The object of this paper is presenting deixis as a principle organising the relations of the “experiencing lyrical subject” immersed in the space of a poetic text and the space of the world.
The analysis of the manners of expressing space in the contemporary poetry allows the observation that the multiplicity of interpretations of metaphorical meanings assumes parameters of the physical space in which human beings participate as a point of reference. The surrounding reality opens new possibilities to the poetry presenting mental and observational parameters. The ‘here and now’ perception is entangled in earlier experience structures. The space in the contemporary Polish poetry is not a space of order and harmony – it is a heterogeneous and inconsistent space. In the place of clearly outlined spatial oppositions serving the representation and valuation of the world in the earlier poetry, the poetry of the recent years provides the image of entangled knots, unmatching pieces of jigsaw puzzles or a labyrinth of the city – the metaphor of a geometric spatial order gives way to the Deleuze’s metaphor of rhizomes.
The invariable tendencies of the new poetry are: presenting peripheral spaces and indicating the creation space, that is the author’s here and now.
The preliminary part of the paper includes biographical data about Wojciech Kudyba and an outline of his poetic works. The further part of the text is devoted to characterising three latest collections of his poems. These are Tyszowce i inne miejsca (Tyszowece and other towns – 2005), Gorce Pana (Gorce of the Lord – 2007) and Ojciec się zmienia (The father is changing – 2011).
All poems by Wojciech Kudyba are characterised by persistent observation of the hidden agenda of the reality – the nature, its components and life, various places and products of culture, human experiences and behaviours. His poems reflect an intense contact with God, which lets him (also in the periods of difficult experiences) maintain a spiritual balance, gives the sense of purpose, internal strength, joy of life that does not avoid manifestations of humour.
What is striking in this poetry is its originality and wealth of forms: multiplicity of symbols, beauty of metaphorics, surprising metonymies, meaningful enumerations and paradoxes emphasising complexity of the world; the style mosaics is astonishing – from the clearly poetic to the extremely colloquial, the exceptional variety of syntactic and versification structures that are always subordinate to the content requirements.
The aim of this paper is to determine the repertoire of morphological neologisms present in the literary works by Karol Wojtyła and to make a preliminary description of their structure and function. There are 46 new units in the discussed works; the majority of them are adjectives (27) followed by nouns (15) and verbs (4). Wojtyła’s neologisms are usually compliant with the morphological rules of Polish and demonstrate a considerable semantic transparency arising from their regularity. In several places, the poet strives for achieving the effect of archaism – he uses obsolete lexemes as derivational bases and applies formants that are unproductive today.
Units considered neologisms occur in Wojtyła’s works 58 times in total. A vast majority of these uses are present in juvenilia, which permits the conclusion that creating neologisms is one of the components characteristic of the early works of the poet-pope, the works strongly dependent on the style of authors from the period of Romanticism and Modernism. The adoption of neologisms very rarely involves textual efforts emphasising their semantics in Wojtyła’s texts (although this type of operations performed on other morphologically derivational units are fairly frequent in the mature works of the author of Tryptyk rzymski (Roman triptych)), and his new forms perform a stylistic rather than nominative function to a large extent.