Lirizmi asht shija e sendeve që ikin
Interview with Primo Shllaku Interviewed by Ag Apolloni
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Interview with Primo Shllaku Interviewed by Ag Apolloni
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The interview taken by Laura Dan focuses on the intellectual background of the Romanian poetess Magda Carneci.
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The article presents the works of Aneta Kamińska as an example of the phenomenon of remediation, it is the impact of digital media on poetry and literary communication. The authoress examines the subsequent volumes of poetry and forms of Kamińska’s online activity. She points at a specifically feminine approach to new technologies. The article describes changes in the structure of the poems, as well as the status of the authoress and the nature of her communication with readers. It discusses also the stages of Aneta Kamińska’s work. These are: the traditional volume, the volume imitating hypertext which has been partly digitized and is available online as an interactive poetic hypertext. Then discusses the impact of Internet communication on her poetry. Finally presents multimedia projects, in which words are combined with video, audio and animation. In the end we may ask the question: does the generator of poetry, used by the poet, open up the interaction between man and machines?
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The essay concerns the work of Joanna Mueller, who is one of the main representatives of polish linguistic poetry. Her project combines the tradition of linguistic poetry and body experience. This strategy requires the development of a new understanding of the language, which will no longer be conceived as a trap references, but rather as one of many elements of reality. The best way to describe the work of the poet’s imagery is stratification, both in terms of the attitudes adopted by Mueller, by the subjects, to the construction of the poem. Equally important it seems to be the prospect of motherhood, both in terms of artistic activity, as well as the practices of life.
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The article discusses the works of Klara Nowakowska, including all published volumes of the poet. Interpretations of specific works, as well as overall analyses present poems of Nowakowska as cropped images which in the imperfect way are reflecting reality. The article’s author stress the meaning of the specific variety of the short poetic form used by poet. Parallel, analysis includes the poetic record of experiencing the place.
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The author presents poetry by Kamila Janiak in the context of avant-guard pop-culture. She deals mainly with punk and cyber-punk motifs of this poetry, which allow to understand them as a feminist, post-human and anti-capitalist project. She shows how Janiak for her purposes uses détournements: she takes on the one hand principles, which rule in the “controlled societies” and on the other hand pop-culture aesthetics and psychodelic rock music.
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The main concept of Anna Augustyniak’s poetic volume (Bez ciebie, Warsaw 2014) is based on poetics and semantics of a number of categories: deficiency, body, affection, journey. They make an entanglement, which shows the metamorphosis of feminine lyrical subject, at first being mentally, emotionally and sensually disconnected (excluded by itself) from the environment though love, later again connected with world through the journey in geographically-cultural and spiritual dimension. In this case, the strong affection (falling in it and out of it after the parting) can be treated analogously. Construction and titles of several poems included in volume create an enumerative series describing the condition of subject (condition “without”), both as addiction and as deliverance, inclusion and exclusion. “Traveling erotics” – as Alicja Jakubowska-Ożóg named these poems – are also an individual realization of a convention of literary genetics. A poem appears as a body of inclusion, which encloses a story of love.
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The article attempts to analyze the poetry of Katarzyna Fetlińska with the main stress laid upon her volume Sekstaśmy (Sex Tapes). The author tries to verify critical tracks and generalizations, introduced mostly by editorial and publishing descriptions which promote the collection. He exposes the importance of dramatic and surprisingly non-ironic themes chosen by the poet, who confronts herself with the most tragic aspects of human existence: loneliness and death. The main theme of the sketch is eroticism, sexuality and even pornographic character of her poetry, directed against metaphysically scandalous friability of interpersonal relations, human objectification and nothingness of being.
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Julia Fiedorczuk’s academic, journalistic and critical activity invites readings of her poetry in the context of ecopoetics, which she actively promotes. Her ecocritically oriented poems explore the links between poetry and natural environment, proposing an interdisciplinary practice of co-creation of the human and non-human world, as well as a re-evaluation of our understanding of the relations between them. It is, at the same time, a type of poetry that exposes its gender affiliation; it evokes and deconstructs the culturally instilled associations between femininity and nature, and formulates questions pertaining to identity and metaphysics. With her “woman and world: user’s manuals” project, poetically original yet deeply rooted in (post)modern contexts, Fiedorczuk represents one of the most interesting currents of contemporary – and not just women’s – poetry
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The paper is an attempt to analyse Barbara Klicka’s book of poetry nice, written in 2015. The interpretation is focused mainly on forms, which oscillate between prose poem and free verse. It also examines genological issues and shows main topics of presented literature, such as a revision of traditional aesthetic with an important turn into anaesthetic and its political and ethical contexts, or – in connection with philosophical, theological and social changes in the Western thought – the problem of postmodern subjectivity.
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The article traces Polish translations of Dickinson’s poetry preceding and following the publication in the nineteen nineties of 200 poems by Emily Dickinson translated by Stanisław Barańczak. It comments on some Polish poets’ response to Dickinson in their own works and points to the growing body of publications online of private selections from Dickinson’s poems previously translated by established Polish poets (mostly Barańczak or Marjańska) as well as translations and original poems inspired by Dickinson’ s work authored by less known poets, amateur translators and lovers of poetry. The article suggests that the increased Polish interest in Dickinson’s work is not only a kind of domino effect following Barańczak’s impressive translations. It also results from the growth of interest in translation studies and skills and must be related, too, to the fact that her poetry of private sensibility confronted with a dramatically changing world resonates with contemporary experience of the sensitive individual.
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The article discusses a translation of a Carol Shields’s novel Swann. A Mystery (1987) by a Polish poet Ludmiła Marjańska (Zagadka wiecznego pióra, 1998). Marjańska’s translation is not an easy one to assess: it contains some shifts as well as simple mistakes, but Polish versions of lyrics quoted in the novel as written by a mysterious, unacknowledged (and non-existing) poet Mary Swann are undeniably its strongest point. What makes them more interesting, they show close affinity to poems by Emily Dickinson translated by Marjańska – and to her own poetry
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The paper looks at two book-length poems by Alice Oswald’s: Dart (2002) and Memorial (2011) as translation projects, with an aim to understand both the nature of Oswald’s poetic practice and her concept of what is the meaning and goal of translation in creative work. I claim that translation, in the special sense the poet gives to this term, is at the very core of her work. In my analysis I concentrate on the physical aspect of Oswald’s poetic practice, the role of the body, movement in space, muscular effort, rhythm and memorization of poetry in her projects. I also look at the ways of crossing the divide between the human and non-human, linking language to the voice of the natural world and returning to oral poetry in her work.
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The bilingual poetry of Irena Klepfisz, a Polish-born Jewish-American poet, seems to constitute a unique case of Holocaust poetry. The poet, an intellectual and activist engaged in lesbian, queer, feminist and gender movements, advocates the reading of Holocaust poetry within the ramifications of gender oriented cultural theories. Her bilingual poetry undermines the hypothesis of the postvernacularity of contemporary Yiddish. The paper substantiates the thesis that the choice of the target language in the translation of bilingual Holocaust poetry has clear axiological underpinnings.
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Gdzie jest? Co – i jak – mówi? Bo jeżeli jest, to przecież mówi. Ale czy mówi to, co winno byćpowiedziane? I czy dość głośno, czy szeptem, krzykiem swym, czy raczej milczeniem swym mówi? Skąd przychodzi – i dokąd idzie? To znaczy: jaka jest jego osobista prehistoria, czym pieczętuje swe imiona, jaka jest jego profesja? I gdzie jest, w którym miejscu, czy jeszcze „wie” tylko, czy może wiedza jego przeszła już w mądrość? A także w jakim lustrze i z której strony przegląda się świat jego, język, wyobraźnia, lęki, uczucia, sny jego? To wszystko chcemy wiedzieć. Bo „niewykluczone, że Machej i Smektała, Bąk i Brakoniecki, Bołtuć i Budrewicz, a także inni, których nie wymieniłem lub których nazwisk w ogóle nie znam – pisze Michał Głowiński – są wybitnymi poetami. Niewiele wszakże z tego wynika, przynajmniej teraz. Niewykluczone nawet, że któryś z nich jest kandydatem na nowego Norwida. Gdyby jeszcze wiedzieć – który!”.
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Review: Jerzy Jastrząb ‒ Lech Dymarski, za zgodą autora, Witrynka Literatów i Krytyków, Poznań 1979, ss. 95; Wiersze sprzed i po, Biblioteka Literacka Wydawnictwa „Myśl” 1984, ss. 24.
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Alongside with the three translated poems written by Karl Marx in his youth, this paper discusses whether he was a poet at all and in which literary and historical framework his poetry should be placed.
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The purpose of this article is to investigate the depictions of masses and multiplicity (as philosophical terms) in A song about Hunger by Bruno Jasieński. The main question of this study is how and why Jasieński created a portrayal of the deterritorialization of a collective protagonist in multiplicity in his first narrative poem. Another aim is to find out how to inscribe A song about Hunger in the field of revolutionary poetry and show the ways of describing authority as a lordship in this poem. Finally, the article describes the interactions of the collective lyrical ego with architecture and urban patterns. As a starting point, the author analyses previous studies about A song about Hunger, especially the works of Krzysztof Jaworski (critically) and Anatol Stern; in the second part, the study focuses on the methods and terms which were created by G. Deleuze, F. Guattari and E. Canetti (rhizome, masses) and U. Eco or G. E. Debord (semiotics of architecture, psychogeography and dérive).
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