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1

„Sprzecznościowa" koncepcja literackości

100%

Balcerzan E.

Przestrzenie Teorii

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2002

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issue 1

11-24

EN

Among determinants of literary character indicated by successive schools there is none which could be described as existing always and everywhere in the word art. What is worse, every one of them can be found also in the inartistic forms of expression. A substantial component (an excerpt) of a text cannot become the universal distinguishing feature of literature as the essence of literature is determined by specific intratextual and extratextual relations. These are "antinomic" relations, embracing everything which is to be found within the bounds of poetics of the composition - the "hard" textual fact as well as the expected result of reading, not only attributes of one particular level of the composition's structure, but also features of different layers. It causes tensions between phenotype and genotype, between text and non-verbal reality. These antinomies do not have equal power, they could be graduated, and they are placed in between extremes of solvability and unsolvability, agreement and destruction.

2

„Narodowość” poetyki – dylematy typologiczne

100%

Balcerzan E.

Forum Poetyki

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2015

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issue 2

6-17

EN

Poetics understood as a lexicon of terms defined and illustrated by selected examples, describing literary compositions, their components, or relations between elements in a work, consists of concepts universal or local in scope; the local can be native or foreign. Perception of the genesis of terms changes during the course of literary history. “Nationality” or “transnationality,” formulated as a feature of the poetics of a work or aggregate of works, has a similarly dynamic nature, manifesting in three systems which are neither fully identical nor completely distinct: linguistic, cultural, and ethnic. These systems are not only mutually interpenetrating; they also support each other and conflict with each other.

PL

Poetyka rozumiana jako leksykon zdefiniowanych – ilustrowanych wybranymi przykładami - terminów, opisujących literackie kompozycje, ich składniki lub stosunki między elementami utworu, składa się z pojęć o zasięgu uniwersalnym lub lokalnym, przy czym może to być zarówno lokalność rodzima, jak i obca. Postrzeganie genezy terminów zmienia się w czasie historycznoliterackim. Podobnie dynamiczny charakter ma „narodowość” i/lub „transnarodowość”, pojmowane jako nacechowanie poetyki dzieła lub zbioru dzieł, objawiające się w trzech nie do końca tożsamych i nie do końca odmiennych porządkach: językowym, kulturowym i etnicznym. Owe porządki nie tylko wzajem się przenikają, wspierają, ale i wchodzą w konflikt.

3

Zwoływanie wyobraźni

100%

Balcerzan E.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 23

13-25

EN

The term “imagination” has numerous meaning: colloquial, paraliterary, scientific. They all refer to auto-communication, which is a conversation of an individual with him or herself, when our mind faculties: memory, intuition, observation, intelligence, knowledge – and imagination, too – compete for dominance or strive for harmonious cooperation. Similarly to the generally understood imagination, its particular, important species (literary imagination) requires internal classification, because it is always an imagination of role: of the author, the reader, the expert, the performer, the censor, the distributor, or sometimes of the translator. The question of translator’s and author’s status provokes a comparison between author’s and translator’s imagination: they share some qualities, but also have decidedly different ones. The opposition between created nature and creating nature, which is a notion used by Józef Czechowicz, might be helpful in capturing the similarities and differences. But this opposition, too, demands a literary and historical context. The author created by the romantic myth seems someone gifted with imagination creating literary worlds, which are limitless, whereas the author of realist works, especially diaries, must give priority to observation, when a piece of external, empirical reality is described and recorded. Baroque, romanticism, realism, expressionism, avant-garde, postmodernism differ in their canons of imagination. The creative process by the author of an original work becomes a negotiation between innovations of authorial fantasy and recreation of the canon. The translator is under much stronger pressure from his or her times, because his or her objectives and tasks are different. Usually, knowledge is enough for a translator: linguistic, historical, literary, common, encyclopaedic, specialised. If knowledge fails, the translator reaches out to imagination as an instrument for interpretation of source text, but this happens only when the text is ambiguous and rich in images. Be it as it may, the quality and range of translator’s activity are determined by someone else’s imagination, accumulated in the translated work, and present in its rhetorics.

4

Wspomnienie o Januszu Sławińskim (15 marca 1934 – 1 listopada 2014)

50%

Balcerzan E.

Pamiętnik Literacki

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2014

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vol. 105

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issue 4

245-246

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„Sprzecznościowa" koncepcja literackości

„Narodowość” poetyki – dylematy typologiczne

Zwoływanie wyobraźni

Wspomnienie o Januszu Sławińskim (15 marca 1934 – 1 listopada 2014)