Znaczenie martwej natury w poezji i eseistyce Czesława Miłosza

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dc.contributor.author Dryglas-Komorowska, Ewa
dc.date.accessioned 2013-10-11T05:49:22Z
dc.date.available 2013-10-11T05:49:22Z
dc.date.issued 2011-12-05
dc.identifier.citation Archiwum Emigracji, Rok 2011, Zeszyt 1–2 (14–15), pp. 94-102
dc.identifier.issn 2084-3550
dc.identifier.other doi:10.12775/AE.2011.006
dc.identifier.uri http://repozytorium.umk.pl/handle/item/702
dc.description.abstract The article provides a glance perspective on Miłosz’s poetry and essay writing through an issue of a relation with fine arts. The Author takes up a problem of both the method (realism; thesis of world’s reality—against nothingness) and the subject (generic scenes); she turns towards Miłosz’s interest in Chardin, Dutch still lives, Cézanne and passion for haiku, introducing a meditative motif. First of all, what is worthy of emphasizing here is the hypotyposis consideration (e.g. type of painting imagining) remaining in conflict with ecphrasis (work description itself).
dc.language.iso pol
dc.rights Attribution-NoDerivs 3.0 Poland
dc.rights info:eu-repo/semantics/openAccess
dc.rights.uri http://creativecommons.org/licenses/by-nd/3.0/pl/
dc.subject Miłosz Czesław
dc.subject poetry
dc.subject essay
dc.subject still life
dc.subject art correspondence
dc.title Znaczenie martwej natury w poezji i eseistyce Czesława Miłosza
dc.title.alternative The importance of still life in Czesław Miłosz’s poetry and essay writing
dc.type info:eu-repo/semantics/article

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