interpretation of Olwid’s (Witold Hulewicz’s) book of poems Flame in Hand (Płomień w garści, 1921). His poetic ‘fragments’ describing the experience of the World War are remarkably similar to the poetry of German expressionism. Whereas previous critics treated this similarity as a proof of the derivative, unoriginal nature of the Poznań expressionism, this article claims that Olwid’s was a deliberate attempt to start a rapprochement between the Polish and the German culture. After decades of colonial dependence the breakthrough of 1918 the two cultures had a chance to resume a dialogue of equals with the expressionist poetics as a new footing. Hulewicz tones down the difference between the hegemon and the victim in the spirit of the expressionistic search for common humanity. To that end he also develops a new interpretation of the Polish Romantic tradition. His endeavours mark him out as a precursor of postcolonial criticism, and more specifically that type of postcolonialism which uses the emancipatory strategy as a means to the creation of a ‘truly free man’. That high goal is pursued not because of a commitment to cosmopolitanism but in the name of absolute human values.
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Kowalczyk, Adam. "Czarny humor w twórczości Władysława Szlengla ze szczególnym uwzględnieniem wiersza „Mała stacja Treblinki”." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 121–29. http://dx.doi.org/10.24917/3927.

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Black humor in Władysław Szlengel works, with particular focus on Mała stacja Treblinki (A small station called Treblinki) Władysław Szlengel (1914–1943), was a Jewish poet writing in Polish. His works are the best example of the use of black humor in Polish poetry of World War II. War caused him to change his worldview, which is reflected in the change of humor in his works. The shift was so powerful that in fact Szlengel-commentator replaced Szlengel-satirist. He did not hesitate to use the sharpest irony both against his enemies and against other victims of the system. His poem A Small Station Called Treblinki is the most shocking instance of black humor.Key words: Władyslaw Szlengel; black humour; holocaust; humour; risus sardonicus;
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Janicka, Anna. "Tamara Karren. Próby biograficzne." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 48, no. 3 (2020): 143–59. http://dx.doi.org/10.36770/bp.523.

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The author of the article analyses the work of Tamara Karren (1918–1997), Polish writer and publicist associated after the Second World War with London’s emigration for independence. Karren is the author of two dramas, a volume of poetry, many journalistic articles, unpublished letters and Memoirs. However, her literary creation didnot manage to reach a wider audience and is poorly known in Poland. The text is therefore an introduction to the works of the writer, whose personality is determined by her biography, Jewish origin, Polish patriotism and immigrant status.
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Dissertations / Theses on the topic "Polish War poetry"

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Sokołowska-Paryż, Marzena. "The myth of war in British and Polish poetry, 1939-1945 /." Bruxelles ; Bern ; Berlin : Presses interuniversitaires européennes (P.I.E) : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb38878942n.

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Giemza, Mara J. "Box of chalks : a sequence of poems based on the conscription of Polish boys into the German Army under the Volksliste." Thesis, University of Chichester, 2013. http://eprints.chi.ac.uk/805/.

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This creative thesis comprises a book length collection of poems entitled Box Of Chalks, and an accompanying prose commentary exploring issues of research, drafting and the forming of a narrative sequence of poetry. The book of poems is based on the experience of Polish boys and men forcibly conscripted into the German Army by National Decree, 4th March 1941. This enforced conscription remains a little acknowledged fact which I discovered is still refuted in some Polish communities. The poems are written from the viewpoint of one conscript. They consist of dramatic monologues, a duologue and a voice of the Valksliste. The poems cover a period from boyhood to old age. The accompanying prose commentary on the process of researching the historical material and the artistic drafting of the poems is formed of six chapters. Chapter One explores the genesis of the poems in the historical events of German conscription in Silesian Poland. Chapter Two discusses the ethics of using another's voice and the painful experiences. In this chapter, I trace the creative choices made from composite experiences as the voice of the sequence gradually developed. In Chapter Three, I show how facts, memories and experiences were gleaned through interviewing survivors and one survivor in particular. This chapter further examines the history of the Polish war experience and shows how oral reminiscence is linked to historically recorded events. The chapter shows how gleanings from these 'rememberings' formed the basis of individual poems and discusses the difficulties of opening up delicate matters linked to emotions of shame and guilt in the surviving community. Chapter Four examines the difficulties and rewards in finding the most appropriate opening for the narrative. I aim to demonstrate how the sequence of poems benefited from structuring techniques and a 'layering of imagery and sound', which, although discovered late in the process, helped to form a cohesive narrative. Chapter Five discusses the drafting of key poems and the challenge of unexpected inconsistencies encountered when designing the poetic sequence. Here, I explore the demands of forming a longer narrative out of individual poems, for example the need for bridging poems, continuity and telling the larger story mainly through one voice. Chapter Six demonstrates how a large part of the sequence was written transposing some of my own historical and cultural experiences through corresponding physical detail. Here, I explore experiments in creating characters and physical details to develop the world of the narrative and its accumulative progression. I conclude this thesis by acknowledging that the consequences of conscription continued long after the war had ended and has had an effect on later generations.
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Books on the topic "Polish War poetry"

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Andrzej, Romanowski, ed. Rozkwitały pąki białych róż--: Wiersze i pieśni z lat 1908-1918 o Polsce, o wojnie i o żołnierzach. Czytelnik, 1990.

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Ta co nie zginęła: Antologia poezji, pieśni patriotycznej i niepodległościowej. Muzeum Niepodległości, 2008.

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Adam, Roliński, and Romanowski Andrzej, eds. "Pokój z Sowietami spiszem bagnetami!": Antologia poezji patriotyczno-wojennej lat 1918-1922. Księg. Akademicka, 1994.

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The myth of war in British and Polish poetry, 1939-1945. P.I.E./P. Lang, 2002.

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"Przed złotym czasem": Szkice o poezji i pieśni patriotyczno-wojennej lat 1908-1918. Społeczny Instytut Wydawniczy Znak, 1990.

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Piotr, Borek, ed. Arma Cosacica: Poezja okolicznościowa o wojnie polsko-kozackiej 1648-1649. Collegium Columbinum, 2005.

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Makuszyński, Kornel. "Bo Polska zapamięta najdroższe swe chłopięta!": Wiersze i piosenki żołnierskie 1919-1920. 2nd ed. LTW, 2012.

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Poezja pierwszej wojny: Tradycja i konwencje. Zakład Narodowy im. Ossolińskich, 1986.

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Józef, Szczypka, ed. Suplikacje czasu wojny: Antologia polskiej poezji religijnej, 1939-1945. 2nd ed. Instytut Wydawniczy Pax, 1986.

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Daniel, Weissbort, ed. The Poetry of survival: Post-war poets of Central and Eastern Europe. St. Martin's Press, 1991.

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Book chapters on the topic "Polish War poetry"

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Cabras, Francesco. "Dante nella Polonia del Quattro-Cinquecento. Dalla (s)fortuna di Dante ad alcune considerazioni sugli elementi costitutivi della letteratura polacca rinascimentale." In Biblioteca di Studi di Filologia Moderna. Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.03.

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This article aims to show how Dante Alighieri was ‘used’ in Renaissance Polish literature. Dante was known by Polish intellectuals first of all as a political theorist. Only in the second half of the 14th century did Polish writers start to refer to him as a great poet (Długosz). However, Dante was rather known than read and ‘used’ as a topic character to demonstrate the excellence of vernacular poetry. Andrzej Trzecieski the Younger, in fact, wrote in a couple of epigrams to his friend Mikołaj Rej, that Rej is to Polish literature, what Dante (and Petrarch) was to Italian literature; in addition to this, Trzecieski underlines, through intertextual allusions, that Dante (and Rej) had the same dignity of ancient Greek and Latin poets. This attitude that vernacular literature is on par with Greek and ancient literature is found also in the elegy III 8 by Jan Kochanowski, where Ronsard is presented as a “classic” poet. The final part of this work compares the situation in 15th and 16th-century Italian and Polish literature in terms of the relationship between ancient and vernacular poetry.
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Jarniewicz, Jerzy. "The Way Via Warsaw: Seamus Heaney and Post-War Polish Poets." In Seamus Heaney. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206267_8.

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Laine-Frigren, Tuomas. "Traumatized Children in Hungary After World War II." In Palgrave Studies in the History of Experience. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84663-3_6.

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AbstractThis chapter examines how children’s wartime suffering was culturally constructed in postwar Hungary. Laine-Frigren uses a wide variety of source materials, such as published expert discourse, journalism and ego documents to explore how children’s suffering was interpreted and worked upon in different contexts, how the processes of healing were understood, and what kind of political meanings were attributed to children’s traumas. The particular focus is on the agency of people who did actual practical work with children, such as psychologists, teachers and civil society activists. The chapter suggests a multiplicity of responses to childhood trauma, from abstract and future-oriented policy-talk to teachers and psychologists promoting specific ways of healing such as offering children moments of joy, taking them on nature trips and exploring poetry.
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De Carlo, Andrea F. "Et in Inferno ego! Sulle narrazioni di anabasi e catabasi d’ispirazione dantesca nelle opere dei romantici polacchi." In Biblioteca di Studi di Filologia Moderna. Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.05.

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This paper focuses on the anabasis and katabasis narratives inspired by Dante in the works of the most representative Polish romantics: Adam Mickiewicz (1798-1855), Juliusz Słowacki (1809-1849), Zygmunt Krasiński (1812-1859) and Cyprian Kamil Norwid (1821-1883). It was the Divina Commedia which exercised the greatest influence on the poets, especially Inferno, which became a forerunner of the Polish reality itself. But whereas Dante’s Inferno is identified with the underworld, the Polish Romantics’ locus horridus coincides with the actual world. If the Dantesque journey is a katabasis to the underworld, the descent portrayed by Polish poets is an anabasis towards a volcano crater covered with lava and ice. Moreover, according to the martyrological view, the Polish reality in those days was not only a place of suffering and tribulation, but also of expiation, which was a preparation for the arrival of paradise on Earth.
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Žanna, Nekraševič-Karotkaja. "Artistic Expression of the Translatio imperii Concept in the Latin Epic Poetry of the Polish-Lithuanian Commonwealth in the 16th Century and the European Literary Context." In Biblioteca di Studi Slavistici. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-198-3.05.

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In this article the author analyzes how the Renaissance epic poetry of the Polish-Lithuanian Commonwealth approaches the theme of translatio imperii, which is a concept and a political stereotype of transfer of metaphysical world domination from country to country. After the fall of Constantinople (1453), the concept of translatio imperii gradually lost its universal character and was interpreted within the confines of a nation. Among the analyzed poems are: Bellum Prutenum (1516) by Ioannes Visliciensis and Radivilias (1592) by Ioannes Radvanus. The artistic expression of both the “Jagiellonian” and Lithuanian (i.e., Grand Duchy of Lithuania) patriotism, which incorporated the concept of translatio imperii, had an enormous impact on the formation of the national identity of the Belarusian, Lithuanian, and Polish peoples.
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Ahmad, Irfan, and Jie Kang. "Introduction: Imagining Alternatives to Globalization of the Nation Form." In The Nation Form in the Global Age. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85580-2_1.

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AbstractThis chapter makes a set of three interconnected arguments. The first argument, which critically binds the volume together, is that rather than seeing contemporary politics in terms of globalization eroding the nation state or its persistence regardless of globalization, what characterizes the world is the globalization of the nation form. Second, by showing nationalism’s relationship with violence it underlines the need to interrogate the efficacy and morality of the nation state as a form of polis. Third, in dialogue with Arjun Appadurai’s productive criticism of nationalism, it makes the contention that instead of being informed exclusively by the present and the diaspora (as in Appadurai’s writings), imaginings of a postnational world should equally account for the pre- and anti-national forms of thoughts prior to the World War II. To this end, it discusses Muhammad Iqbal (d. 1938), poet-philosopher of undivided India, and Hasan al-Banna (d. 1949), activist-reformer and founder of Egypt’s Muslim Brotherhood. The second and third arguments thus outline arenas for future decolonial anthropological and other works on nationalism and culture more generally. With a description of the volume’s manifold theoretical and methodological distinctions, the chapter concludes with an outline of chapters ahead.
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Weinfeld (ed.), David. "Hebrew Poetry in Poland between the Two World Wars." In Polin: Studies in Polish Jewry Volume 13. Liverpool University Press, 2000. http://dx.doi.org/10.3828/liverpool/9781874774600.003.0041.

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(Jerusalem: Mossad Bialik, 1997); pp. 496 The Hebrew Nobel Laureate S. Y. Agnon describes in his semi-autobiographical novel A Guest for the Night (1939) a Hebrew writer’s return in about 1930 to the Galician town of his birth. What was once a thriving centre of Jewish culture is now virtually a ghost town, its population depleted and traumatized by war and privation. The writer tries to renew his ties with the past but fails, and in the end returns to Jerusalem, his only true home....
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Gömöri, George. "Polish and Hungarian Poets on the Holocaust." In Polin: Studies in Polish Jewry Volume 31. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764715.003.0020.

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WHEN discussing Holocaust poetry two names usually spring to mind: Paul Celan and Nelly Sachs. There is, however, a large corpus of poems on the subject from two eastern European countries, both of which had large Jewish communities before the Second World War: Poland and Hungary. In what follows I shall discuss the best poetry on the Holocaust from both countries, excluding that written in Yiddish....
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Tuwim, Julian. "Utwory nieznane. Ze zbiorów Tomasza Niewodniczańskiego w Bitburgu: Wiersze, Kabaret, Artykuły, Listy." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0037.

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This chapter assesses Julian Tuwim's Utwory nieznane (Unknown Works), the title of which is somewhat misleading. The book is largely made up of cabaret pieces that were performed and known to the public; they simply were never published in written form. Still, the book's publication in 1999 was an important event, not only for poetry lovers and historians of literature, but also from a Jewish perspective. Jewish topics appear prominently and in many forms in this collection of poems, facsimiles, juvenilia, cabaret skits and songs, and private letters from various periods of the poet's life. This is in clear contradiction to the stereotype, predominant in Jewish historiography, of the pre-war Polish Jewish intelligentsia as thoroughly assimilated and uprooted. Tuwim's example demonstrates that the opposite was the case. Like many other writers, he was in constant dialogue with his Jewishness, defending it when attacked, but also critical of Jewish obscurantism.
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"Other Voices—Protest against War and Violence in Polish and Ukrainian Poetry on World War I." In Cossacks in Jamaica, Ukraine at the Antipodes. Academic Studies Press, 2020. http://dx.doi.org/10.1515/9781644693025-027.

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Conference papers on the topic "Polish War poetry"

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Гусева, О. В. "Женский голос в современной польской поэзии". У Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.46.

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Women have been involved in the creation of Polish literature since the 17th century. A new page in the history of Polish literature, which came after 1989, is associated with the rapid development of feminism. An important phenomenon of poetry at the beginning of the XXI century was the abundance of female names: at this time, the authors of the older generation, such as V. Szymborska, E. Lipska, K. Miłobędzka, J. Hartwig, continue to create, but new names also appear: J. Mueller, M. Cyranowicz, J. Bargielska, M. Podgórnik, M. Lebda, J. Fiedorchuk, M. B. Kielar. Contemporary Polish women’s poetry is very soulful, sensual and deep, it is filled with empathy, and at the same time it is subjective. Corporeality and frankness become one of the characteristic features of women’s writing: women’s poetry tells more openly and directly about the most intimate experiences.
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Ings, Welby. "Beyond the Ivory Tower: Practice-led inquiry and post-disciplinary research." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.171.

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This address considers relationships between professional and postdisciplinary practices as they relate to practice-led design research. When viewed through territorial lenses, the artefacts and systems that many designers in universities develop can be argued as hybrids because they draw into their composition and contexts, diverse disciplinary fields. Procedurally, the address moves outwards from a discussion of the manner in which disciplinary designations, that originated in the secularisation of German universities during the beginning of the nineteenth century, became the template for how much knowledge is currently processed inside the academy. The paper then examines how these demarcations of thought, that included non-classical languages and literatures, social and natural sciences and technology, were disrupted in the 1970s and 1980s, by identity-based disciplines that grew inside universities. These included women’s, lesbian and gay, and ethnic studies. However, of equal importance during this period was the arrival of professional disciplines like design, journalism, nursing, business management, and hospitality. Significantly, many of these professions brought with them values and processes associated with user-centred research. Shaped by the need to respond quickly and effectively to opportunity, practitioners were accustomed to drawing on and integrating knowledge unfettered by disciplinary or professional demarcation. For instance, if a design studio required the input of a government policymaker, a patent attorney and an engineer, it was accustomed to working flexibly with diverse realms of knowledge in the pursuit of an effective outcome. In addition, these professions also employed diverse forms of practice-led inquiry. Based on high levels of situated experimentation, active reflection, and applied professional knowing, these approaches challenged many research and disciplinary conventions within the academy. Although practice-led inquiry, argued as a form of postdisciplinarity practice, is a relatively new concept (Ings, 2019), it may be associated with Wright, Embrick and Henke’s (2015, p. 271) observation that “post-disciplinary studies emerge when scholars forget about disciplines and whether ideas can be identified with any particular one: they identify with learning rather than with disciplines”. Darbellay takes this further. He sees postdisciplinarity as an essential rethinking of the concept of a discipline. He suggests that when scholars position themselves outside of the idea of disciplines, they are able to “construct a new cognitive space, in which it is no longer merely a question of opening up disciplinary borders through degrees of interaction/integration, but of fundamentally challenging the obvious fact of disciplinarity” (2016, p. 367). These authors argue that, postdisciplinarity proposes a profound rethinking of not only knowledge, but also the structures that surround and support it in universities. In the field of design, such approaches are not unfamiliar. To illustrate how practice-led research in design may operate as a postdisciplinary inquiry, this paper employs a case study of the short film Sparrow (2017). In so doing, it unpacks the way in which knowledge from within and beyond conventionally demarcated disciplinary fields, was gathered, interpreted and creatively synthesised. Here, unconstrained by disciplinary demarcations, a designed artefact surfaced through a research fusion that integrated history, medicine, software development, public policy, poetry, typography, illustration, and film production.
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