Wyniki wyszukiwania - Biblioteka Nauki

1

Pirandello a Breslavia

100%

La Rosa G.

Italica Wratislaviensia

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2014

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nr 5

235-254

EN

The aim of the article is to outline the presence of Luigi Pirandello in Wrocław. After a brief overview of his critical reception in Poland after the First World War, the essay focuses on the three performances that took place in Wrocław after the Second World War. For each performance, the theatre program and the critical reviews are analyzed. The article attempts to show how Pirandello, after his rare appearance, disappeared from the theatre scene in Wrocław.

2

Matejko na paryskim Salonie 1875: „Chrzest dzwonu Zygmunta”

100%

Zgórniak M.

Biuletyn Historii Sztuki

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2012

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tom 74

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nr 2

267-296

EN

The article deals with a critical reception of one of the lesser known paintings by Jan Matejko (1838-93) displayed at the 1875 Paris Salon and titled Baptême de la cloche Sigismond, à Cracovie, en 1521 (1874/75, National Museum in Warsaw). Matejko who already for his debut in 1865 was awarded a medal in Paris, after the 1867 Universal Exhibition while residing in Cracow displayed his oeuvre in the French capital for many years hors councours. The reception of the Bell at the 1875 Salon became a turning point in Matejko’s Paris career: more appropriately said, a beginning to its end. The author analyses whether this turn resulted from the transformation taking place in Matejko’s art; from the transformed artistic realities; or possibly due to some other circumstances. He discusses various aspects of the Salon as well as the reviewers’ opinions on Matejko and other participating artists.

3

Drei Metaphern des Exils im neuesten deutschsprachigen Roman: Gehen, ging, gegangen von Jenny Erpenbeck, Ohrfeige von Abbas Khider, Das Mädchen mit dem Fingerhut von Michael Köhlmeier

81%

Pokrywka R.

Tematy i Konteksty

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2017

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tom 12

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nr 7

412-425

PL

The paper is divided into three parts. In the first one the most popular contexts of the research of the migrant literature are named: the actual debate about consequences of migrant policy and the figure of the author. In the second part three central metaphors in the novels of Erpenbeck, Khider and Köhlmeier are presented. These metaphors of exile are: disturbed time, lost life story, incomprehensible language. The third part contains an overview of the reception of the novels in Germany. The conventions of reading focus first of all on the two aforementioned non-fictional references (political context and author) without taking the metaphorical power of the texts into account. Thus the new migrant literature tends to become an equivalent for journalism and is read literally as a testimony of the author.

4

„L’eco di un cuore altrui”. Poezja Ewy Lipskiej we Włoszech

81%

Ślarzyńska M.

Tematy i Konteksty

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2020

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tom 15

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nr 10

145-159

EN

The article focuses on the critical reception of Ewa Lipska’s poetry in Italy. It takes into consideration the volumes translated by Marina Ciccarini (2013, 2017), Paolo Statuti (2014), as well as the translated poems that appeared in literary magazines (Marco Bruno, 2019). The analyzed material includes the commentaries on Lipska by Italian literary critics published in newspapers and on the Internet. The article presents how the previously translated Wisława Szymborska’s poetry and its success in Italy has influenced the way in which Lipska is perceived in critical reception. The analysis takes into consideration also editorial factors such as the role of the publisher in the diffusion and perception of foreign poetry.

PL

Artykuł koncentruje się na krytycznej recepcji poezji Ewy Lipskiej we Włoszech. Uwzględnia tomy przetłumaczone przez Marinę Ciccarini (2013, 2017), Paolo Statuti (2014), a także przetłumaczone wiersze, które ukazały się w czasopismach literackich (Marco Bruno, 2019). Analizowany materiał zawiera komentarze włoskich krytyków literackich do Lipskiej publikowane w prasie i internecie. Artykuł pokazuje, jak przetłumaczona wcześniej poezja Wisławy Szymborskiej i jej sukces we Włoszech wpłynął na sposób postrzegania Lipskiej w krytycznym odbiorze. W analizie uwzględniono także czynniki redakcyjne, takie jak rola wydawcy w rozpowszechnianiu i odbiorze poezji zagranicznej.

5

Zagraniczne istnienie literatury polskiej

81%

Pasterska J. , Luboń A. , Wyrembelski M.

Tematy i Konteksty

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2020

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tom 15

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nr 10

15-22

EN

Interest in reception of Polish literature translated into foreign languages has increased in recent years among not only academic researchers but also publishers, literary critics and readers as well. Both successes of contemporary Polishwriters abroad and the endeavors of cultural institutions aimed at promotion of Polish literature in other countries inspire discussions centered on the issue of selection and adaptation of the most representative, unique and/or attractive for foreign readers texts, originally written in Polish. The tenth issue of „Tematy i Konteksty” also addresses these questions, collecting papers focused, among others, on modern translator’s cultural role and status, standard or unconventional techniques andmethods applied in literary translation, particular transfers of various artistic texts from Polish into other languages and modes of their reception within target cultures. Articles collected in the volume answer numerous questions related, for instance, to the ways in which foreign readers respond to writings by Polish authors or to the fields of discourse texts of Polish origin enter as an effect of the set of translational transformations. These transformations result from a variety of factors, such as translator’s idea of equivalence, his/her professional and social position, editorial strategies or even detailed choices of lexical items crucial for the preconceived meaning of the text. The articles discussing and analyzing such issues unveil the secret of supralocal successes of certain Polish writers and clearly indicate the importance of translator’s work for their achievements.

PL

Zaprezentowane w tym numerze pisma zagadnienia obejmują wiele zjawisk teoretycznoliterackich, kulturowych, językowych, socjologicznych. Wskazują również na nazwiska twórców literatury polskiej oraz ich tłumaczy, którzy współtworzyli (lub współtworzą) obraz literatury polskiej poza granicami kraju. Ogląd zaproponowanych zjawisk związanych z przekładem dzieł polskiej literatury oraz jej recepcją za granicą z pewnością nie wyczerpuje problemu, ale pokładamy nadzieję, że sprzyjać będzie pogłębionej refleksji nad rolą i znaczeniem translacji, a także próbom diagnozy przyszłości działań przekładoznawczych.

6

Život kao artefakt: Matoševo autorstvo. Povodom knjige Dubravke Oraić Tolić Čitanja Matoša

75%

Protrka Štimec M.

Poznańskie Studia Slawistyczne

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2014

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nr 7

EN

Paper deals with a conception of Antun Gustav Matoš authorship, regarding his own definition of his life as a work of art. Performing his authorship in a variety of literary texts, letters and notices, he lived in extremes, being flaneur, dandy and a bohem, world traveler and a nationalist ideologist, what influenced reception of his work until recent period. Critical and historiographic, as much as other literary works related to AGM follow this „author-centered” positions regarding his life as a work of art, as much as his literary texts as a reflection of his life. Latest Croatian „Matosiana” book, Dubravka Oraić Tolić̕ Reading Matoš (Čitanja Matoša, 2013), attests some traditional critical assumptions regarding authorship of this canonical writer end expands them in a new context. Different theories of literary canon formation, especially those grounded on feminist or psychoanalytical approach, call in question usual strategies in creation and understanding AGMs authorship, aestheticism and anti-modernism.

7

Proměna kritické recepce prozaických knih Petry Soukupové v souvislosti s debatou o takzvaném literárním mainstreamu

72%

Eder K.

Česká literatura (Czech Literature)

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2024

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tom 72

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nr 1

53-80

EN

This study examines the way Petra Soukupová’s works of fiction have been reviewed by literary critics from the beginning of her career up until her latest book. While she was seen as an innovative writer after her first books came out, she has subsequently been seen as the key representative of what is known as the “literary mainstream”. Although the discussion over this literary mainstream has been going on among Czech literary critics for several years now, no consensus has been reached over the definition of this label. Hence this study first looks at the concept of the literary maintstream and then examines how it has influenced the critical reception of Petra Soukupová’s fiction.

8

La diva gentile. Soava Gallone nelle riviste cinematografiche italiane dal 1915 al 1925

72%

Simeone M.

Italica Wratislaviensia

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2015

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nr 6

239-252

EN

This article illustrates the critical reception of Soava Gallone, born Stanislava Winawer, according to Italian movie magazines between 1915 and 1925. The career of the Polish actress, who settled in Italy in 1911, developed especially during the golden age of the “Diva-Film”, a proper Italian film genre that focuses attention on female roles and on the characters that they play, of Symbolist and Dannunzian derivation. The actress’ approach to her craft was a far cry from the canons of the “divas” of that time, who were characterised by languid gazes and mannered poses. While Lyda Borelli, Francesca Bertini, Pina Menechelli played mainly “femmes fatales”, Soava Gallone preferred more reassuring characters whose seductive implications were often derived from the cruelty of the male characters. In Avatar (Carmine Gallone, 1915), Gallone played a loyal wife; in Senza Colpa! (Carmine Gallone, 1915), she played an innocent woman forced to defend herself from an attempted rape with homicide; in La Chiamavano Cosetta (Eugenio Perego, 1917), she portrayed a woman pushed to false desires for luxury and wrongful wishes, having been ripped from her simple world. Finally, in Il Bacio di Cyrano (1919), Maman Poupée (1919), Amleto e il Suo Clown (1920) and Marcella (1921), she consistently portrayed the same type of character: a gentle woman with angelic features. Even the public image she tried to build for herself was that of a reassuring, smart and cultured woman. The photographs depicting her never showed her in poses as seductive as those of Menechelli or Bertini, and for the majority of the columnists of the Italian press of those years, Soava Gallone was described as “the pale blonde creature”, “the beautiful, simple and spontaneous [one]”, the “gentle and pleasing interpreter”.

IT

Il mio intervento intende illustrare la ricezione di Soava Gallone, nata Stanislawa Winawer, attraverso le riviste cinematografiche italiane tra gli anni 1915-1925. La carriera dell’attrice polacca, trapiantata in Italia nel 1911, si sviluppa soprattutto durante il periodo d’oro del “Diva-Film”, un vero e proprio genere cinematografico italiano che si concentra sulle interpreti femminili e sui personaggi che queste interpretano, di derivazione simbolista e dannunziana. L’attrice si caratterizza per un atteggiamento ben diverso rispetto ai canoni delle “dive” del tempo, tutte occhi languidi e pose manierate. Lyda Borelli, Francesca Bertini, Pina Menechelli interpretano soprattutto ruoli da femme fatale, Soava Gallone, invece, preferisce personaggi più rassicuranti, i cui risvolti seduttivi sono spesso derivati dalla crudeltà dei personaggi maschili. In Avatar (Carmine Gallone, 1915) è una moglie fedelissima, in Senza colpa! (Carmine Gallone, 1915) una creatura innocente costretta a difendersi da una tentata violenza con l’omicidio, in La chiamavano Cosetta (Eugenio Perego, 1917) viene spinta al lusso e a desideri sbagliati perché strappata dal suo mondo ingenuo. E ancora in Il bacio di Cyrano (1919), Maman Poupèe (1919), Amleto e il suo clown (1920), Marcella (1921), il suo è sempre un personaggio delicato e dai tratti angelici. Anche l’immagine pubblica che cerca di costruirsi è quella di una donna rassicurante, intelligente e colta. Le fotografie che la ritraggono non la mostrano mai nelle pose seduttive di una Menechelli o di una Bertini e per la maggior parte degli articolisti della stampa italiana di quegli anni, Soava Gallone è “la tenue bionda creatura”, “la bellissima, semplice e spontanea”, la “gentile e soave interprete”.

9

Zagorka. Fenomen (nie)obecny.

72%

Gostomska A.

Przekłady Literatur Słowiańskich

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2022

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tom 12

1-25

HR

Članak prikazuje fenomen Marije Jurić Zagorke - najpopularnije hrvatske spisateljice i prve novinarke iz Srednje Europe, iz perspektive njezine recepcije u Hrvatskoj i Poljskoj. Kritičku recepciju njezine produkcije u Hrvatskoj karakterizira velika dinamika i dihotomija; u posljednjih desetak godina došlo je do svojevrsne renesanse interesa za ovu figuru, u akademskoj dimenziji (osobito feministički orijentiranoj) uzimajući oblik valorizacije i revalorizacije Zagorkine bogate ostavštine. Suvremeni poljski književni diskurs slabo reagira na fenomenalnu popularnost Zagorke u njezinoj domovini, iako se u Poljskoj pojavila i kao spisateljica i kao novinarka već početkom 20. stoljeća.

PL

This article shows the phenomenon of Croatian journalist and writer Marija Jurić Zagorka. Well-known in Croatia and recently very popular not only among her readers but also scholars (especially feminist-oriented), she remains almost completely absent in Poland today despite the fact that her first novel, The Slaves [Roblje], was translated at the very beginning of the 20th century and she herself was commemorated as the first female journalist from Central Europe in the 1930s.

10

Kto się boi Jonathana Littella?

58%

Koronkiewicz M.

Ogrody Nauk i Sztuk

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2011

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nr 1

PL

Artykuł przedstawia analizę zestawu recenzji i szkiców krytycznych, które ukazały się w polskiej prasie po wydaniu powieści Jonathana Littella Łaskawe. Korzystając z narzędzi oferowanych przez tak zwane memory studies oraz koncepcji postpamięci autorstwa Marianne Hirsch, autorka bada powody różnego typu przemilczeń i swoistej autocenzury, którymi charakteryzują się owe teksty. Powieść Littella w tym ujęciu okazuje się prowokacją, na którą bardzo różnie odpowiadają krytycy różnych pokoleń. Również od przynależności do pokolenia zależy – jak pokazują analizowane teksty – sposób ujmowania i rozumienia Zagłady jako wydarzenia historycznego i otwartego problemu poznawczego. Druga część szkicu wykazuje, że Jonathan Littell konstruuje swoją powieść, biorąc za podstawę mechanizmy społecznej i kulturowej pamięci, których struktura nie jest wolna od schematów, klisz, słów-kluczy. Powieść okazuje się wymierzona specjalnie w nowoczesne i ponowoczesne metodologie czytania, który to fakt nie został właściwie zauważony ani zinterpretowany przez krytyków (którzy sami jednak z owych metodologii korzystali).

EN

The paper presents the analysis of a set of reviews and critical essays, which have been published in the Polish press after the publication of Jonathan Littel’s novel The Kindly Ones. Using the tools offered by the so-called “memory studies” and the Marianne Hirsch’s concept of post-memory, the author examines the reasons of various suppressions and peculiar self-censorship, which characterise those texts. The Littell’s novel in this depiction turns out to be a provocation, to which critics of different generations respond very differently. What is also a result of their belonging to a certain generation is the way in which they display the analyzed texts and the way of grasping and understanding the holocaust as a historical event and an open cognitive problem. The second part of the essay proves that Jonathan Littell constructs his novel basing on the mechanisms of social and cultural memory, which’s structure is not free of schemes, clichés and key-words. The novel turns out to be purposely aimed at the modern and postmodern methodologies of reading, which is a fact that has not been properly noticed and interpreted by the critics (who, however, have themselves used those methodologies).