“Jeszcze nie”, “Państwa faszystowskie 2001”, “Państwa faszystowskie 2017”
Poems: 1. “Jeszcze nie” 2. “Państwa faszystowskie 2001” 3. “Państwa faszystowskie 2017” by: Gwido Zlatkes
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Poems: 1. “Jeszcze nie” 2. “Państwa faszystowskie 2001” 3. “Państwa faszystowskie 2017” by: Gwido Zlatkes
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The article analyzes the so-called Gdansk literature of three authors: Günter Grass, Stefan Chwin and Paweł Huelle in the context of postcolonial theory. It also refers polemically to the concept of post-dependence, indicating its infantile formula of memory as well as its limited cultural and political background.
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The article focuses on the problem of liminality (transition / change of state), transformation as well as multiplicity of self which characterize the entire work of the bilingual, German-Polish writer Peter/Piotr Lachmann. Those liminal states are strongly connected with the complex issue of the ethnic identity of the poem’s hero and at the same time with building the poet’s myth. These key aspects of his literary output are presented on the example of selected texts from 1979–1994.
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The main purpose of the article is to analyze the impact of the American and European philosophy and literature on the Argentinian culture. The paper focuses on three intellectuals-travelers, who visited Argentina in the first half of the 20th century, namely: Waldo Frank, writer and political activist from the United States; Stefan Zweig, Austrian novelist, playwright and biographer; and José Ortega y Gasset, Spanish philosopher and sociologist. During their sojourns in Argentina, all of them would give lectures and write to local press thus testifying to an intellectual exchange between Argentina and the European and North-American world.In this context, I also situate a Polish intellectual traveler – Witold Gombrowicz, who lived in Argentina for more than two decades. Although the status of Gombrowicz in Argentina was different, he was aware of the current discourse and his reflections about South America contained similar topics as in the case of the above mentioned thinkers. Although none of the discussed authors are associated with travel literature, one can interpret their works as travel writing, because of the situation they found themselves in. At the same time, their travel notes can be compared with the rise and development of area studies, to which issue I pay my critical attention.
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In the same years in which the first three editions of Leaves of Grass were published, Whitman invested a conspicuous part of his energies in the study of language, a commitment he would continue with varying intensity for the rest of his life. By the time he published the third edition of Leaves of Grass in 1860, he had come to believe that the English language in America should be transformed into a hybrid world language, capable of condensing the Kosmos, the world-nation he thought his land had become. He estimated that through a number of lexical and idiomatic graftings from the native and romance languages English could enrich the people who used it with a wider range of human and social experiences and feelings. In this way, American English could become a really democratic language where each different, gendered individual would have equal representation and visibility. This essay explores the connection between the finished text of the Leaves and its author’s search for an American language by focusing on the metaphor of “embodiment” and on the poem’s hero, Walt Whitman, in the different but mutually interchangeable roles he plays. It argues that, by offering Walt’s self as the connecting link between speaker and addressee, Whitman draws his reader into the common terrain of the mirror-language of the text. It argues, as well, that the outbreak of the Civil War quenched Whitman’s experimental enthusiasm. Almost overnight, Whitman transformed himself from a cosmic and cosmopolitan poet to a nationalistic shaper of new and old myths for the United States.
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The poem “Inscription,” which for the first time opened the 1867 Leaves with the dominant image of “ONE’S-SELF,” has become one of the most prominent of Whitman’s poems in the Polish rewritings of Leaves of Grass. Although only the final version of the poem (1871) has been translated, paraphrased, quoted or alluded to, its main subject – an exchange between the individual self and the collective self – has been well preserved in the Polish culture. I present Polish rewritings of the poem according to my concept of “a reception series” that encompasses not only translations but also various texts connected with the original as well as with its translations, e.g.: retranslations, paraphrases, adaptations, parodies, commentaries, interpretations, quotations and other texts representing intertextual and intermedial connections. All of these retextualisations, together with the data on how they used to function, that is, on how they were published, republished, or otherwise presented to form a “reception series,” which is, to my mind, the fullest object of research on the functioning of a given foreign text in a new culture. A reception series always becomes a rich source of knowledge of the possibilities of interpreting a particular original and of the ways in which that original can be used (culturally but also politically). It also helps to capture “the third value” created in the process of intercultural exchange which, in the case of Polish rewritings of “One’s-Self I Sing,” is exceptionally rich and intriguing.
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In the paper a specific phenomenon at the interface between intersemioticity and translation is discussed. Intersemiotic punning occurs when a relation of equivoque obtains not between two meanings encoded in the same semiotic layer, the verbal one, but between two different layers, e.g. verbal text and image. In the contribution renditions (actual and potential) of verbal-visual puns between English, Polish and Russian are considered. It is demonstrated that intersemiotic puns take different forms, which results in varied degrees of translational difficulty. A typology is proposed, including verbal-visual equivoques, visual-verbal ones, puns relying on implicit verbal-visual relations but expressed only verbally, or only visually. Translational implications of the presented examples are indicated, as well as possible solutions to the tasks and the limits of translation. It is illustrated that intersemiotic equivoques occur in a surprising variety of media, and therefore constitute a practical problem for translators working in many fields. To address this, an algorithm for translation procedures is outlined.
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The article addresses the topic of remake as an intercultural translation. As the new generation TV series are quite new phenomenon in the contemporary culture, their definition is clarified in the introduction. Then, narrowing the issue to the area of research, the reasons for the American remakes of British TV series is provided, and also their essence and types, as well as an attempt to look at the remake as an intercultural translation. Analysis of the remake as a translation is carried out on the example of the crime series Gracepoint based on Broadchurch. Cultural differences between them proves their difference and the need to adapt not so much to the understanding of the criminal plot, but the social drama of the events being played, and above all, in repeating the frequency and commercial success of the original.
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The reception of The Prince by Machiavelli in Poland was a matter not only complex but above all burdened with stereotypes. It has been researched by Ulewicz, Barycz, Grzybowski, Malarczyk and Tygielski. There still remains, however, much to be done to reveal the full picture of the reception of The Prince (and other works of the Florentine). An important but neglected aspect is the translations of Machiavelli’s treatise into the national language. The first printed rendition appeared as late as 1868, authored by Antoni Sozański. The translator was clearly guided by the intention to rehabilitate the Florentine and his works in the eyes of a Polish reader so that he could make use of his advice in the struggle for independence. Wincenty Rzymowski, the author of another rendition of The Prince (of 1917), adopts a similar attitude. It is visible he strove to alleviate the effects of the black legend of Machiavelli, seen as a teacher of duplicity and deceit, so that his most famous treatise could be accepted by the Poles as helpful in their fight for a free homeland. An entirely different approach to the original is evinced by Czesław Nanke, who translated The Prince three years later. His Polish rendition closely mirrors the original, seeking objectivism in the portrayal of the doctrine of Machiavelli at the expense of ideologizing. Anna Klimkiewicz, drawn to the treatise in 2005 with the intention of translating it not because of its practical dimension but its significance for the European thought, was similarly inspired. The newest indirect translation from English (2010) is the one in which the translator – Zdzisław Płoski – makes a shift from the sphere of political writing to business. His The Prince is a guide on how to exercise control understood more as a management of a corporation rather than a state. So far the translations have not been the subject of research among Polish comparatists. Such key categories for the thought of Machiavelli as virtù, fortuna and occasione have yet to be discussed.
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This essay compares Greek and Sanskrit drama from the perspective of their aesthetic aims. It examines briefly the role of pity and fear in Aristotle as a point of departure for a more general study of emotion in Sanskrit drama, where fear comprises but one mood sought in the aesthetic experience. The discussion is based on the theoretical understanding of drama as elucidated by Bharata in the Nāţyaśāstra and Abhinavagupta in his commentary to this work.
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This essay seeks to address both the category and phenomenon of modern Indian theatres. While the rise of the theatre in India was tied to the cultural forces of colonization, however, very early on in the history of Indian language theatres, we see practitioners struggling to define for themselves and for their audiences a sense of identity in both modernity and nationality. In the years following India’s independence from British dominion, the need for a national identity becomes more pressing. Such articulations of what it means to be “Indian”, manifest in the theatre, literature, and the various cultural discourses of the time. However, though a unity was sought in an independent nationhood, the inherent pluralities in a multilingual and multicultural context like India could not be ignored, in crafting this discourse of nationhood. In this study, I wish to, therefore, contextualize conversations around the history of modern Indian theatres within such a longer history of pluralistic responses to colonially mediated modernity and the quest for a modern national identity. I have hence, in my study, chosen to focus on two Indian playwrights, Bharatendu Harishchandra (1850–1885) and Habib Tanvir (1923–2009). Harishchandra’s career ends well before India’s independence in 1947, while Tanvir represents the first generation of playwrights who came of age in a nascent nationhood. Borrowing from Indian Comparatist Sisir Kumar Das’ theorizations on the phases of Indian modernities in his A History of Indian Literature (1991), I explore Tanvir’s and Harishchandra’s views on theatre as indicative of distinct phases in the history of Indian modernities, and thereby hoping to arrive at a less linear and more pluralistic view of the history of modern Indian theatres.
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The article presents the (biblical) figure of kenosis in word and in music contained in the oratorio titled La passion de Simone by Kaija Saariaho. The piece is entirely dedicated to the life and philosophy of Simone Weil. The article analyzes the tenth part of the oratorio which refers directly to the Tenth Station of the Cross where the act of stripping bare is contemplated. The key to the interpretation of this event is contained in the Greek word kenosis. St. Paul, the Apostle to the Nations, in the Letter to Philippians uses it to describe the humiliation of Jesus Christ. Kenosis comes from the Greek verb kenou, which can be translated as: voiding or emptying of self, of one’s own will, or becoming entirely receptive to God’s divine will. This concept is of key importance in Weil’s philosophical thinking. She coined the term “de-creation” to describe the transposition of kenosis to the experience of a being human. The presence of this figure can be seen in the libretto describing Weil’s solitude and abandonment in everyday and intellectual life. The music expresses the idea of kenosis in the moments of silence and standstill. This concept also determines the texture and the sonority full of dark colors.
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In this article, I will deal with the problem of interdependence between poetic imaging and photography on the example of one poem from the volume Głosy [Voices] by Jan Polkowski voice and the cover photo by Marysia Gąsecka. The comparative analysis will also include analyzes and interpretations of other works by Jan Polkowski, as well as a discussion of the problems of reading space, architecture, and word-and-picture interactions, also present in the works of other authors. Starting from the assumptions of the aforementioned researcher, in my deliberations I will shift the emphasis on literary strategy, which is a poetic epithet even more strongly towards new artistic experiments. Polkowski’s poems certainly share many of the classic concepts of ekphrasis, but in the volume Głosy, the author incorporates narrative texts into another semiotics of linear lyric (sic!). By giving intersemiotic reflections of the poetic dominant, Gąsecka gives a voice to the photographs, and allows the narratives in the poems to comment and comment on what was shown in the photographs.
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Paulina Kuczalska-Reinschmit (1859–1921) – the leader of the Polish emancipation movement at the turn of the 19th and 20th centuries and active on the territory under Russian Partition – established her programme for educational, professional and political emancipation of Polish women, drawing inspiration from national sources: the ideology of the Polish Renaissance and Polish Sarmatism of the pre-partition era, but the forms of implementation of this programme were based on foreign, mainly German, French and Czech, influences. The German, French and Czech influence are noticeable particularly in the crystallization of her emancipation programme, that is in the 1880s and the 1890s when she wrote about German, French and Czech women in the first Polish feminist daily Świt [The Dawn], then in the daily of the so-called Warsaw positivists titled Przegląd Tygodniowy [The Weekly Review] and finally in her own feminist periodical Ster [The Helm]. Ster had two editions: Ster, issued in Lviv in the years 1895–1897, was an organ of the supporters of educational emancipation for women in the territories under Austrian Partition and was closed when the Jagiellonian University admitted its first female students; Ster, issued in Warsaw in the years 1907– 1914, was an organ of Związek Równouprawnienia Kobiet Polskich [Polish Women Emancipation Association], which led to the granting of full citizenship rights to Polish women in 1918. While working on the programmes and forms of activity of Ster and of the Polish Women Emancipation Association, she took advantage of the models created mainly by the German organization Allgemeine Deutsche Frauenverein as well as Ludwika Otto and Augusta Schmidt’s magazine Neue Bahnen, and French organization Alliance Universelle des Femmes as well as Maria Cheliga’s magazine Bulletin de l’union universelle des femmes or Revue Féministe.
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The study is devoted to Eleonore Kalkowska (1883–1937), a forgotten Polish-German writer, mostly remembered as a playwright from Berlin associated with the Zeittheater movement, especially as an author of famous play Josef, staged at Volksbühne in 1929. In the paper Kalkowska is presented in the broader context – instead of analyzing her works, the author outlines the trajectories of the writer’s life and constellations. At the one hand the author focuses on Kalkowska’s Weimar Republic period (for example writer’s contacts with Karin Michaelis) and the years of her exile from the Third Reich at the other. The later aspect allows to bring up Kalkowska case as an important and forgotten link of the German exile studies.
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The present article is a study of Maurice Maeterlinck’s reception in Stanisław Przybyszewski’s life and works from 1895 – when he received The Collected Dramas from Zenon Przesmycki – until 1902. Maeterlinck’s influence on Przybyszewski dates back to his reading of Przesmycki’s study on Maurice Maeterlinck. His Position in Belgian and Universal Literature, it took definitely root in 1899, when Przybyszewski gave a conference on „Mysticism and Maeterlinck” in Cracow, and peaked in 1902 when the première of Guests took place in Lviv and the first part of A Few Notes about Theatre and Scene was published in Kurier Teatralny. Literary reception is analysed in relation with cultural context and Przybyszewski’s biography.
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In the article I analyze the concept of cyclical time as it appears in Maj by Karel Hynek Mácha. This type of time, described as “Holy time” according to Eliade’s definition, is compared with the linear (historical) time created by Adam Mickiewicz in one of his most influential works, namely Konrad Wallenrod. The different creation of time in the text of the Czech romantic prove that May is an original work of art, not only a compilation of themes and motifs borrowed from Polish romantic literature, as it is often claimed.
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The article is an overview of the latest book by Professor Krystyna Kardyni-Pelikanová, a distinguished representative of Polish literary studies in the Czech Republic and an esteemed researcher of Polish-Czech literary relations. Her publication entitled „Čechy krásné, Čechy mé...”. Czeska i polska literatura we wzajemnych interakcjach. Miscellanea literaturoznawcze: eseje, studia, szkice (Brno 2017) contains works that were created at different times and were mostly published earlier. They are connected by the subject of identity. The author introduces the reader to the world of Czech culture along with its mentality and spirituality. She raises various issues, including problems of Czech literary mystifications, changes in the reading of Polish literature in the Czech Republic or the issue of various perceptions of literary creativity. She focuses her attention on the comparative project of Marian Szyjkowski. Furthermore, she resolves translation problems arising from mutual translations from both literatures. The book by Professor Kardyni-Pelikanová may be a precious source of inspiration for new scientific research.
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The present article on translational transgressions is a review of the volume Transgressionen im Spiegel der Übersetzung, a festschrift on the occasion of the 70th birthday of Maria Krysztofiak-Kaszyńska, professor of German and Danish literature at Adam Mickiewicz University in Poznań. It comprises a collection of texts written by former doctoral students as well as colleagues of the scholar on the theory of translation in general and transgressions in particular, thus covering the main topics of her field of study and her research. All contributions are published in German. They represent a variety of different approaches and perspectives, which in condensed form document the current status of this rapidly developing academic field comprehensively and well. The entire volume can thus serve as an introduction.
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An important part of the contemporary market of children's books are publications dedicated to science. In the vast majority of the form adapted to the child's age glossaries and encyclopedias, of a general nature, or on a slice of reality as the universe, dinosaurs, animals, plants. Although these are undoubtedly extremely valuable items, it seems that suit the needs of quite specific — and most important numerically limited-type audience: people interested in science and learning, and not necessarily as happy up after literature. Books of Anna Czerwińska-Rydel, an author of numerous fictionalized biographies, including Maria Curie-Skłodowska, Johannes Hevelius or Daniel Fahrenheit shows, however, that you can successfully write texts about science dedicated to a completely different, more "literary" set of the reader. An article is an attempt a presentation of books of the author devoted to famous — as above — and less well known, as Jan Czochralski or Elizabeth Hevelius, scientists and their achievements. In particular, the focus will be on how to present complicated science topics using of the poetics specific to a literary text.
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