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Dom versus ściana. Gesty uobecnienia Stanisława Barańczaka w przestrzeni Poznania

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Jarmuszkiewicz A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2019
|
issue 36
243-255
EN
The article discusses the presentations of Stanisław Barańczak and his poetry in Poznań’s urban space. The poet’s presentification is exemplified by the murals that have been created on the walls of buildings in Poznań after the writer’s death.
2
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Utwory osierocone jako zagadnienie prawa i kultury

100%
Jarmuszkiewicz A.
Tematy i Konteksty
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2017
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vol. 12
|
issue 7
359-371
EN
The article presents contemporary definitions of orphan works, the problems associated with these definitions and the importance of the existence of orphan works for contemporary culture in the context of cultural memory.
3
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Zmiany w zakresie konotacji semantycznych nazw kolorów w opowiadaniach Brunona Schulza

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Jarmuszkiewicz A.
Schulz/Forum
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2017
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issue 9
PL
Critics noticed that the short stories by Bruno Schulz show many colors when the writer was still alive, and then such opinions has been frequently confirmed. Yet, in spite ofthe differences among them, so far critical commentaries have failed to address an important problem of prototypical changes of semantic values which may take place in reference to particular color terms. Next to their cultural and symbolic features, as significant elements of the “verbal world picture,” they imply a whole set of phenomenological questions.
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„Dobra reprodukcja obrazów”. „Dzieło” Émile’a Zoli w przekładach Aleksandry Callierowej i Hanny Szumańskiej-Grossowej

100%
Jarmuszkiewicz A.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2022
|
issue 43
27-42
EN
The article describes a series of Polish translations of Émile Zola’s 1886 novel L’OEuvre. The translations made by Aleksandra Callierowa (1886) and by Hanna Szumańska-Grossowa (1959) were created at completely different points in history, which significantly affects both the poetics of the translations and their reception. Callierowa’s translation was contemporary to the original, it conveyed the need to quickly keep up with the fashion prevailing in literature. Szumańska-Grossowa’s work, in turn, accentuates the fact that Zola already belonged to the canon of European literature and that he deserved – in accordance with the ideological assumptions of the then communist authorities – to be read bya mass reader.
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