Wyniki wyszukiwania - Biblioteka Nauki

1

A convolution of east and west: intertwining multicultural worlds

100%

Czerkawski B. C.

Studia Interkulturowe Europy Środkowo-Wschodniej

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2023

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tom 16

175-192

EN

Many Eastern European countries, especially Russia and Turkey, share a common characterization of the so-called “torn countries”, a term first used by Samuel Huntington in 1993. Torn countries are those territories situated on the boundary of two different civilizations, West and East, sharing characteristics of both worlds while struggling to identify with either of them completely. While the individuals in these societies may choose one civilization over the other, their societies suffer from a significant socio-cultural difference within the civilizations, reflecting the individual as a major confusion over their identity. The best expressions of such identity struggles can be seen in the literary masterpieces of torn countries. This paper’s primary purpose is to compare Orhan Pamuk and Fyodor Dostoevsky’s selected works to identify some common themes between the two authors. Snow, İstanbul, Other Colors and Nights of Plague by Pamuk and Demons, Crime and Punishment and The Idiot by Dostoevsky form the basis of this comparison. Pamuk and Dostoevsky’s novels function as testimonials that Russian and Turkish cultural histories share many commonalities as torn countries. Comparing these authors’ selected works would allow readers to glimpse some of the themes cross-cutting Russian and Turkish cultures and show them how the two countries fared in the past two centuries against dominant political and social movements.

2

Questions of Comparison

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ROWIŃSKI K.

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nr 3. Global Modernism(s) Approaches to trans-local / trans-cultural / trans-civilizational dimension of Modernist movements

101-107

EN

The convergence, especially in the last two decades, of translation studies and comparative literature is a phenomenon that brings together two disciplines with troubled histories. Although both are in fact much older disciplines, a fuller recognition of their importance (at least in the context of the American academia) is a matter of the last couple of decades. The last two decades also saw a heated discussion over the state of comparative literature as a discipline: with a great sense of ethical urgency, scholars of comparative literature in the American academia, influenced to a large part by postcolonial studies, have sparked a debate which renewed interest in world literature and gave rise to attempts at re-envisioning the study of literature.

3

„Jedes Wort ist eine Übersetzung“: Zsuzsanna Gahses experimentelle Vermittlungen zwischen Sprachen, Medien, Gattungen und Kulturen

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Sośnicka D.

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tom 5

p. 173-193

EN

This essay sketches in broad outline the literary work of the German-language author Zsuzsanna Gahse, which is characterized by a variety of linguistic and formal experiments, particular attention being paid to her activity as a translator of Hungarian literature. At the centre of the discussion is Gahse’s literary portrait Translated. A Disunity, in which she reflects on writing and translating, but also takes as a theme her ‘disunity’ between literature and the graphic arts. Gahse found a way out of this ‘disunity’ by blurring the distinctions between different languages, media, genres and cultures in her works, by mediating in various ways between them and by ‘transferring’ them, for translating – as she always emphasizes – means very much more than simply mediating between two languages.

4

From Brushes to Lenses: An Ekphrastic Stroll in "A Line Made by Walking" by Sara Baume

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Ferreira J. S. , Vieira M. d. P.

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nr 2

DE

Der Artikel enthält das Abstract ausschließlich in englischer Sprache.

EN

There is a sizeable body of scholarship concerning the ekphrastic relation of literature to painting – however, there has been ascending interest in other sources of inspiration, such as photography. The aim of this paper is to explore whether the categories used to analyse ekphraseis of paintings might apply to the ekphraseis inspired by photography in Sara Baume’s A Line Made by Walking (2017), considering that they provide insightful information regarding the creative process of the protagonist and her inner state. The notion of ekphrasis (Clüver, Vieira, Webb) and theories of photography (Barthes, Machado, Sontag) will be used as theoretical support.

FR

L'article contient uniquement le résumé en anglais.

5

Theaterlandschaften als Bedingungsrahmen für literarischen,intermedialen und kulturellen Transfer: Janusz Głowackis Dramen Kopciuch (Aschenkinder) und Antygona w Nowym Jorku(Antigone in New York)

88%

Schultze B. , Weinhagen B.

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tom 5

p. 11-47

EN

This paper concerns translatory, theatrical etc. transfer in different theatre landscapes (especially the United States of America, the German-speaking countries,Russia and France), from the beginning of the 1980s to the first decade of the 21st century. The playwright is Janusz Głowacki (1938), one of the internationally most frequently staged Polish playwrights of the last decades. Of specific interest is the American theatre landscape – “between art and trade“ – in which Głowacki “reinvented“ and “promoted“ himself as a playwright: changing the textual make-up of his plays in reference to his translators, theatrical experience (specific stagings), new political circumstances etc. Consequently, there is no canonic, binding textual basis for translators. The production of drama and drama translation proceeds in a way that the traditional difference between source and target text is abolished. This case of “circular transfer” takes place in Głowacki’s first longer play, Kopciuch (Cinders) and his internationally most frequently staged play, Antygona w Nowym Jorku (Antigone in New York).

6

Proust, metodą Ollendorffa

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Jan Zieliński J.

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nr 1

327-349

EN

The first part of the paper discusses the meandric cooperation between Marcel Proust and the Paris based publisher Paul Ollendorff that lasted over 20 years (1893-1913). Further on, the Western expansion of the Ollendorff family from Rawicz, Poland, is briefly sketched. Another passage con- cerns a Maeterlinck pastiche by Proust (Echo, 1911), seen in the context of Ollendorff’s conversation method of learning languages. The author suggests Proust was using this method to learn English himself. The paper ends with a survey of several mentions of Ollendorff’s method in the twentieth century Polish prose.

7

Jak badać literaturę emigracyjną?

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Sumbor J.

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tom 5

p. 497-511

EN

Między językami, kulturami, literaturami. Polska literatura emigracyjna w Berlinie i Sztokholmie po roku 1981 is a collective volume with the focus on the activity of writers with Polish cultural roots in Berlin and Stockholm within the past thirty years. The authors of the papers discuss the conditions of origin of migrant literature, address terminological and methodological issues, and provide interpretations of selected works. The status of émigrés as such is presented as changeable, dependent on a given historical-cultural context. The emergent issues at the cultural and language level, as well as the themes which are tightly connected to the experience of emigration or to the memories of the historic 20th century events are often addressed by the authors in a linguistically creative way.

8

Tłumaczenie a interpretacja. Kilka uwag o Szalonej lokomotywie Stanisława Ignacego Witkiewicza w przekładzie na język angielski

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Wesołowska M.

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tom 5

p. 453-468

EN

Stanisław Ignacy Witkiewicz’s The Crazy Locomotive was published in 1968 in the collection of Witkacy’s dramas The Madman and the Nun and Other Plays translated into English by Daniel Gerould and C. S. Durer. As a translator and a researcher of Witkacy’s works, Daniel Gerould takes a double role. He interprets Witkacy’s play not only in his explicit comments published in his study Witkacy. Stanisław Ignacy Witkiewicz as an Imaginative Writer (1981) or in the introduction to The Crazy Locomotive, but also in his translation of the drama. The author of the article presents how Gerould’s explicit interpretation of The Crazy Locomotive as a catastrophic play, where the machine wreaks auto-destruction (which is not necessarily obvious in the Polish version), may influence the translation of the text into English. In her analysis of the Polish, French and English versions of the play, the author reveals different interpretational acts of the translators.

9

Individualästhetik als Phänomen der Übersetzungskunst. Das Gedicht Campo di Fiori von Czesław Miłosz, nachgedichtet von dem norwegischen Lyriker Paal Brekke

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Wilkus A.

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tom 5

p. 433-451

EN

The present paper offers a comparative analysis of the Norwegian translation of a poem called Campo di Fiori (1943), written by Czesław Miłosz. The study focuses on how certain themes and poetic elements, selected from the author’s individual aesthetics, are understood and realised in a different culture. The text which constitutes the research material comes from so far the only existing Norwegian anthology of poems written by Miłosz, I løsildens æra (1981), translated by Paal Brekke. Due to the strongly differentiated cultural factors, the historical and literary background and the translator figure, which are essential for the comparison of the two poems, the author of the paper finds it necessary to apply a comparative approach. The analysis is basically focused on various contexts, i.e. elements which simultaneously form a complete aesthetics of Miłosz and Brekke. Moreover, the paper discusses the general idea of I løsildens æra anthology and points out the main issues combined with the reception of Miłosz’s poetry in Denmark and Norway. Focusing on the different contexts surrounding the texts analysed, the author has managed to accentuate the two individual aesthetics in the original poem and its translation. As it turns out, Brekke’s translation is close to the principia of modernistic poetry. It brings the dialogical element into the Norwegian version, and that is conditioned by the perception of the role of poetry and the poet in the Norwegian modernism. The paper’s conclusion is that Brekke’s individual aesthetics is laid upon Miłosz’s poem, changing the characteristic features of the original text.

10

Under which King, Bezonian? Literary Studies between Hermeneutics and Quantification

71%

Moretti F.

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tom 26

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nr 1

315-328

PL

Jaka jest relacja między ilościową historią literatury ostatnich dwudziestu lat a starszą tradycją hermeneutyczną? Odpowiedzi na to pytanie wydają się dwojakie: dla wielu przedstawicieli obozu interpretacyjnego, nie da się pogodzić tych dwóch podejść, a nowsze podejście ma bardzo małą wartość krytyczną jeśli w ogóle można mówić o wartości w tym wypadku. Z kolei dla większości badaczy ilościowychsą one całkowicie zgodne i w zasadzie wzajemnie się uzupełniają. W niniejszym tekście przedstawię trzecią możliwość, która krok po kroku wyprowadzona zostanie z porównania sposobu funkcjonowania obydwu strategii. Mam tu na myśli dosłownie sposób funkcjonowania; oparty na przekonaniu, że praktyki – czyli to,czego uczymy się poprzez wykonywanie, z zawodowego przyzwyczajenia i często bez pełnej świadomości tego, co robimy – często mają większe implikacje teoretyczne niż same stwierdzenia teoretyczne. Innymi słowy: ważniejsze jest zrozumienie tego, jak funkcjonuje paradygmat badawczy, niż określenie tego, jak powinien on funkcjonować. Taki jest plan niniejszego artykułu.

EN

What is the relationship between the quantitative literary history of the past twenty years and the older hermeneutic tradition? Answers have typically been of two kinds: for many in the interpretive camp, the two approaches are incompatible, and the newer one has little or no critical value; for most quantitative researchers, they are instead perfectly compatible, and in fact complementary. Here, I will propose a thirdpossibility, that will emerge step by step from a comparison of how the two strategies work. How they work, literally; in the conviction that practices – what we learn to do by doing, by professional habit, and often without being fully aware of what we are doing – have frequently larger theoretical implications than theoretical statements themselves. In other words: understanding what a research paradigm does, ratherthan what it declares it wants to do. This is the plan.

11

Kłopotliwa (nie)pamięć o Zagładzie: wymazywanie żydowskości w recepcji i ekranizacji Weisera Dawidka Pawła Huellego

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Mach A.

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tom 5

p. 331-351

EN

In my text I analyse Weiser Dawidek – a novel written in the mid-1980s by Paweł Huelle (who was a novice author at the time) and its film version Weiser, adapted and directed by Wojciech Marczewski in 2001. I focus on reception of both of the works. The story, which was recognized as one of the most important literary phenomenon in the late 1980s, begins with a “primal scene” of an anti-Semitic harassment and assault performed by Catholic male adolescents on their schoolmate Dawidek. Nevertheless, the Jewish aspect of the novel and its apparent reference to the Holocaust was not perceived by most of the reviewers and literary critics. I draw upon various theoretical contexts (e.g. Freudian and Lacanian psychoanalysis, memory and trauma studies) as I attempt to discuss the complex problem of the legacy of the Holocaust in Poland.

12

LOOKING AT ROMANTICISM EX CATHEDRA: THE LECTURES OF LUDWIK OSIŃSKI. INTRODUCTORY REMARKS

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Markowska-Fulara H.

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tom 18

33-40

PL

Tematem artykułu jest przejawianie się sporu klasyków z romantykami w ówczesnym dyskursie akademickim na przykładzie wykładów Ludwika Osińskiego. To właśnie wykłady z literatury porównawczej prowadzone na Uniwersytecie Warszawskim najlepiej ukazują wagę polemiki z nowymi tendencjami w kulturze także dla świata akademii, choć odniesienia do nich często wyrażane był nie wprost. W artykule analizuję strategie retoryczne stosowane przez Osińskiego do odnoszenia się do nowej estetyki. Opisuję dialogiczne relacje między romantyzmem a przykładami literackimi wybieranymi przez Osińskiego, jego ocenami dzieł oraz jego przekonaniami dotyczącymi literatury. Szczególnie istotne okazuje się zaprezentowane przez niego ujęcie relacji pomiędzy tradycją a innowacyjnością w kulturze. Umieszczenie wykładów Osińskiego w kontekście dialogu z romantyzmem pozwala zobaczyć jego kurs, często niedoceniany jako wtórny, jako spójny i przemyślany projekt.

EN

Paper discusses the reflection of the argument between Classicists and Romantics in aca- demic discourse on the example of Ludwik Osiński’s lectures. The lectures in comparative literature that Ludwik Osiński gave at the University of Warsaw can best illustrate the aca- demic significance of a polemic with new tendencies in culture, even though it is usually not expressed directly. In the paper the lecturer’s rhetorical strategies employed to refer to new aesthetics are investigated. Dialogical association between Romantic style and Osiński’s cho- ice of examples, the judgments he made and concepts he used is described. Finally, the terms in which he articulates the relation between the old and the new in culture are examined. Seeing Osiński’s lectures in the context of the dialogue with Romanticism allows to consider it as a coherent and deliberate project.

13

On the Imagological Reflection of The Tinker Topos in the Librettos of J.K. Chmelenský and K. Želenský (“Image of The Neighbour” in the 19th Century´s Czecho-Slovak Cultural Relations)

54%

Zelenková A.

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2016

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tom 19

EN

The paper draws on the ideas of one of the co-founders of imagology H. Dyserinck who claims that in the “image of the neighbour” there should be the prevalence of reception over the theory of influence, i.e. the prevalence of intercultural dialogue over the manifestation of the level of development of one literature over another. In Czecho-Slovak relations, the image of “one´s own” (autoimage) and the image of the “other” (heteroimage) were in the 19th century limited, out of ideological reasons, to the creation of such cultural discourse in the narrative form which would include the themes and images supporting the theory of intra-cultural unity. Making use of intertextuality, the paper analyses semantic and generic transformations of the tinker topos which was in the 19th century the most frequent stereotype associated with the Slovak context, namely, in the opera librettos of J.K. Chmelenský Dráteník [The Tinker] (the first Czech singspiel from 1826 by F. Škroup) and K. Želenský U Božích muk [At the Calvary] (composed by S. Suda, Prague premiere in 1898). The genetic dependence of both texts is also supported by analogical motifs, especially a high profile acquired by the song Kde domov můj [Where is my home], which later became the Czech national anthem. In spite of the distance of more than half a century, the popularity of both operas points to the potential connotations of this topos (exotic otherness, social degradation, a type of Slovak patriot, etc.) which suited the growing political topicality of the Czecho-Slovak solidarity at the end of the 19th century.

PL

Artykuł wychodzi z poglądów jednego ze współzałożycieli imagologii H. Dyserincka, według którego „obraz sąsiada” musi mieć przewagę recepcji nad teorią wpływu, tj. przewagę dialogu międzykulturowego nad manifestowaniem przewagi poziomu rozwoju jednej literatury nad drugą. W stosunkach czesko-słowackich obraz “własnego” (autoobraz) i obraz „cudzego” (heteroobraz) w XIX wieku z powodów ideologicznych były ograniczane, gdy chodzi o wytworzenie takiego dyskursu kultury w formie narratywnej, w którym pojawiałyby się tematy i obrazy wspierające teorię wewnątrzkulturowej jedności. Poprzez wykorzystaną w artykule koncepcję intertekstualności dokonuje się analizy semantycznej i genologicznej transformacji toposu naprawiacza garnków (druciarza), który był w XIX wieku najczęstszym stereotypem związanym ze słowackim kontekstem, a zwłaszcza w operowych librettach J.K. Chmelenskiego Dráteník (chodzi o pierwszą czeską śpiewogrę z roku 1826 F. Škroupa) i K. Želenskiego U Božích muk (kompozytor S. Suda, praska premiera 1898). Genetyczną zależność obu tekstów podtrzymują analogiczne motywy, także eksponowane w pieśni Kde domov můj, późniejszym czeskim hymnie narodowym. Pomimo ponad półwieku odstępu popularność obu oper u widzów wskazuje na potencjalne konotacje tego toposu (egzotyczna odmienność, społeczna niższość, typ słowackiego patrioty itp.), które odpowiadały narastającej politycznej aktualizacji czesko-słowackiej solidarności w końcu XIX wieku.

14

With a Diamond in His Shoe: Reflections on Jorge J. E. Gracia’s Quest for Self-Perfection

51%

Redpath P. A.

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nr 4

997-1029

EN

Jorge J. E. Gracia, was born in Cuba in 1942. At age 19, he escaped Cuba and arrived in the United States. In 2019, 58 years later, in a nation which, prior to his arrival in North America, had no major Latino cultural presence in higher education and philosophy, Gracia rose to hold the Samuel P. Capen Chair and State University of New York at Buffalo Distinguished Professor of Philosophy and Comparative Literature. In this position, he became the leading figure to institutionalize Latin American philosophy in the U.S. academy and an internationally-renowned scholar in medieval philosophy. Jorge J. E. Gracia died in the United States on July 13, 2021. In this paper the author shows that what properly explains the philosophical and adult-personal life of Gracia is the Thomistic principle of virtual quantity. He contends that the only way to understand Gracia’s personal and philosophical life is to grasp this life as one of an organizational psychologist pursuing perfect self-realization in action and understanding: someone chiefly interested in intellectually grasping precisely how organizational wholes (including his own psyche) become united and divided, and operate when so united and divided.

15

Čím je svět nemocný? Pokusy o diagnózu v románech Radky Denemarkové a Olgy Tokarczukové

51%

Brodacka-Dwojak M.

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nr 70

102-116

EN

The aim of this article is a comparative analysis of the works of two important Central European women writers, Radka Denemarková and Olga Tokarczuk, with a particular focus on their novels Hodiny z olova (2018) and Empuzjon. Horror przyrodoleczniczy (2022). The introduction juxtaposes the literary agendas and goals that both authors set for their novels, as well as the extra-literary ways of communicating with the readers. The introduction is followed by an analysis of the formal characteristics of their novels, which elude clear genre classification. The plot construction of the works corresponds with the subject matter, which acquires the character of a diagnosis that opens up a discussion on the condition of contemporary societies: Czech, Polish, European and even Chinese. In Hodiny z olova, Denemarková juxtaposes contemporary Beijing and Prague, she asks about values and human rights in (post)totalitarian societies. Tokarczuk, on the other hand, uses the metaphor of tuberculosis to ask about other human ailments related to identity and co-existence with the natural world.

16

Polski prekursor intertekstualności? Rzecz o „wpływologicznych” książkach Stanisława Windakiewicza

51%

Lubański M.

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nr 1

251-266

EN

Issues concerning history of literary research in Poland constitute content of the paper. The author aimed at examining possible relations between contemporary researches on intertextuality and so called Polish school of ”influenceology” – a popular trend in Polish literary study in two first decades of the 20th century. Ruminations on scholarly achievements of Stanisław Windakiewicz who is the main representative of this trend are included in the paper, as well as detailed critical reception of his works at that time. An outline of differences of opinions between supporters of researches on literary influences and interrelations and opponents of such way of analyzing of literature were presented. The author aimed at emphasizing both advantages, as well as disadvantages of comparative investigations of that time. Finally, similarities and differences between ”influenceology” and intertextuality were pointed. Definitions of intertextuality proposed by i.e. Polish literary theoreticians ( H. Markiewicz, M. Głowiński) were used in the paper.