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The great English landscape painter J.M.W.Turner was an anomalous presence in Victorian England. He and his work were admired and reviled; he was a devoted supporter of the traditional institution, the Royal Academy – a bulwark of the conservative establishment – and at the same time his radical artistry and extravagant colouring offended traditionalists; he was a respected Professor of the Academy and in his private life, living with his mistress, he could be a scruffy, gruff bohemian. He was both Prospero and Caliban, the powerful magician with paint, and the rebellious, surly Caliban. This paper traces Turner’s artistic relationship with the sea, his extraordinary understanding of its moodiness, its violence and its serenity, and it associates his art with the sea poetry of his contemporaries, Swinburne and G.M.Hopkins. Like Caliban’s profound instinctive responsiveness to natural music, Turner’s feel for the mercurial beauty and savagery of the sea found exquisite and often disturbing poetic expression.

The article has been written to celebrate the academic jubilee of Professor Andrzej Wicher whose historical, literary, and aesthetic writings and reflections on the Middle Ages have always aroused my interest, curiosity, and highest admiration. They have been much resistant to major trends in literary studies especially in the times of postmodernism, which tends to forget about traditional values (and virtues) as messaged in literature, history, and aesthetics. It is my “hero-worship” (as in Thomas Carlyle) of Professor Wicher’s indomitable character and his historical devotion to medievalism and Old English literature that inspired my literary contribution to the volume. Although Andrzej Wicher stays and works now “alas! away” (Hopkins) from our university, he will always remain with us at the Institute of English Cultures and Literatures. I have always seen Professor Wicher as a guardian of medieval values which, despite the present world’s “disassociation of sensibility,” remain still permanent and eternal in the aesthetic space of the humanities.

This sketch shows the influence of G. M. Hopkins's poetry, especially his idea of sprung rhythm, on works of S. Barańczak. Barańczak was translating Hopkins's poems in the second half of the seventies of the twentieth century. He is also an author of articles concerning Hopkins's life and poetry. During process of translation Barańczak had the opportunity to meet not only philosophical and religious poems but also the idea of sprung rhythm. This specific rhythmical form became an interesting translatological issue for Barańczak about which he wrote analytically in his articles. The author of this sketch shows that the sprung rhythm encountered during translating came into Barańczak's own poems. Rhythmic form of Hopkins' poems is similar to the Polish tradition of tonic long-formatted verse originating from Mickiewicz's poetry. Barańczak used this pattern in translations and his own poems, but he modified it and made it alike to Hopkins's model of sprung rhythm. Author shows also that Barańczak was inspired by Hopkins's prosody effects, especially instrumentation and paronomasia., Attridge D., 1982, The Rhythms of English Poety, London, New York. Attridge D., 2006, Poetic Rhythm. An Introduction, wyd. 7, Cambridge. Barańczak S., 1990, Tablica z Macondo. Osiemnaście prób wytłumaczenia, po co i dlaczego się pisze, Londyn. Barańczak S., 1992, Ocalone w tłumaczeniu. Szkice o warsztacie tłumacza poezji z dołączeniem małej antologii przekładów, Poznań. Barańczak S., 1992, Wstęp, [w:] G. M. Hopkins, 33 wiersze, wybór, przekł., wstęp i oprac. S. Barańczak, Kraków. Barańczak S., 1993, Zaufać nieufności. Osiem rozmów o sensie poezji 1990 – 1992, red. K. Biedrzycki, Kraków. Barańczak S., 1996, Poezja i duch Uogólnienia, Kraków. Barańczak S., 1997, Wybór wierszy i przekładów, Warszawa. Biedrzycki K., 1995, Świat poezji Stanisława Barańczaka, Kraków. Dembińska-Pawelec J., 1999, Światy możliwe w poezji Stanisława Barańczaka, Katowice. Dembińska-Pawelec J., 2006, Villanella. Od Anonima do Barańczaka, Katowice. Dembińska-Pawelec J., 2010, „Poezja jest sztuką rytmu.” O świadomości rytmu w poezji polskiej dwudziestego wieku (Miłosz – Rymkiewicz – Barańczak), Katowice. Dłuska M., 1978, Studia z historii i teorii wersyfikacji polskiej, t. 2, Warszawa. Dobrzyńska T., Kopczyńska Z., 1979, Tonizm, Wrocław. Hobsbaum P., 2007, Metre, Rhythm and Verse Form, wyd. 7, London and New York. Hopkins G. M., 1972, Look up at the Skies! Poems and prose chosen and introduced by Rex Warner, London, Sydney, Toronto. Hopkins G. M., 1981, Wybór poezji, tłum. S. Barańczak, Znak, Kraków. Hopkins G. M., 1992, 33 wiersze, wybór, przekł., wstęp i oprac. S. Barańczak, Kraków. Kwiatkowski J., 1995, Magia poezji. (O poetach polskich XX wieku), wybór M. Podraza-Kwiatkowska, A. Łebkowska, Kraków. Okoński M., Szostkiewicz A., 1994, Poeta w krawacie. Ze Stanisławem Barańczakiem rozmawiają Michał Okoński i Adam Szostkiewicz, „Tygodnik Powszechny” nr 51-52. Pawelec D., 1992, Poezja Stanisława Barańczaka. Reguły i konteksty, Katowice. Pawelec D., 1994, Pokolenie 68. Wybrane zagadnienia języka artystycznego, [w:] Cezury i przełomy. Studia o literaturze polskiej XX wieku, red. K. Krasuski, Katowice. Sadowski W., 2004, Wiersz wolny jako tekst graficzny, Kraków. Szulc Packalén M., 1987, Pokolenie 68. Studium o poezji polskiej lat siedemdziesiątych, Uppsala.

This essay examines published scientific writings of Gerard Manley Hopkins in the context of his poetry, journal-writing, and correspondence on subjective and objective cognition, or “unusually observant” perception. Hopkins’ response to special atmospheric conditions (the after-effects of the Krakatoa eruption, and the phenomenon of rayons du crepuscule at sunset) is considered in a matrix of Victorian scientific amateurism, conflicting views on observational agency and perspective, and precision in poetic and descriptive language. Key to valid scientific observation, for Hopkins, are internal and perspectival conditions under which the outside world may be “beautifully witnessed.”

Contemporary French philosophers such as Levinas, Bataille, and Derrida, along with the existentialists Kierkegaard and Nietzsche have all made use of Franciscan insights in order to safeguard the ipseity that cannot be reduced or totalized. In keeping with the taste that concerns me, this paper will examine Derrida’s turn to the poetry of Gerard Manley Hopkins and how such a turn may place Derrida within a catholic and Franciscan tradition.

Acknowledgements Introduction 1. Inscape and Ereignis 2. 'The Wreck of the Deutschland' and the Potentiality of Ereignis 3. 'Spelt from Sibyll's Leaves' and the Gesture of the Fourfold 4. '(Carrion Comfort)': That which is Not Itself Appendix: 'Binsey Poplars' and 'The Wreck of the Deutschland' Bibliography Index

Takes an overview of the role of artificiality in a variety of work including that of Gerard Manley Hopkins and Willaim Gibson.

International audience; Il se rencontre chez Hopkins, dans ses écrits théoriques surtout, le terme grec de « tyché », très usité dans la Physique d’Aristote, et qui se traduit, le plus souvent, par les mots chance ou fortune. La tyché, c’est l’élément incontrôlé de la vie, c’est ce qui est donné, par opposition à ce que l’humain peur ourdir ou fabriquer. Dans sa théorie freudienne, lacan a repris le terme, avec l’opposition aristotélicienne entre tyché et automaton. Mais on peut se contenter de redire ici que pour lui, la tyché, c’est la rencontre du réel. C’est cela aussi pour Hopkins. Mais il convient de pousser la définition un peu plus loin, en faisant remarquer que, comme janus, gardien des portes et démon du passage, Tyché a deux visages : un rude et un doux.

International audience; La question de la nourriture dans les poèmes de Gerard Manley Hopkins n'est pas d'une pertinence immédiatement perceptible. Mais c'est précisément cette apparente distance ou incongruité qui mérite d'être examinée. Il existe, en fait, une thématique de la nourriture dans ses poèmes, il existe même une imagerie, sinon tout un imaginaire de l'aliment, et qui illustre ou exprime des thèses et des croyances qui ont pour ce poète une importance primordiale. Il ne s'agit pas ici de nourritures célestes ou spirituelles, mais bien de la nourriture terrestre et de l'aliment concret, qui passent par le corps et le traversent. Cependant, il convient de montrer comment le concept de nourriture définit une problématique de cette poésie, mais aussi un système, ou plutôt une économie, c'est-à-dire un mode de gestion de ses rapports physiques et spirituels (mais c'est tout un) avec le monde réel.

International audience; Une étude de l'idée de mouvement dans les poèmes et lesécrits en prose de Gerard Manley Hopkins montre qu'ell peut être définie par son articulation adn un paradoxe de mouvement statique, qui s'avère tenir une place important dans son esthétique. Hopkins emprunte à la géométrie des métaphores explicatives de sa vision du monde, tant pout le domaine de la physique que pour celui de la métaphysique. Dans sa théologie, clairement influencée par Duns Scot en l'occurrence, le concept de mouvement est en rapport avec ceux de Logos et de Verbe, de manière propre à éclairer peut-être certaines contradictions apparentes dans ses poèmes.

Silence does not always mean the absence of sounds; contrariwise, as in Heidegger, it is charged with sonority which, as in Hopkins, “erupts” with the symphony of sounds. Hopkins’s poem The Wreck of the Deutschland (1875) was written after seven years of silence that preceded the poet’s entering the Society of Jesus. He destroyed all poems he had written before 1875 when he was requested by the rector of the college where he studied to write something about the wreck of the ship off the shores of the North Sea when “five Franciscan nuns drowned between midnight and morning of December 7th, 1875.” He responded to the challenge and in thirty-five stanza masterpiece which presented one of the biggest poetic elegies of Victorian England. All Hopkins’s poems are not only a polyphony of sounds articulated in Sprung Rhythm but also the moments of silence, as in The Windhover in which the description of Nature in the octet is divided from the sestet by the caesura of the rest or pause (fermata in music) or the pianissimo followed by meditation on Christ’s passion. The “grammar of creation” in poetry and music has its own rules; usually the invocation of the poem is a loud symphony of sounds which progressively tends to fall silent in the final code of the poem or the musical piece. Silence is usually associated with the contemplation of Sacrum but also with the time of creation in the poet’s (composer’s) mind; each poem (or a musical work) is a kind of “spiritual exercise” (Loyola) which is practiced until the final diminuendo that reduces force and loudness of sound to the quietness of death.