https://orcid.org/0000-0003-0681-7460
Iwona Puchalska – prof. dr hab., historyczka literatury, komparatystka, wykłada na Wydziale Polonistyki Uniwersytetu Jagiellońskiego. Autorka książek: Sztuka adaptacji. Literatura romantyczna w operze dziewiętnastowiecznej (Kraków 2004), Improwizacja poetycka w kulturze polskiej XIX wieku na tle europejskim (Kraków 2013), Muzyka w okolicznościach lirycznych. Zapisy słuchania muzyki w poezji polskiej XX i XXI wieku (Kraków 2017), Poeta w operze (Kraków 2019), Przy Mickiewiczu (Kraków 2019).
Iwona Puchalska
Wielogłos, Numer 3 (61) 2024, 2024, s. 99-114
https://doi.org/10.4467/2084395XWI.24.023.20088Punktem wyjścia artykułu jest Goetheańskie założenie, że międzykulturowa wymiana w obrębie Weltliteratur może zaowocować wzajemnymi „korektami” rozumienia, oceny, wartościowania. Lambro i Kordian, dwa specyficznie powiązane ze sobą teksty Słowackiego, zostały w związku z tym usytuowane w kontekście francuskim, rozumianym nie genetycznie, lecz odbiorczo. Analizie zostały poddane dwa różnego typu komentarze literaturoznawcze, z których jeden jest przykładem recepcyjnego pośrednictwa reprezentanta kultury polskiej na emigracji, drugi – elementem francuskiego literaturoznawstwa (są to: wstęp Wenceslasa Gasztowtta do francuskiego przekładu dzieł Słowackiego z lat 60. XIX wieku oraz artykuł Le drame romantique : le héros et l’histoire dans « Le Prince de Hombourg » de Kleist, « Kordian » de Słowacki et « Lorenzaccio » de Musset autorstwa Danièle Chauvin z 2000 roku). Teksty te, powstałe w rozmaitych celach i różnych okresach, łączy wspólne pole odniesień porównawczych (w tym szkic George Sand O dramacie fantastycznym), zarazem jednak różni odmienna kontekstualizacja kulturowa oraz odmienne usytuowanie względem legendy mickiewiczowskiej, co sprawia, że dostarczają niestandardowych impulsów interpretacyjnych, ożywczych w stosunku do dominujących dzisiaj sposobów lektury Lambra i Kordiana.
Iwona Puchalska
Wielogłos, Numer 1-2 (7-8) 2010: Komparatystyka dziś, 2010, s. 119-132
Improvisation through the perspective of correspondence between the arts, that is on the romantic beliefs
The article is devoted to the phenomenon of improvisation which is a characteristic aesthetic feature of the Romantic culture. Many nineteenth century artists regarded it as an embodiment of the issues that were of key importance for their period – among them, one finds the concept of genius or correspondence between the arts. On a few examples taken from the works of Chopin, Mickiewicz and Orłowski, the author reveals both the ways and the conditionings of the reception of the improvisory works, as well as the relations between the Romantic myth of improvisation and its artistic practice.
Iwona Puchalska
Wielogłos, Numer 3 (41) 2019: World Literature, 2019, s. 17-33
https://doi.org/10.4467/2084395XWI.19.016.11457From the point of view of the world literature studies music—as the most “abstract” art—turns out to be also in this respect very different from literature, which is strongly connected with the locality. The article discusses the universalising potency of musical themes and motives in literature.
Iwona Puchalska
Wielogłos, Numer 1 (1) 2007, 2007, s. 69-80
TINKERING WITH MOZART: DZIADY PART III AND DON GIOVANNI
The essay is devoted to a very specific and interesting example of intersemiotical link between the scene of the Senator’s ball in the third part of „Dziady” by A. Mickiewicz and „Don Giovanni” by W. A. Mozart. Analysis of some elements of the opera included by Mickiewicz in his text, in the way of ‘bricolage’, leads to the conclusion that the similarities in both compositions are not restricted to the construction level, but they also seem to have ideological consequences which have an impact on the overall force of the work by Mickiewicz. Its connection with Mozart’s and da Ponte’s work, even if visible in just a few parts of „Dziady”, is a guide to the simultaneous reading of both texts. This read develops their interpretation and understanding as well as expresses the idea of providence present in Mozart’s and Mickiewicz’s masterpieces.
Iwona Puchalska
Wielogłos, Numer 4 (30) 2016, 2016, s. 23-46
https://doi.org/10.4467/2084395XWI.16.027.6855The “noble knave” and “present occurrences,” i.e., romanticism and politics in the musical theatre of the 20th century (around The Death of Klinghoff er by John Adams)
The article analyzes the specifi c character of The Death of Klinghoff er as a collective work with strong political connotations, as well as the controversies around its performances, from the perspective of the evolution of opera theatre poetics. The main reference point is the tradition of the Romantic theatre, with special emphasis on two novelties introduced within that tradition: using contemporary history as material for dramatic elaboration, and giving the voice to negative characters and presenting their arguments as equally important within the dramatic structure. Romanticism, in the name of a right to an individualized vision of the world, held the truth of art beyond the truth of facts, just like it went beyond the traditional axiology and morality in search for a true nobleness of spirit (by e.g. creating the type of a “noble knave”). This, in turn, led to seeing art as a realm of myth, which even if genetically connected to real events, had lost this relation long ago and opened a possibility to interpret them freely and out of context. The case of The Death of Klinghoff er shows that even if such assumptions have already been accepted in theory of drama, the artistic practice still regards them as problematic..