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Since Rey did not publish essays, his philosophical ideas found expression in his fiction, both in prose and in verse.Poems that deal directly or (sometimes) veiledly with the principal tenets of the Judaeo-Christian religious doctrine — such as "Bajka" (Fairy Tale), As a literary critic, Sydor Rey believed that Boris Pasternak's novel Doctor Zhivago was deeply indebted to Hemingway's A Farewell to Arms, notwithstanding the fact of Hemingway's having been "thick-skinned and effect-driven" as opposed to Pasternak's qualities of fragile intelligence and delicacy.The first issue of the group's literary journal indicated that the association was established on the initiative of Helena Boguszewska (1886–1978) and Jerzy Kornacki (1908–1981) in June–July 1933, with Bruno Schulz, Adolf Rudnicki, and Zofja Nałkowska among the invited founder members.Rudnicki had resigned from membership before the publication of their magazine in 1934, while Halina Krahelska and Sydor Rey were inducted as new members. "faubourg") has been explained as referring both to the group's programmatic preoccupation with the marginalized aspects of the culture and social life in the Second Polish Republic, and to the connotation of "outpost" – hence by extension avant-garde.He also granted an interview to the Polish Radio in 1963, apparently on a visit to Warsaw (see Recordings).Księga rozbitków ("The Book of the Shipwrecked") is a collection of eighteen short stories that are, cumulatively, a psychological memoir of an author guilt-stricken for having passed the Holocaust in the physical safety of New York while being spiritually connected to the event as closely as or perhaps in some cases more closely than some of the victims, making the work something of a cross between a novel and a psychodrama cum a Gestalt therapy.He was an admirer of the works of Thornton Wilder, to whom he dedicated a poem (entitled "Festyn" — "A Village Fair"; translated in The Daily Orange in 1966 as "Picnic"), acknowledging his indebtedness in the writing of Księga rozbitków to the style of Wilder's play Our Town.
Tak jak ja się zmieniłem, Nie zmienia się lipa przydrożna.Marian Pankowski, reviewing his collection of poetry Własnymi słowami ("In My Own Words"; 1967), refused to apply the label of "poetry" to his verses, arguing that the colloquial and sometimes crude turn of phrase favoured by the author put his epigrams beyond the pale of art, while the consistent unsublimated directness of expression made it impossible to interpret this style as a literary conceit.Rey countered that the criticisms presented by Pankowski were illustrated by tendentiously selected quotations that did not constitute a representative sample and had been taken out of context, and that the overall method of extrapolating judgement of the whole oeuvre from bits and pieces was absurd, "rather like presenting an audience with the bottom sliver of Cézanne's Bathing Women — the figures cut off at the ankle — and averring this fragment to possess 'some characteristics of Cézanne's painting style', only to dispatch the artist in toto with the dictum that 'the rest of his output is much in the same manner'".Each of these various social groups, further subdivided in the book into additional subgroups and subtypes, espouses different and often conflicting sets of beliefs concerning social and political matters, whose beliefs moreover further mutate from generation to generation.While the author parades a plethora of various types of characters on his stage, from the szlachta individuals affecting a grand aristocratic manner, through lordlings enlightened by foreign studies enough to be able to fraternize with the working classes, to well-to-do Jewish businessmen, he devotes most space to the radicalizing poverty of the township and the impenetrable ignorance of the peasant masses of the surrounding villages, succeeding to depict this broad gallery of human types in particularly vivid brush strokes of great directness.
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Owing however to the well-nigh unmanageable breadth of the scope of his project, it has been observed by contemporary critics that the social doctrine on occasion takes precedence in his writing over art.