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How do contemporary writers that we associate with the migrant wave in modern world literature write about the other? Why do they emphasize on the exotic? Do they believe in the possible encounter of cultures? These are only some of the questions this text attempts to answer, working on texts of authors as Sandra Cisneiros, Jhumpa Lahiri, Ornella Vorspi and Mohsin Hamid.
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In the monography “After the end of classics” Rakyovsky argues that Dostoevsky’s Double (“Dvoynik”) and Mandelstam’s Egyptian stamp (“Egipetskaya marka”) discard traditional narrative and put forward the paradigms of splintering, madness, terror. The article highlights the new anthropology in Dostoevsky’s works by the figures of machines, poets and insects (vermin, bug). As an alternative of the poet, Dostoevsky’s plots put in play the figures of (male) novel writing and (female) book editing and managing. All together with the tragic, the author elaborates the category of comic absurd in the margins of folly, nonsense and object.
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This article examines the personality of Ludmil Stoyanov and his intense presence in the history of Bulgarian literature. They follow his friendly relations with the Symbolists, and in particular with Dimcho Debelyanov. However, the verbal duel between Ludmil Stoyanov and Boyan Penev on the pages of periodicals in the 1920s is commented.
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Ophelia in the discourse of humanities is mostly presented as an object and mentally inferior to the protagonist of the drama — Hamlet. The feminist critics noticed that the heroine could be regarded as a symbol of femininity and actually a symbol of the inability to fully express its subjectivity due to the domination of male logos. In my article, I would like to briefly introduce the form of Ophelia’s reception and to analyze the language of the heroine by using methodological tools of linguistics (Jakobson — poetic function of language, aphasia as a language disorder). To introduce a broader perspective of my research I will also refer to cultural figure of an outsider.
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The article presents the conception of the Materials to the history of the Russian women writers by Mikhail Makarov (published in the periodical “Damskij zhurnal” 1830, 1833), including the structure (main part and annex), contents of the entries (time frames, sources of the information, mistakes etc.) and the reception in the 19th century (criticism for the mistakes). The interpretive context are the Bibliographical catalogue of the Russian women writers (1826) by Stepan Russov, Biographical dictionary of the Russian women writers (1889) by Nikolai Golitsyn and other texts on the women writers (among others Catherine II) published in the periodical “Damskij zhurnal”.
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The research methodology involves an experimental combination of two different discourses within one interpretation: a philological method and second-wave feminism. Exa¬mined in the context of logic of tosamość and écriture féminine, Strach w Zameczku is a women’s writing. I have analysed Mostowska’s novel as a subversive act. The author reviews the myth of male rationality. The paradigm of a character as a depositary and subject of mind is confronted in the article with a paradigm of an irrational female protagonist with the characteristics of Otto Weininger’s absolute woman. The isomorphism of knowledge and masculinity and the isomorphism of absence and femininity are undermined.
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The paper discusses the way the rhetoric of liberation and human rights, characteristic of the French Revolution, deals with the subject of sexual minorities. The Revolution can be seen as a transition period in which the revolutionary rhetoric collides some ancient images of sexual minorities. The limits of this new rhetoric are tested in pamphlets where these minorities appear and that are also full of ancient images: Les Enfans de Sodome à l’Assemblée Nationale, Requête et décret en faveur des putains, des fouteuses, des macquerelles et des branleuses contre les bougres, les bardaches et les brûleurs de paillasses, Les Petits Bougres au Manège and La Liberté ou Mlle Raucourt.
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The author aims to present the work of Evdokia Nagrodska, a Russian author now fallen into oblivion. To do this, he briefly discusses the literary context of the time and her biography, before analyzing in greater depth her book The Wrath of Dionysus, which was a bestseller in Russia in the early 20th century. He tries, through the analysis of this novel, to rediscover a novelist both despised by the Russian intelligentsia for writing popular literature, and strongly criticized by the former censors for treating themes related to female adultery, homosexuality and lesbianism. By that he is trying to show that Nagrodska is primarily an avant-garde novelist who deals with libertinism far more than pornography and that her freethinking is both sexual and political.
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This article is an attempt to describe the most important problems faced by the contemporary trans(gender) literature in Poland. The analysis was carried out on two main axes: with the distinction of texts identified as (1) heteronormative and non-heteronormative, and (2) homonormative and non(hetero/homo)normative. Moreover, author provides some interesting examples of trans negative and trans positive literature. An important element of this article is the analysis of the autobiographical texts inscribed in the axis of non(hetero/homo)normative literature and trans positive literature. In the last part of the article, the author highlights the importance of the first transgender children book published in Poland “Kim jest ślimak Sam?” by Maria Pawłowska and Jakub Szamałek.
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The introduction of the article presents the state of research on the book market for children and youth and the basic problems related to this issue. One of the types of non-mass publications cataloged for children and youth — the so-called picture books — was analyzed in more detail. A review of examples of the picture book implementation and selected strategies for displaying the text and its correlation with illustrative material are presented. Particular attention was focused on the problem of the intentional recipient and adult participation in the reading process of child inculturation.
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Until recently not many people recognized the feminist theater movement existing in the end of the 19th century. For almost a century it was condemned to oblivion for above all political reasons. Most scholars were focused on anarchist authors while in this the article works of the two feminine authors are analyzed, these include: Vera Starkoff and Nelly Roussel. Starkoff, the Russian Jew, was inspired by Tolstoy, Zola and Ibsen, and wrote the didactic dramas in which she discussed gender inequality between men and women at that time. She in her works seems to be more moderate then Russel who is more uncompromising in her works. Russell ridicules canonic values represented by the Roman-Catholic Church enslaving not only women but each individual’s thinking.
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The subject of the work are selected spatial aspects of the novel Spring (1911) by Włodzimierz Perzyński. The Paris sequence of the story of the novel, representative of the modernist period in the writer’s work, was discussed. The focus of attention was on the cultural image of Paris at the turn of the 19th and 20th centuries in the context of contemporary migration processes and poetics of space, examined by the tools of contemporary reflection on the role of space.
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This article has two goals. The first goal is to present a historical process which forced the Canadians to become a minority towards the British and to show the complicated relationships in which these two nationalities had to live after the numerous wars waged in North America between the British Crown and the Kingdom of France. The second goal is to show the evolution of the aesthetics of the francophone Canadian theater being the result of the Acadian’s deportation. In this context, three theatrical plays, which are dramatic texts representative of various stages of the difficult Acadian-Canadian history, will be used as examples: Le Théâtre de Neptune (1609) as a representative of the theater of the period of the French dominance in the New France; Le Drame du peuple acadien (1930) as a stage in the poetics of the Acadian martyrology; and La martyrdom Saguine (1971), depicting the aesthetics influenced by the Quiet Revolution, where Acadia becomes a nostalgic place, in a way an open-air museum, where thoughts are returned without a tormenting sense of injustice.
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Kazimierz Wyka called Leszek Dunin Borkowski is the “enfant terrible” of the Galician society. His entire life (both as an artist and a politician), being an idealistic romantic, he discoursed on constructing the new social reality understood as accomplishment of a romantic image of the world and such a need of directing human actions. Borkowski was in ‘the minority’ of his own sphere (Parochialism, 1843), venal writers (Cymbalada, 1845), religious institutions (Lech’s Prophecies, 1848) and political correctness (The Rakuski Legislative Seym with Special Attention to the Polish Mission, 1849; The First Slavic Seym in Lvov 1865–1866 by an Eyewitness, 1884). He was also in ‘the minority’ as a pertinacious critic of acknowledged authorities (A Little Bit About Stanisław Tarnowski’s Experience and Contemplations, 1892; Because of the Florian Ziemiałkowski’s Open Letter to Józef Szujski, 1867).
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Andrić’s short story, Pismo iz 1920 will be analyzed in this text. The story describes the encounter of a narrator (who doesn’t have a name) with his friend (from period of the childhood) Maks Levenfeld. Andrić’s story was often interpreted with regards to thesis which emphasizies an idea that Bosnia is country of hatred (that is the main thesis of Maks’s letter which is one part of the text). Such types of criticism often had an ideological motives and avoided to analyze complex nature of this literary text. In the basic structure of the story is the main motive which describes a relationship between a subject and authority (that fact, among others, confirms the existence psychoanalytic aspects in this text). The figure of authority is represented by Max Levenfeld’s character. Beside that Pismo iz 1920 is the story about growing up, and intellectual maturity and also story about the one’s attempts to be free from influence of authority. It is also a story about the art and its power to change reader’s point of view by ironic modus.
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This research is concerned with the analysis of precedent phenomena that are used in the fiction and their interpretations in translations. The illustrative examples are the “mythological” novels by R. Zelazny and its Russian translations.
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The article is an attempt to present the manifestations of carnivalisation in the novel Children of the Moon which is one of the parts of the series “Brüderschaft with Death” written by Boris Akunin, Russian artist, compared to their Polish translation by Piotr Fast. During an analysis, it has been noticed that the translation of elements of carnavalisation requires different solutions, because sometimes it is impossible to replace Russian words with their Polish equivalents and thus absolutely preserve the meaning that was conveyed by text of the original. The translator used i.a. functional equivalents (e.g. in the case of replacing the Russian letter Г with the Latin letter L). Besides the translation aspects, it has been noticed that a comparison of words from different registers (e.g. lexemes defining exalted phenomena became names of buildings of everyday use, e.g. a restaurant-refectory “Holly Rus”) is also the manifestation of carnivalisation. In the case of the Polish translation, the signs of carnivalisation were largely preserved, thanks to which they have not violated the perception of the game for the Polish reader.
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The aim of the article was the characteristics of cultural differences and the reference to the literary translation of a journey on the basis of the material from one of the book by Polish journalists Mariusz Wilk. In the theoretical part, apart from mentioned notions, there were also characterised Polish cultural realities. Analytical part was devoted to the study of the ways of translation of chosen types of realia nomination, indicating on the cultural differences, what enabled to form conclusions.
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This article analyzes the ways of translating archaisms and names of realities in the material of the translation of Marek Krajewski’s novel The Minotaur’s Head into the Russian language. The author concludes that lexical archaisms in Russian can be reflected both by means of full equivalents as well as with using various transformations e.g. semantic shift or periphrasis. Some kinds of archaisms have been translated using equivalents existing in the contemporary language. The names of realities have been adapted to the knowledge of the potential recipient of the translation. For this purpose, generalization has been used. The names of military and police ranks important for the content of the work have been transcribed or barbarism has been used.
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In the Middle Ages, Latin hymnography united all the peoples of Europe who fell under the ecclesiastical jurisdiction of Rome during the divine service. The most well-known Medieval Latin hymns were translated into popular languages. They were performed during church services in European languages. It was necessary to translate the hymns anew, because the languages developed, and the old texts became ununderstandable with the development of the language. The article deals with three translations of the well-known hymn Ave, maris stella… Two translations made by the Polish poet-sentimentalist Franciszek Karpiński are included in the prayer book Droga do nieba. One more translation is included in Śpiewnik kościelny, compiled by the priest Jan Siedlecki (first edition in 1878). Analysis of the translations shows that they are made with fairly great accuracy, bear the imprint of the translator’s personality and can tell something about the recipients of the translation.
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