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The author discusses the examples of the current status of cultural and literary co- operation between the Polish and Uzbek nations. In his opinion, in the period of globalization, creative elites feel a need for a permanent dialogue and mutual links, between different states and on a global scale, as exemplified by Polish-Uzbekistani relations expressed in terms of translations of literature, among other things. The author emphasises that translating poetry calls for the translator’s comprehensive general knowledge, encompassing also the awareness of the general cultural context.
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This article describes the world of sound in Janusz Krasiński’s plays Wkrótce nadejdą bracia [Soon the Brothers will Arrive], Czapa, czyli Śmierć na raty [The Hat, or Death by Instalments] as well as Śniadanie u Desdemony [Breakfast at Desdemona’s]. The rich soundscape, rooted in these plays’ origin as radio drama, represents more than a mere acoustic background – it contributes to the creation of meaning. Carefully planned sound signals create an absorbing acoustic space, influencing the plot and becoming a point of reference in the dialogue. Thus the sounds gain a dramaturgy of their own, affecting the audience’s emotions and understanding. This sound construction suggests that the author created his drama in a way that in some ways echoes the technique of avant-garde composers.
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This article offers an insight into Zbigniew Herbert’s correspondence with Siegfried Unseld, the director of the German publishing house Suhrkamp Verlag, as well as other important figures in the publishing field, such as translators, editors and, crucially, representatives of organizations dealing with foreign cultural politics. Zajas discusses material held at the Siegfried Unseld Archiv (SUA), which was purchased by the Deutsches Literaturarchiv in Marbach am Neckar in 2009. These materials, Zajas argues, shed light on the production of Herbert’s works in German translation, which would often become a point of reference for Polish editions, thus anticipating the composition of the ‘original’ collections. What is more, Herbert’s correspondence paints a fascinating portrait of the long friendship between the poet and the publisher – a friendship that also functions as an important interactive element in the literary field.
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Review: Joanna Orska, Republika poetów: Poetyckość i polityczność w krytycznej praktyce [Republic of Poets: Poetic and Political Dimensions in Critical Practice], EMG, Cracow 2013.
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A writer’s manuscripts allow us to see the text in statu nascendi. They represent the space in which textual identity is constructed, and reveal specific moments of interaction between the writer’s biography and the text. Herbert’s drafts and notes are a space of dialogue with himself and tradition, they contain notes on his reading and shed light on the palimpsestic dimension of the poet’s work. A key phenomenon in the dynamic of writing are the deletions, which can tell us much about the subject and his aesthetic choices. To study the drafts is to broaden the field of interpretation, to pose new questions, to multiply doubts and to unveil the face of Herbert’s work. Fornari draws on French theories of genetic criticism to present these problems with reference to specific examples from the materials in the Zbigniew Herbert Archive.
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Children’s and young adults’ literature in translation must be understood from both the textual and the extra-textual perspective. While the ‘benefit of the child’ is often more important than faithfulness to the original, the different individuals involved in the decision-making process have different ideas of the potential (often utopian) reader and his or her needs. Our expectations of the translation and the translator often simply reflect our expectations of an ideal book – one that the translator, as the author of a version in a given language, is supposed to create on the basis of the ‘score’ of the original. To understand and to be conscious of the phenomena that occur in this type of translation and the mechanisms that are at work in them is crucial for both publishers and translators, as well as for the readers who reach for the final product.
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This article analyses the particular form of Gombrowicz’s reception in Argentina, where his work still remains relatively little known, while as a person the writer has attained cult status over the last few decades. This explains why Gombrowicz’s creative reception in Argentina is not a reception of his work, but a creation of fictions that draw on the writer’s life and his local legend. The wealth of this material stands in stark contrast to the basic lack of attempts, in the works of Argentine writers, to reformulate and to create intertextual connections, be it through parody of Gombrowicz’s motifs or literary episodes. This is a reception that has more to do with the fascinating persona of the writer than with a real deep reading and assimilation of his work. The article analyses and compares important fictionalized representations of Gombrowicz, beginning with Ricardo Piglia’s Artificial Respiration.
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Norwid’s reliance on gestures, behaviours and interactions in his poetry unveils the anthropological foundations of his line of thought. These foundations enable our understanding of his working philosophy, words and letters. Interactions make part of his discourse infrastructure, as defined in behavioural research, which developed no sooner than the 1950s and the 1960 (e.g. Lorenz, Goffman, Hall, Berne or Turner). Applying these categories to analyse Norwid’s Promethidion (1850) and Rzecz o wolnosci słowa [On the freedom of the Word] (1869) as well as such other poems like Fatum or Rozebrana [Partitioned] helps us observe how humanity emerges out of amazement – that how consciousness and the experience of work undergo sublimation to turn into the word. At the advent of Christ, the Word became power, which resulted in ethical universalism and in the realization of the messianic nature of work, guiding us towards resurrection (self-transcendence). Norwid’s thought, situating the metaphysical sense within the realm of anthropology, hugely influenced the theology of John Paul II.
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This article problematizes the figure of the spectre as it appears in the context of Modernist debates on influence, plagiarism and originality in poetry. Jakubowiak analyses theoretical essays by Karol Irzykowski and T.S. Eliot as well as John Livingstone Lowes’s The Road to Xanadu. In these texts the spectre does not play the role of a central figure – in fact it appears rather sporadically. And yet, its presence allows us to reformulate problems of influence and imitation and expressively to reconstruct nuanced strategies regarding these phenomena. Jakubowiak’s theoretical framework is Jacques Derrida’s The Spectres of Marx, with a particular focus on aspects highlighted by Derrida, such as the notions anachronism and muddled origins activated in the title.
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This article presents an interpretation of Witold Wirpsza’s poem ‘Zgryzota i dalekie światło’ [Distress and a Distant Light]. Bogalecki begins with an analysis of the poem’s formulas and procedures in a Deleuzian context. His goal is twofold: first, to deduce Wirpsza’s understanding of the theme of the spectre, which only becomes meaningful through Jacques Derrida’s hauntology and the works of Giorgio Agamben and John D. Caputo. The second goal is to indicate a direction for a post-secular reinterpretation of Wirpsza’s work. His return to the theological or religious tradition can be understood as a deconstruction of the traditional form of religious and metaphysical poetry. The effect turns out to be an affirmative recognition of the language of religion as a spectre that incessantly ‘haunts’ modern, seemingly secularized discourses.
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Analysed through concepts from Jacques Derrida’s hauntology, Mark Augé’s notion of the non-place, as well as Helen Vendler’s notion of the breaking of style, Ryszard Krynicki’s poems reveal points where space and time are punctured/torn. Misiak presents five instances of punctum that open up transitions between being and non-being in Krynicki’s work. The discussion touches on the paradoxical presence of spectres, the status of haunted poems/non-poems, the heterogenous subject, silence and the causes of breaks in style.
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Review of Agnieszka Kosińska, Miłosz w Krakowie [Miłosz in Cracow] (Cracow: Znak, 2015)
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