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1

Salony literackie dziewiętnastowiecznej Europy w świetle podróżopisarstwa; Weimar i Mediolan Antoniego Edwarda Odyńca

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Płaszczewska O.

Wielogłos

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2010

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vol. 1

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issue 7-8

PL

The literary salons of the 19th century Europe in the prospective of travel writing: Antoni Edward Odyniec’s Weimar and Milan A.E. Odyniec’s Listy z podróży (Letters from Travels), set within the context of multinational testimonies from the epoch, become a pretext for a meditation on the phenomenon of the Romantic „salon” as a form of cultured life which is being enacted in the author’s private home, where an audience-instigated meeting between the writer and his admirers is taking place. The observations concerning the writers’ international contacts are also accompanied by remarks on the self-creative measures used by Odyniec as well as on the possibility of interpreting his controversial Listy… (Letters from Travels) in the context of research on the literary image of the period. The main subject of reflection is the ritual of visits to the homes of eminent artists which constituted one of the significant elements of educational trips in Europe; this is illustrated by examples of such institutions as Goethe’s Weimar and Manzoni’s Milan homes. The literary salons of this period, which grew out of the Enlightenment tradition, turn out to be an important element of a supra-national republique des lettres, whereas the experience of a direct contact with an outstanding individual (documented among others by J.P. Eckermann, Stendhal, F.L. von Raumer and many others) have been shown in the above-mentioned account from a journey, through the angle of „I” and portrayed in the categories of personal experience

2

Piękno w zwierciadle piękna – Torquato Tasso w wizjach Delacroix, Baudelaire’a i Norwida

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Płaszczewska O.

Wielogłos

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2008

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vol. 1

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issue 3

PL

BEAUTY AS REFLECTED IN THE MIRROR OF BEAUTY – TORQUATO TASSO IN THE VISIONS BY DELACROIX, BAUDELAIRE AND NORWIDThe article constitutes a refl ection on non-stereotyped attempts to interpret the myth of Torquato Tasso in the ecphrases of Charles Baudelaire and Cyprian Norwid. The direct source of creative inspiration here proves to be not so much the legend which had grown around the fi gure of the Italian poet (who is regarded almost as the embodiment of the Romantic visions of the brilliant, but rejected artist, a madman and unhappy lover), but a concrete work of art – namely the painting Le Tasse en prison (Tasso in Prison) by Eugene Delacroix as well as the studies and sketches which accompany it. A comparative analysis of the painting, drawings and Charles Baudelaire’s sonnet On “Tasso in Prison”, an epistolary commentary to Delacroix’ painting (letter to Marian Sokołowski from the 9th October 1864) as well as Cyprian Norwid’s lyrical poem Wierny portret (fi thful Portrait) allows one to make some worthwhile observations concerning the links between literature and painting, and in particular the Romantic conception of beauty inspired by beauty and generating beauty.

3

Italia Hansa Christiana Andersena (z rozważań nad XIX-wieczną „podróżą włoską”)

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Płaszczewska O.

Wielogłos

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2007

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vol. 1

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issue 1

PL

HANS CHRISTIAN ANDERSEN’S ITALY (SOME REFLECTIONS ON THE 19th CENTURY ’ITALIAN TRAVEL’)Some records from Andersen’s journeys to Italy, included in his En Digters Bazar (A Poet’s Bazaar, 1842), are worth reading as examples of Italian travel writing set in a wider context of literature of the Romantic period (from Goethe and Madame de Staël to E.T.A. Hoffmann and Heinrich Heine). Furthermore, the text deserves attention because of the multiple literary genres used (description, anecdote, adventure story-telling, dialogue, impression, fairy tale, lyrical fragments and reportages). Its apparently chaotic form is partially explained by the title of the book, where the term „bazaar” indicates the variety and diversity of proposed plots and subjects. Within these plots and subjects there is enough place for lyrical exaltation and journalistic terseness. Finally, the schema of the Italian travel proves to be a frame which permits the narrator to create many-sided vision of Italy which is independent of conventional standards.

4

Maszyna do pisania, maszyna do zapamiętywania. Antonelli Aneddy zmagania z historią – z perspektywy tłumacza

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Płaszczewska O.

Prace Filologiczne. Literaturoznawstwo

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2021

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issue 11 (14)

377-390

EN

This interpretative essay concerns the concept of time landmarks reflected in contemporary Italian poetry an example of which makes Antonella Anedda’s poem Macchina [Machine]. The poem is analysed to explore figurative meanings of ‘machines’ depicted in the text such as battering rams, typewriters, or computers as the artefacts of historical interest. These figurative meanings are interpreted in the context of memory and history and their associations with literature. As the conclusion of this essay the author presents her own Polish translation of the poem Macchina.

PL

Artykuł to przyczynek interpretacyjny, poświęcony lekturze wiersza Antonelli Aneddy Macchina (Maszyna). Komentarz tłumacza dotyczy metaforycznych znaczeń maszyn (do pisania, komputera, taranu) w kontekście związków historii i pamięci z literaturą. Podsumowaniem artykułu jest prezentacja autorskiego przekładu utworu Aneddy na język polski.

5

No haber salido de mi biblioteca”. Notatka z lektury „Sławy” („La fama”) J.L. Borgesa

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Płaszczewska O.

Prace Filologiczne. Literaturoznawstwo

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2018

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issue 8(11) cz.2

67-79

EN

The essay consists in a contextual reading of the poem La fama [The fame] by Jorge Luis Borges. First of all, the significance of the library in Borges’s imaginary is introduced. In addition, the article presents some remarks on the Polish translations of La fama and analyses the specific linguistic form of the poem. Special stress is placed on the infinitivo compuesto [compound infinitive] form. The author also comments on the mental and physical activities expressed in infinitives and in mere verbs connected with the concept of fame. What follows is an analysis of the metaphorical sense of literary allusions, including their self-referential aspect as a typical feature of Borges’s writing. In this context, the verse “No haber salido de mi biblioteca” transpires to be the focal point of the poem and the key to its interpretation. The article closes with an explanation of the figure of the poem.

6

L’Italia di Paweł Hertz

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Płaszczewska O.

Poznańskie Studia Polonistyczne. Seria Literacka

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2020

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issue 39

61-80

PL

The article is an attempt at reconstructing the remarks by Paweł Hertz (essayist, poet, translator, writer and publisher) on Italy and its artistic legacy. A short presentation of the writer is followed by a discussion of his actual journeys in Italy based on the available autobiographical material. Next,there are reflections on Hertz’s interest in Italian literature and European texts about Italy (based on essays and editorial work). Treated as a separate issue is the view of Italian art through the prism of Polish artistic work (the spheres of associations, interference and references) in Hertz’s journalism. Other issues discussed in the article cover poems about Italy, their placeamong the writer’s works and the main threads and motifs. The article’s final notes focus on the observations on the value of Polish reception of Italian cultural legacy and its basic aspects that Hertz regularly emphasised at various stages of his creative life.

7

O interdyscyplinarności komparatystyki

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Płaszczewska O.

Studia Europaea Gnesnensia

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2013

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issue 8

97-112

PL

The paper is concerned with the theory of comparative studies, addressing the basic ways in which interdisciplinarity of comparative studies is construed (including both the object of comparative studies as well as the methodology), with particular consideration given to the correspondence of arts. The condition that comparative studies have to meet so as to retain its integrity as a discipline and avoid falling into dangerous amorphism is to recognise that literature must remain a constant element in the comparison.

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Letteratura italiana e “arti sorelle” alla Facoltà di lingua e letteratura polacca: un percorso di letteratura comparata

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Płaszczewska O.

Italica Wratislaviensia

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2013

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issue 4

127-139

EN

The purpose of the article is to outline the guidelines of the interdisciplinary course in comparative literature, given at the Jagiellonian University in Krakow. The subject of the series of lectures is the relation between Italian literature and different branches of art, in context of their cultural references. The strategies of sensibilization of the audience both to the problem of „sister arts” and to the Italian literature and language themselves are explained. In addition, the significance of an interdisciplinary approach to the problem of reception of Italian literature in European culture is mentioned as one of the aims of the lecture. Moreover, main problems of the course, such as themes of reintepretation of Italian classics in visual arts, music, cinema and theatre, are discussed on the background of „classroom dynamics” which characterize the group of students with different knowledge of Italian language and different cultural competences.

9

O włoskich przekładach poezji Tadeusza Micińskiego

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Płaszczewska O.

Italica Wratislaviensia

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2010

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issue 1

163-179

EN

The poetry by Tadeusz Miciński (1873–1918), particularly prone to misreadings because of its complexity, has never been very popular in Italy. Nevertheless, translators’ attention to Miciński’s writings is worth being studied from the comparative point of view. Firstly, limited reception of Miciński’s writings in foreign context may suggest various considerations on literary and non-literary reasons of its „absence” in Italian culture (such as unsuccessful translation or hermeticism of the text). Moreover, careful reading of the Italian versions may broaden horizons of eventual reflection on translatability or non-translatability of a literary text.

IT

Nel testo vengono proposte alcune osservazioni sulla (s)fortuna di Tadeusz Miciński in Italia. Si esaminano, innanzittutto, la presenza delle sue opere, l’interesse dei traduttori e le loro scelte. In questo modo una lettura in chiave comparativa delle versioni italiane di poesie di Tadeusz Miciński diventa occasione per considerazioni sulla ricezione di un testo letterario nell’ambiente non originale. La riflessione riguarda le cause letterarie ed extraletterarie della limitatissima notorietà di Miciń-ski nella cultura italiana. Nel suo insieme il saggio può essere considerato uno spunto per ulteriori osservazioni sul ruolo della traduzione nella cultura destinataria e su vari aspetti della cosiddetta intraducibilità del testo artistico.

10

O recepcji przekładowej "Serca" De Amicisa w Polsce

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Płaszczewska O.

Italica Wratislaviensia

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2012

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issue 3

85-106

EN

Nowadays, the most popular novel by De Amicis is his unique text known in Poland. Since 1906 its translation by Maria Konopnicka has had countless reeditions, but it was brought into Polish even before: in 1887 by Helena Wilczyńska (maiden name: Russocka), in 1899 by Józef Nestorowicz, in 1890 by Maria Obrąpalska (maiden name: Siemiradzka), and later by Leon Sternklar (1937), by J. Drzewiecka (1938) and by Witold Zechenter (1947). The success of the version by Konopnicka is analysed in the context of previous and further translations. It reflects personal sensibility of the translator towards misery and injustice, expressed in her writings. It also testifies her linguistic ability and creativity which makes the text more convincing and attractive to the reader in comparison to the original version.

11

O przyjemności tłumaczenia

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Płaszczewska O.

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2018

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vol. 9

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issue 1

37-58

IT

SOMMARIO | il saggio, ricco in riferimenti alla poesia internazionale (A. Pozzi, A. Merini, j. Przyboś, G. Snyder, M. Fernandes), alla letteratura religiosa (S. Stevan, A.M. Canopi) e popolare (G. Mattei), inoltre alla saggistica dotta (L. Bernardini, S. Gra- ciotti), costituisce una riflessione sul ruolo del piacere come una delle ragioni principali per cui si traduce. All’inizio si spiega il perche dei riferimenti alle soggettive esperienze traslatologiche dell’autrice. Poi si analizzano e si classificano vari aspetti del piacere del lettore. il punto di partenza e quindi l’avventura di lettura e di curiosita che viene saziata nell’atto di leggere. inoltre, vengono discusse alcune ragioni non-intellettuali per cui si intraprende la traduzione, specialmente quelle emotive e psicologiche. Dopo vengono presentate difficolta nel rendere in una lingua straniera il testo scritto in uno dei linguaggi settoriali. Poi si esamina la sfida della traduzione della poesia. Alla fine, come allusione al pensiero di Władysław Tatarkiewicz, il piacere del traduttore viene paragonato al piacere del cacciatore. In un tale contesto, ogni atto di traduzione si presenta come un atto d’amore per la lingua, letteratura e cultura. Il testo si conclude con la traduzione de La derniere translation di Millór Fernandes.

EN

The essay, containing references to international poetry (A. Pozzi, A. Merini, J. Przyboś, G. Snyder, M. Fernandes), popular (G. Mattei), religious (S. Stevan, A.M. Canopi) and academic literature (L. Bernardini, S. Graciotti), deals with the problem of considering the pleasure a significant reason for which we translate. First of all, the ref¬erences to the author’s personal experiences of translating are discussed. Besides, various aspects of the reader’s pleasure are analysed and classified, starting with the adventure of reading and satisfying one’s curiosity. Moreover, the not intellectual, psychological and emotional motivations of translation are expanded upon. Furthermore, the difficulties of rendering a specialized text are presented. Subsequently, the challenge of translating poetry into a foreign language is examined. Finally, in reference to Władysław Tatarkiew- icz’s thought, the translator’s pleasure is likened to the hunter’s pleasure. In such a context, each act of translation may be seen an act of love for language, literature and culture. Last but not least, the translation of a self-referential poem La derniere translation by Millór Fernandes is presented and commented on.

12

O przyjemności tłumaczenia

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Płaszczewska O.

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2018

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vol. 9

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issue 1

PL

The Pleasure of Translating In his Dire quasi la stessa cosa. Esperienze di traduzione (2003) Umberto Eco discusses and comments on important dynamics of translation, its strategies and gestures, using examples drawn from his own literary works rendered in different languages. Thus, the answer to the question of the reasons we translate is formulated in relation to some subjective experiences of literary translation from and into Italian exercised by the author of the essay. The category of pleasure is presented as a significative factor that prompts us to translate. KEY WORDS: translator’s and reader’s pleasure, translation, adequacy, rational and irrational reasons of translation

13

Norwid wobec sztuki włoskiej – inaczej

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Płaszczewska O.

Studia Norwidiana

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2017

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vol. 35

55-72

PL

Artykuł porusza kilka wątków Norwidowskiego stosunku do włoskiej sztuki. Zwraca uwagę na Norwidowskie przekonanie o roli, jaką poznawanie dziedzictwa artystycznego Italii może mieć dla edukacji estetycznej Polaków. Dotyczy także krytycznej reakcji Norwida wobec dominującej wśród współczesnych maniery odbioru sztuki włoskiej, przy jedno-czesnym przyswojeniu ogólnoeuropejskich wzorców narracyjnych, co stawia pod znakiem zapytania wystudiowaną „osobność” poety i ukazuje go jako świadomego, lecz niewolnego od powszechnej w XIX wieku italofilii twórcę.

EN

The main purpose of the essay is to show the central aspects of Norwid’s approach to Italian art. Firstly, the poet’s opinions on the educational role of Italian art and its influence on the aesthetic sensibility of Poles are discussed. Secondly, the attention is paid to Norwid’s texts in which Italian myth receives a negative meaning and the Italianate fashion is presented from an ironic point of view, becoming also a source of linguistic humour. Moreover, the poet’s derision of italianity (considered a necessary feature of an artefact) is analysed. Last but not least, Norwid’s representations of typically Italian milieux are discussed in the context of contemporary travelogues and diaries in order to show how stereotypical may be observations made by the poet who is often considered the most original among the Polish 19th-century authors. In conclusion, Norwid’s interest in Italian art seems a consequence of an international trend.

14

Włoskie przekłady poezji Norwida

100%

Płaszczewska O.

Studia Norwidiana

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2018

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vol. 36

141-164

PL

Artykuł dotyczy kilku odrębnych i nieomawianych dotąd szczegółowo zagadnień. Wprowadzenie daje krótką charakterystykę recepcji poezji Cypriana Norwida we Włoszech i przedstawia jej nietypowość w konfrontacji z twórczością pozostałych polskich romantyków, tłumaczoną na język włoski już w XIX stuleciu. Kolejnym wątkiem jest problem polskiej refleksji badawczej nad odbiorem poezji Norwida we Włoszech. Następnie zaprezentowane zostały najważniejsze etapy historii przekładów twórczości poetyckiej Norwida na język włoski (począwszy od czasopisma „Iridion” i miesięcznika „Tempo presente”, przez antologie i wydania monograficzne, a na tłumaczeniach publikowanych w Internecie i konkursach translatorskich skończywszy). Omówienie uwzględnia także sylwetki tłumaczy i charakterystykę poszczególnych edycji w powiązaniu z dostępnością tekstów źródłowych. Całość zamyka seria wniosków dotyczących znajomości poezji Norwida we Włoszech – wierszy i urywków najczęściej tłumaczonych, typologii przekładów oraz ich funkcji we współczesnej kulturze włoskiej.

EN

The article deals with several separate issues that have not been discussed previously. The introduction gives a brief description of the reception of poetry by Cyprian Norwid in Italy and presents its unusual character in confrontation with the works of other Polish Romantics, translated into Italian already in the 19th century. Another topic is the problem of Polish research reflection on the reception of Norwid’s poetry in Italy. Further, the most important stages in the history of translation of Norwid’s poetic output into Italian were presented (starting with the magazine “Iridion” and the monthly “Tempo presente”, through anthologies and monographic editions, and concluding with translations published on the Internet and translation contests). The discussion also takes into account the profiles of translators and the characteristics of individual editions in connection with the availability of source texts. The whole is closed by a series of conclusions regarding the knowledge of Norwid’s poetry in Italy – poems and fragments most often translated, the typology of translations and their function in contemporary Italian culture.

15

Cyprian Norwid and Italian art – a different approach

100%

Płaszczewska O.

Studia Norwidiana

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2017

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vol. 35 English Version

59-77

EN

The main purpose of the essay is to show the central aspects of Norwid’s approach to Italian art. Firstly, the poet’s opinions on the educational role of Italian art and its influence on the aesthetic sensibility of Poles are discussed. Secondly, the attention is paid to Norwid’s texts in which Italian myth receives a negative meaning and the Italianate fashion is presented from an ironic point of view, becoming also a source of linguistic humour. Moreover, the poet’s derision of italianity (considered a necessary feature of an artefact) is analysed. Last but not least, Norwid’s representations of typically Italian milieux are discussed in the context of contemporary travelogues and diaries in order to show how stereotypical may be observations made by the poet who is often considered the most original among the Polish 19th-century authors. In conclusion, Norwid’s interest in Italian art seems a consequence of an international trend.

16

The Italian translations of Norwid’s poetry

100%

Płaszczewska O.

Studia Norwidiana

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2018

|

vol. 36 English Version

151-175

EN

The article deals with several separate issues that have not been discussed previously. The introduction gives a brief description of the reception of poetry by Cyprian Norwid in Italy and presents its unusual character in confrontation with the works of other Polish Romantics, translated into Italian already in the 19th century. Another topic is the problem of Polish research reflection on the reception of Norwid’s poetry in Italy. Further, the most important stages in the history of translation of Norwid’s poetic output into Italian were presented (starting with the magazine “Iridion” and the monthly “Tempo presente,” through anthologies and monographic editions, and concluding with translations published on the Internet and translation contests). The discussion also takes into account the profiles of translators and the characteristics of individual editions in connection with the availability of source texts. The whole is closed by a series of conclusions regarding the knowledge of Norwid’s poetry in Italy – poems and fragments most often translated, the typology of translations and their function in contemporary Italian culture.

17

Cyprian Norwid and Italian art – a different approach

100%

Płaszczewska O.

Studia Norwidiana

|

2017

|

vol. 35 English Version

59-77

PL

Artykuł porusza kilka wątków Norwidowskiego stosunku do włoskiej sztuki. Zwraca uwagę na Norwidowskie przekonanie o roli, jaką poznawanie dziedzictwa artystycznego Italii może mieć dla edukacji estetycznej Polaków. Dotyczy także krytycznej reakcji Norwida wobec dominującej wśród współczesnych maniery odbioru sztuki włoskiej, przy jedno-czesnym przyswojeniu ogólnoeuropejskich wzorców narracyjnych, co stawia pod znakiem zapytania wystudiowaną „osobność” poety i ukazuje go jako świadomego, lecz niewolnego od powszechnej w XIX wieku italofilii twórcę.

EN

The main purpose of the essay is to show the central aspects of Norwid’s approach to Italian art. Firstly, the poet’s opinions on the educational role of Italian art and its influence on the aesthetic sensibility of Poles are discussed. Secondly, the attention is paid to Norwid’s texts in which Italian myth receives a negative meaning and the Italianate fashion is presented from an ironic point of view, becoming also a source of linguistic humour. Moreover, the poet’s derision of italianity (considered a necessary feature of an artefact) is analysed. Last but not least, Norwid’s representations of typically Italian milieux are discussed in the context of contemporary travelogues and diaries in order to show how stereotypical may be observations made by the poet who is often considered the most original among the Polish 19th-century authors. In conclusion, Norwid’s interest in Italian art seems a consequence of an international trend.

18

The Italian translations of Norwid’s poetry

100%

Płaszczewska O.

Studia Norwidiana

|

2018

|

vol. 36 English Version

151-175

PL

Artykuł dotyczy kilku odrębnych i nieomawianych dotąd szczegółowo zagadnień. Wprowadzenie daje krótką charakterystykę recepcji poezji Cypriana Norwida we Włoszech i przedstawia jej nietypowość w konfrontacji z twórczością pozostałych polskich romantyków, tłumaczoną na język włoski już w XIX stuleciu. Kolejnym wątkiem jest problem polskiej refleksji badawczej nad odbiorem poezji Norwida we Włoszech. Następnie zaprezentowane zostały najważniejsze etapy historii przekładów twórczości poetyckiej Norwida na język włoski (począwszy od czasopisma „Iridion” i miesięcznika „Tempo presente”, przez antologie i wydania monograficzne, a na tłumaczeniach publikowanych w Internecie i konkursach translatorskich skończywszy). Omówienie uwzględnia także sylwetki tłumaczy i charakterystykę poszczególnych edycji w powiązaniu z dostępnością tekstów źródłowych. Całość zamyka seria wniosków dotyczących znajomości poezji Norwida we Włoszech – wierszy i urywków najczęściej tłumaczonych, typologii przekładów oraz ich funkcji we współczesnej kulturze włoskiej.

EN

The article deals with several separate issues that have not been discussed previously. The introduction gives a brief description of the reception of poetry by Cyprian Norwid in Italy and presents its unusual character in confrontation with the works of other Polish Romantics, translated into Italian already in the 19th century. Another topic is the problem of Polish research reflection on the reception of Norwid’s poetry in Italy. Further, the most important stages in the history of translation of Norwid’s poetic output into Italian were presented (starting with the magazine “Iridion” and the monthly “Tempo presente,” through anthologies and monographic editions, and concluding with translations published on the Internet and translation contests). The discussion also takes into account the profiles of translators and the characteristics of individual editions in connection with the availability of source texts. The whole is closed by a series of conclusions regarding the knowledge of Norwid’s poetry in Italy – poems and fragments most often translated, the typology of translations and their function in contemporary Italian culture.

19

ROZMOWA „WIELOGŁOSU”

33%

Korytowska M., Skwara M., Płaszczewska O., Bakuła B., Bilczewski T., Borowski A., Hejmej A., Sławek T.

Wielogłos

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2010

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vol. 1

|

issue 7-8

PL

Rozmowa „Wielogłosu”: O problemach współczesnej komparatystyki

Refine search results

Salony literackie dziewiętnastowiecznej Europy w świetle podróżopisarstwa; Weimar i Mediolan Antoniego Edwarda Odyńca

Piękno w zwierciadle piękna – Torquato Tasso w wizjach Delacroix, Baudelaire’a i Norwida

Italia Hansa Christiana Andersena (z rozważań nad XIX-wieczną „podróżą włoską”)

Maszyna do pisania, maszyna do zapamiętywania. Antonelli Aneddy zmagania z historią – z perspektywy tłumacza

No haber salido de mi biblioteca”. Notatka z lektury „Sławy” („La fama”) J.L. Borgesa

L’Italia di Paweł Hertz

O interdyscyplinarności komparatystyki

Letteratura italiana e “arti sorelle” alla Facoltà di lingua e letteratura polacca: un percorso di letteratura comparata

O włoskich przekładach poezji Tadeusza Micińskiego

O recepcji przekładowej "Serca" De Amicisa w Polsce

O przyjemności tłumaczenia

O przyjemności tłumaczenia

Norwid wobec sztuki włoskiej – inaczej

Włoskie przekłady poezji Norwida

Cyprian Norwid and Italian art – a different approach

The Italian translations of Norwid’s poetry

Cyprian Norwid and Italian art – a different approach

The Italian translations of Norwid’s poetry

ROZMOWA „WIELOGŁOSU”