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Listy Julii Dickstein-Wieleżyńskiej do Adolfa Chybińskiego. Wokół monografii Mieczysława Karłowicza

100%
Wilczak M.
Pamiętnik Literacki
|
2016
|
vol. 107
|
issue 2
199-234
EN
The introduction to the letters treats of the correspondence preserved at the Universtity Library in Poznań. It describes briefly Julia Dickstein-Wieleżyńska’s work and life and her relationship with Adolf Chybiński, the eminent musicologist, Mieczysław Karłowicz’s friend, and the author of the monograph “Mieczysław Karłowicz (1876–1909). Chronicle of the Artist’s and Mountaineer’s Life (Mieczysław Karłowicz <1876–1909>. Kronika życia artysty i taternika).” The mentioned correspondence is particularly valuable not only for the knowledge about the famous composer Mieczysław Karłowicz and many legends and uncertainties surrounding this person, but also for the knowledge about Julia Dickstein-Wieleżyńska, a poetess, suffragist, literary critic, and translator who knew twelve languages, barely known to date.
2
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Julia Dickstein-Wieleżyńska e la storia editoriale della prima traduzione completa dei Canti in polacco

71%
Kłos A.
Italica Wratislaviensia
|
2022
|
issue 13.2
35-60
IT
Lo studio si concentra sulla lunga e travagliata storia editoriale della prima edizione completa dei Canti leopardiani in polacco, ad opera di Julia Dickstein-Wieleżyńska (1881–1948), traduttrice poliglotta, poetessa, animatrice della vita culturale, attivista femminista e studiosa di letteratura e filosofia. Il volume, intitolato Poezje, fu pubblicato nel 1938 presso la casa editrice Instytut Wydawniczy “Biblioteka Polska”. Eppure dalle lettere inedite di Dickstein-Wieleżyńska a Raffaele Pettazzoni (1883–1959), eminente studioso delle religioni e suo caro amico e mentore, risulta che nel progetto originario, risalente all’inizio degli anni Venti del Novecento, nella raccolta dovevano esser incluse le traduzioni di Edward Porębowicz (1862–1937), studioso delle lingue e delle letterature romanze, eseguite per la sua selezione di scritti leopardiani del 1887. Nonostante che Porębowicz avesse ritirato il permesso per la pubblicazione dei suoi testi nel 1924 e Dicksteinówna fosse stata costretta a tradurre altre diciotto poesie, il volume era stato approntato per le stampe all’inizio del 1925. Basandosi su materiali di archivio, l’autrice indaga sui motivi di questa cospicua distanza tra la stesura dei testi e la pubblicazione del volume. Esaminate nella prospettiva dei recenti studi sulla traduzione, le lettere di Wieleżyńska gettano una nuova luce non solo su agenti, modi e circostanze del lavoro traduttivo ed editoriale nel primo Novecento, ma anche sulla posizione delle donne nelle gerarchie culturali e accademiche dell’epoca.
EN
The paper focuses on the long and complex editorial history of the first complete translation of Giacomo Leopardi’s Canti into Polish. Entitled Poezje and published by Instytut Wydawniczy ‘Biblioteka Polska’ in 1938, the volume was translated by Julia Dickstein-Wieleżyńska (1881–1948), a polyglot, poet, organiser of cultural events, feminist activist and literature and philosophy scholar. Dickstein-Wieleżyńska’s letters to Raffaele Pettazzoni (1883–1959), her close friend and mentor and himself an eminent scholar of religions, suggest that the original idea of the book as conceived in the early 1920s also envisaged the inclusion of translations by Edward Porębowicz (1862–1937), which had been made for his 1887 collection of Leopardi’s writings. Although Porębowicz had withdrawn his permission for publishing his versions in 1924 and Dickstein-Wielżyńska had to translate another eighteen poems, the manuscript was ready for printing at the beginning of 1925. Drawing on archival resources, the author investigates the reasons behind the conspicuous temporal distance between the drafting of the translations and their publication in the volume of Poezje. Examined from the perspective of recent translation and collaboration studies, Wieleżyńska’s letters shed some new light not only on the agents, modes and circumstances of translation and editorial work in the early twentieth century, but also on the position of women in the cultural and academic hierarchies of the time.
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