This article examines the intertextual and interartistic dimensions of Krysinska’s first collection of poems in order to highlight the extent to which she theorized her practice. Departing from the oral tradition of the cabarets from which she emerged, she explores literary questions such as how poetic language operates and how readers process it. Building on scholarship that emphasizes the intellectual thrust of Krysinska’s work, the readings that follow highlight her engagement with and contributions to the ideas of evocation and active reading that preoccupied cerebral writers such as Mallarmé, Valéry, and Rimbaud.

中文翻译：

---

克里辛斯卡的《节奏韵》：Mallarmé的批评诗之前的诗歌理论

本文研究了克林斯卡的首批诗集的互文性和艺术性，以突显她的理论实践的程度。她摆脱了歌舞表演的口头传统，探索了文学问题，例如诗歌语言如何运作以及读者如何处理诗歌。以此为基础，在强调奖学金的知识的基础上，紧随其后的读物突显了她对唤起和活跃阅读的观念的参与和贡献，这些思想和动机使Malarmé，Valéry和Rimbaud等脑力作家变得十分忙碌。