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Poetic catastrophism constitutes only a part of its all literary genres. Apart from it, numerous works emerged in Poland in the first half of the twentieth century that distinguished among prosaic catastrophism (e.g. in the short stories by Bruno Schulz and Jerzy Andrzejewski), dramatic catastrophism (e.g. in Szewcy [The Shoemakers], by Stanisław Ignacy Witkiewicz), catastrophism in essay writing (also in Witkiewicz). Each of these genres of Polish literature was characterized by specific features, standards, and genesis. The poetic catastrophism, which is elaborated on in the present book, had many individual, unique features, and at the same time as many artistic initiations. It identified motifs, plots, and toposes, keeping away from fabular and action narratives. It definitely rejected the schemes of popular prose, surpassing it in terms of its artistic and semantic creativity. It can be argued that the poetic catastrophism played a similar role as catastrophism in art, namely, it was heading towards high style. Gradually, it was becoming not only a literary or artistic theme, but also an artistic movement supported by philosophy, historiosophy, ethics, as well as the theory of culture and civilization. It was also popularized by an enthusiastic response it received from publicists and journalists, from both the press and the radio. Catastrophic motifs developed, in a way, together with film, ambitious painting, and graphics. Suffice it to mention Guernica, the dramatic painting by Pablo Picasso.For a long time, historical literary studies on catastrophism had treated it merely as a theme, motif and plot, not as a philosophical and artistic phenomenon. This was the case up to the year 1930, when catastrophism spread as a movement, and up to the time when this phenomenon gained recognition not only among Vilnian poets, but also among other literary groups and independent artist communities. The periods preceding the catastrophism of the thirties included themes that contributed to the romantic pessimism, or, later, to the Decadent movement and the pessimism of Młoda Polska (“Young Poland”) formation. In the thirties, a broad and strong catastrophic movement started to develop, which heavily influenced Polish culture and philosophy. Therefore, for the author of the present study, it seemed particularly interesting to discuss at least some phenomena and motives for the development of catastrophism in Poland, which at that time was one of the most endangered countries, not only in Europe.Catastrophic, and catastrophizing, poets were acutely aware of this state of affairs. It became apparent in the works of the poets of the 1910 generation. In the first part of the literary sketches offered here, the author has focused on the phenomenon of catastrophism in poetry, and also discussed the problem of literary generation and the classification into literary groups, taking into account individual poets, not affiliated with any particular poetic formations. Also, she has made an attempt at standardizing terminology with referenceto all literary groups of the 1910 generation, and specifically to the so-called Vilnian catastrophism (the Żagary group). Another issue that has become important for the author is the problem of dispersed motifs and toposes, as well as catastrophic symbols, such as military and revolutionary catastrophes, prophetic catastrophes, catastrophes in the sphere of values, or religious catastrophes. Moreover, in this part of the book, the author has discussed the works of the poets of the “Wołyń” group (Wacław Iwaniuk, Zygmunt Jan Rumel, Zuzanna Ginczanka, Jan Śpiewak). The second part of the present sketches involves analyses and interpretations of poems written by eminent poets whose works clearly fit into the movement of catastrophic poetry, despite their belonging to different categories and poetic formations: Władysław Sebyła, Józef Czechowicz, Mieczysław Jastrun, Jerzy Zagórski, and Konstanty Ildefons Gałczyński. Special emphasis has been placed upon catastrophic and philosophical motifs in the poetry of Czesław Miłosz.The works of the poets of the 1930s featured in the present work demonstrated the variation of experiences, reflections, attitudes towards the world and people, acute states of consciousness and perception. All these factors had tremendous impact on the substance and structure of poetry, and hence on the type of utterance for which visions and mobility of thinking and subconscious associations belong to the most important features of poetry.
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RE-DIGITZED COPY OF THE GERMAN VERSION OF SVATOPLUK ČECH’S BOOKLET OF POETRY, PUBLISHED IN 1897 BY J. H. W. DIETZ IN STUTTGART.EXTRACT FROM THE 1987 PUBLISHER’S INTRODUCTION TO THE BOOK: If one wants to describe the basic tone of Slavic poetry in two words, one must say: it is the tone of a peculiarly gloomy melancholy that echoes everywhere in these songs of a family of peoples, constantly pressed down and oppressed by superior nations, but it is a tone that occasionally turns into its opposite: the outbursts of despair and determined ire. It is only too understandable beside the gloomy melancholy, that tone of desperate wrath. Who never, or only fleetingly, has seen the bright, clear day of freedom, will sing much more softly as the others when complaining and resenting himself, but will as well sing much harder when rumbling and feeling anger. For misfortune kills the midtones and sharpens the extremes of sensation.Having this in mind it can easily be understood that the consciousness of togetherness, which is erupting today among the opressed people in all countries, must be mirrored, above all, by the socialistically geared translations of literature, especially the literature of the Slavic peoples. It is this consciousness that determines the present (entirely free) transmission of the "Songs of a slave" by Swatopluk Čech from Bohemian into German.
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For the first time, Aristotle synthesised, in his Metaphysics, the holistic principle, in a specific way, sustaining the idea that a system’s properties cannot be determined or explained individually by each of its parts, but the system, as a whole, determines how its parts would act. The holistic approach of literary symbols implies the change of the attitude in order to facilitate the comprehension, and to discover things in a more optimistic process, holding back the pessimistic view of things. The human being in relation with itself, with the society and the universe, has a unique manner of exhibition recorded in modern cognitive psychology, and sometimes manifested in literature. C. G. Jung’s concept of “collective unconscious” implied a bond between the individual and humanity as a whole; the representation of an idea that becomes a symbol of a universal acceptance.
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Against the backdrop of war and violence, social-political as well as lingual repressions, and the challenges presented by a patriarchal society, Kurdish poetesses have been creating meaningful work throughout the centuries. This collection of translated poems brings to light some of these underrepresented female writers, whose work has been essential to the development of Kurdish poetry. Representing various Kurdish regions and dialects, this volume of selected poems touches upon themes such as sexuality, violence, gender domination, intimacy, fantasy, and romantic love. While this collection offers illuminating insights into the work of Kurdish poetesses, it is the hope of its creators, the Exeter Kurdish Translation Initiative, that it inspires further translations and publication of Kurdish literature.
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The work of Stanisław Barańczak – a poet, translator, essayist, literary critic – has for many years prompted studies, commentaries and interpretations. New editions of his legacy – correspondence with Wisława Szymborska, librettos of Mozart's operas, translations of the poetry of St. John of the Cross – open up a possibility for further research. The book "The Meaning of Life, the Meaning of a Poem. Sketches on the Work of Stanisław Barańczak" deals with unresearched problems of poetic, translation, epistolary and essayistic nature in the writer's oeuvre. In the author's interpretations, the axiological perspective is focal, unveiling the issue of the meaning of both human existence and his own literary work, which are inscribed in Barańczak's texts.
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The author offers an analysis of such a seemingly elusive thing as the description of the atmosphere of the source text in the target text. This task has led, relatively recently, to the formulation of perfunctory and subjective remarks that had nothing, or very little, to do with scientific inquiry, since there existed no specialized linguistic means to create and reproduce the author’s imagery that creates literary atmosphere. However, this publication has managed to avoid this danger thanks to the proposals of cognitive scientists. The starting point is the belief that writers — having only linguistic signs at their disposal — create images that remain fixed before the readers’ eyes. Part I describes the cognitive poetics tools for analyzing a literary work and its translation. Part II, on the other hand, focuses on the application of these “tools” to translations of experienced translators [into English, French, Polish and Russian] and a critical commentary on the result of their work.
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The collection book includes 20 scientific articles by leading specialists and researchers from a National Scientific Conference in honor of the 200th anniversary of the birth of Dobri Chintulov, held in 2022. It was organized by the Regional History Museum "Dr. Simeon Tabakov" in Sliven and the Municipality of Sliven.The topics cover various aspects of Chintulov's work, such as his roles as a teacher, poet, composer and compiler of textbooks. Part of the publication focuses on the portrayal of Sliven during the Revival period, and notable personalities are also presented. The processes of the formation of educational work, ethnology, theater, and fine art in Bulgaria are also traced in detail.
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The book is the first Polish monograph on the anonymous poem Pervigilium Veneris, which has had many literary and instrumental-vocal interpretations. Analyze of the unusual similarities of phrases and motifs that appear in Pervigilium and in Nemesianus’ poetry led to confirming Monceaux’s thesis that the author of the work may be Nemesianus, a Carthaginian poet writing in the 3rd century AD. The author analyzes the techniques of portraying Diana and Venus and the sisters Philomela and Procne, comparing them with prefigurations contained in poems by Lucretius, Catullus, Statius and Nemesianus among others. The subject of reflection are also the enigmatic words Terei puella and Illa cantat, nos tacemus, which refer to the motif of women’s silence, strongly emphasized in ancient literature.
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