Wisława Szymborska (Polish pronunciation: [vʲisˈwava ʂɨmˈbɔrska], born July 2, 1923 in Kórnik, Poland) is a Polish poet, essayist and translator. She was awarded the 1996 Nobel Prize in Literature. In Poland, her books reach sales rivaling prominent prose authors[citation needed]—although she once remarked in a poem entitled "Some like poetry" [Niektórzy lubią poezję] that no more than two out of a thousand people care for the art.[1]
Szymborska frequently employs literary devices such as irony, paradox, contradiction, and understatement, to illuminate philosophical themes and obsessions. Szymborska's compact poems often conjure large existential puzzles, touching on issues of ethical import, and reflecting on the condition of people both as individuals and as members of human society. Szymborska's style is succinct and marked by introspection and wit.
Szymborska's reputation rests on a relatively small body of work: she has not published more than 250 poems to date. She is often described as modest to the point of shyness[citation needed]. She has long been cherished by Polish literary contemporaries (including Czesław Miłosz) and her poetry has been set to music by Zbigniew Preisner. Szymborska became better known internationally after she was awarded the 1996 Nobel Prize. Szymborska's work has been translated into many European languages, as well as into Arabic, Hebrew, Japanese and Chinese.
In 1931, Szymborska's family moved to Kraków. She has been linked with this city, where she studied, worked, and still resides, ever since.
When World War II broke out in 1939, she continued her education in underground lessons. From 1943, she worked as a railroad employee and managed to avoid being deported to Germany as a forced labourer. It was during this time that her career as an artist began with illustrations for an English-language textbook. She also began writing stories and occasional poems.
Beginning in 1945, Szymborska took up studies of Polish language and literature before switching to sociology at the Jagiellonian University in Kraków. There she soon became involved in the local writing scene, and met and was influenced by Czesław Miłosz. In March 1945, she published her first poem Szukam słowa ("I seek the word") in the daily paper Dziennik Polski; her poems continued to be published in various newspapers and periodicals for a number of years. In 1948 she quit her studies without a degree, due to her poor financial circumstances; the same year, she married poet Adam Włodek, whom she divorced in 1954. At that time, she was working as a secretary for an educational biweekly magazine as well as an illustrator.
During Stalinism in Poland in 1953 she participated in the defamation of Catholic priests from Kraków who were groundlessly condemned by the ruling Communists to death.[1] Her first book was to be published in 1949, but did not pass censorship as it "did not meet socialist requirements." Like many other intellectuals in post-war Poland, however, Szymborska remained loyal to the PRL official ideology early in her career, signing political petitions and praising Stalin, Lenin and the realities of socialism. This attitude is seen in her debut collection Dlatego żyjemy ("That is what we are living for"), containing the poems Lenin and Młodzieży budującej Nową Hutę ("For the Youth that Builds Nowa Huta"), about the construction of a Stalinist industrial town near Kraków. She also became a member of the ruling Polish United Workers' Party.
Like many Polish intellectuals initially close to the official party line, Szymborska gradually grew estranged from socialist ideology and renounced her earlier political work. Although she did not officially leave the party until 1966, she began to establish contacts with dissidents. As early as 1957, she befriended Jerzy Giedroyc, the editor of the influential Paris-based emigré journal Kultura, to which she also contributed.
An exciting collection of poems by Wislawa Szymborska. When Here was published in Poland, reviewers marveled, “How is it that she keeps getting better?” These twenty-seven poems, as rendered by prize-winning translators Clare Cavanagh and Stanislaw Baranczak, are among her greatest ever. Whether writing about her teenage self, microscopic creatures, or the upsides to living on Earth, she remains a virtuoso of form, line, and thought.
From the title poem:
I can’t speak for elsewhere,
but here on Earth we’ve got a fair supply of everything.
Here we manufacture chairs and sorrows,
scissors, tenderness, transistors, violins, teacups, dams, and quips . . .
Like nowhere else, or almost nowhere,
you’re given your own torso here,
equipped with the accessories required
for adding your own children to the rest.
Not to mention arms, legs, and astonished head.
✍????書摘: □[這裡] 在地球上生活花費不多。譬如,夢境不收入場費。幻想只有在破滅時才須付出代價。 □[第二天——我們不在了] 第二天可望艷陽高照,但還活著的人仍該隨身攜帶雨具。 ????閱讀報告: 詩人辛波斯卡以一貫風格,接近生活接近內心的方式,帶我看她所看的世界。...
评分辛波斯卡诗集《向所有往事告别》,是诗人耄耋之年仍笔耕不辍,留给这个世界的最后礼物。诗集深情地书写了生命流逝的追忆、日常生活的戏剧、凡尘俗世的感怀,写尽了老诗人对这个世界的深情注视和无限热爱。 辛波斯卡在《旅行前》如此定义空间,“因为所有东西,都逃脱不了?”旅...
太高级了,十分不懂
评分I like the poem "dream" the most.
评分第一首Here非常惊艳 很accessible又很witty,the voice is very human, more like an observer, investigator, even scientist rather than a "poet" 想和她做朋友!
评分关于时间与巧合 死气沉沉,变幻不息
评分还是硬壳有手感虽然是跟风买的且果然只是提高了一下逼格这种36.8的感觉来的太早
本站所有内容均为互联网搜索引擎提供的公开搜索信息,本站不存储任何数据与内容,任何内容与数据均与本站无关,如有需要请联系相关搜索引擎包括但不限于百度,google,bing,sogou 等
© 2025 book.quotespace.org All Rights Reserved. 小美书屋 版权所有