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1

Ucieczka z poetyki

100%

Krajewska A.

Przestrzenie Teorii

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2016

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issue 26

7-10

EN

Editorial dedicated to the memory of Stanisław Barańczak.

2

Stanisław Barańczak w drugim obiegu wydawniczym

100%

Dabert D.

Przestrzenie Teorii

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2016

|

issue 26

227-230

PL

The author presents the work of Stanisław Barańczak published underground.

3

Recenzja książki Jerzego Kandziory „Ocalony w gmachu wiersza. O poezji Stanisława Barańczaka”

96%

Giemza L.

Colloquia Litteraria

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2009

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vol. 6

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issue 1

105-109

PL

Artykuł stanowi recenzję książki Jerzego Kandziory „Ocalony w gmachu wiersza. O poezji Stanisława Barańczaka”

4

Spektakl Jednym tchem w Teatrze Ósmego Dnia

84%

Raczak L.

Przestrzenie Teorii

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2016

|

issue 26

223-226

PL

This text deals with the 1971 play Jednym tchem (In one breath), performed at the Theatre of the Eighth Day (Teatr Ósmego Dnia) and based on Stanisław Barańczak’s poem. Lech Raczak outlines the methods used in the play, the characters, way of presenting a poetic text and the music in the performance. The author uses fragments of performance records published in his previous book Szaleństwo i metoda. 48 tekstów o teatrze (Madness and method. 48 texts about theatre) (Wydawnictwo Miejskie Posnania, Poznań 2012).

5

Tyger, Tygrys i Тигр – o dzikim zwierzu i jego twórcach-stwórcach

77%

Bednarczyk A.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2000

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issue 2

117-128

RU

В 1990 г. Станислав Баранчак предложил переводить текст и рассматривать перевод с учетом его „семантической доминанты”. Проанализировав несколько стихотворных переводов с английского на польский язык он дал свои польские варианты этих текстов, среди которых был и перевод стохотворения Вильяма Блейка The Tyger. В статье Tyger, Tygrys и Тигр - дикий зверь и его создатели-созидатели предлагается анализ перевода этого же стихотворения на русский язык (перевод Самуила Маршака), в контексте сохранения „семантической доминанты”, которую для данного текста С. Баранчак определил как „симметрию ужаса”. В заключение Автор дает свой перевод произведения английского поэта на польский язык.

6

“The greatness of a writer consists in articulating the eternal problems and dilemmas of humanity”

77%

Król K., Orłowski H.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2020

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issue 9

367-372

EN

The interview focuses on Thomas Mann, his oeuvre and the reception of his works. The dispute around Mann’s The Magic Mountain, started by Stanisław Barańczak, is an important context of the text. In the interview an essay Reflections of a Nonpolitical Man (yet untranslated into Polish as a whole) is mentioned.

7

“I think that poets and, more broadly, all artists have some certain cognitive impatience in them”

77%

Król K., Kandziora J.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2020

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issue 9

357-366

EN

The interview covers the subject of Stanisław Barańczak and his works. Pondering on the way the poet pictures the existence of God in his poems is an important part of the text. Another crucial subject is the way Barańczak deals with his illness and portrays it in his poetic works. In the interview Jerzy Kandziora – an exquisite reasercher of the poetry written by Barańczak and Jerzy Ficowski − mentions his private relationship with both Barańczak and his wife.

8

‘The translator’s extraordinary artistry’. An Interview with Magdalena Heydel, Conducted by Karolina Król

77%

Król K.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

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2019

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issue 8

435-445

EN

The interview focuses mostly on Stanisław Barańczak’s methods of translation and his translation oeuvre. Similarities between Polish and American literary life also play a significant role in the text. Another important issue is Barańczak’s and Czesław Miłosz’s correspondence which has not been fully published and remains stored in Beinecke Library archives.

9

Dialog człowieka z Bogiem w poezji Stanisława Barańczaka

77%

Kosturek J.

Świat i Słowo

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2010

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vol. 2010, nr 2 (15)

185-200

EN

The author examines the poetry of Stanisław Barańczak and she tries to determine the relationship of the poet with the ultimate issues. When the plan of human happiness prepared by the Creator is subjected to an analysis in the interpretation of the poetry of Stanislaw Baranczak, it can give the impression that not everything is done in accordance with the plan. Both Podróż zimowa and Widokówka z tego świata (and subsequent works) make us look at the world differently. The loss of paradise, the lack of the plan or the illusionary hope of sacrum become the ingredients of the daily existence.

10

Etyka aautentyczności jako postulowany styl życia (glossa o krytyce etycznej Stanisława Barańczaka)

77%

Januszkiewicz M.

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2011

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vol. 65

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issue 1(292)

65-69

EN

The theoretical stratum of this sketch deals with the relative autonomy of the literary work. This feature consists of the fact that literary texts are not only language-oriented but also wish to speak about the world around us. The thematic stratum is concerned with questions that proved to be significant for representatives of the so-called Generation ’68. The attitude of the representatives of the New Wave appears to pertain to issues associated with poetics and various ways of thinking about literature (poetry). It became obvious, however, that the controversy concerning the character of literature is not a problem resolved simply by those who write poems but goes much further. It relates, above all, to questions concerning our nature, objectives and definitions of the world of values. Responses to such questions delineated fundamentally the lifestyle of the citizens of People’s Poland: should society support so-called small stabilisation by ignoring the mechanisms of the state and socio-political reality or, as the existentialists would say, the unauthentic lifestyle? Or, on the contrary, should people desire an authentic life, a life immersed in truth? Questions of this sort occupy central place in the literary critique of Stanisław Barańczak (predominantly, his two volumes of essays: Nieufni i zadufani and Etyka i poetyka).

11

Tropy Chory. Przestrzeń w utworach Tomasza Pułki

69%

Waligóra A.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2022

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vol. 10

116-131

EN

The article is an attempt to interpret the poem Masmix (written by Tomasz Pułka) in terms of the relationship that the piece makes with other author’s poems (especially those published on the Internet) and the works of Stanisław Barańczak or Philip Larkin. Due to the contextual reading it is revealed that the most important subject of the discussed text is the problem of space, which is later examined in reference to the Plato’s and Derrida’s category of Chora.

PL

Artykuł jest próbą interpretacji wiersza Masmix Tomasza Pułki pod kątem relacji, jakie utwór nawiązuje z innymi lirykami poety (zwłaszcza tymi publikowanymi w przestrzeni cybernetycznej) oraz z dziełami Stanisława Barańczaka czy Philipa Larkina. Pod wpływem lektury kontekstowej ujawnione zostaje, że najistotniejszym tematem omawianego tekstu jest przestrzeń; ostatecznie szkic proponuje analizę wiersza w odniesieniu do Platońskiej i Derridiańskiej kategorii Chory.

12

Improving the Original. Stanisław Barańczak’s Clown-World

69%

Pantuchowicz A.

Świat i Słowo

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2022

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vol. 38

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issue 1

273-287

EN

The article discusses Stanisław Barańczak’s idea of the possibility of improving the original in translation as a crucial aspect of his poetic agenda both before the 1989 change of the political system in Poland and after it. This aspect of his poetics is linked with his frequent recourses to normalization as a way out of, in his eyes oppressive, rule of the idiotic clownery and chaos of the surrounding reality regardless of its actual political or social significances. Hence the ambivalence in Barańczak’s vision of normality which, paradoxically, can be seen as either negative or, litotetically, as non-negative.

13

Nostalgia w poezji Stanisława Barańczaka

68%

Rydz A.

Studia Rossica Posnaniensia

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2019

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vol. 44

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issue 2

69-84

PL

The article Nostalgia in Stanisław Barańczak’s Poetry was inspired by Douwe Draaisma’s essay, a Dutch psychology theoretician, The Fabric of Nostalgia. About the Phenomenon of Mature Memory’s Age (2010). This model of nostalgia is based on the psychological phenomenon of memory reminiscence. The article presents the evolution of theme of nostalgia in Barańczak’s poetry.

14

Ja wiem, że to przedmowa

68%

Poprawa A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2019

|

issue 36

77-93

EN

Stanisław Barańczak’s collection I Know It’s Not Right (Ja wiem, że to niesłuszne), published as samizdat in 1978, included a preface by Adam Michnik. The article analyses this preface and attempts to determine itsaddressee and understand the author’s intentions.

15

Dom versus ściana. Gesty uobecnienia Stanisława Barańczaka w przestrzeni Poznania

67%

Jarmuszkiewicz A.

Poznańskie Studia Polonistyczne. Seria Literacka

|

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.

16

Stanisław Barańczak słucha Mozarta

67%

Dembińska-Pawelec J.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2019

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vol. 52

|

issue 1

179-192

EN

This essay presents an interpretation of Stanisław Barańczak poem Z okna na którymś piętrze ta aria Mozarta. Barańczak translated the libretto of Lorenzo Da Ponte to the Mozart’s opera The Marriage of Figaro. A fragment of the aria sung by Cherubino was used by the poet as a quotation in the poem Z okna na którymś piętrze ta aria Mozarta. This essay discusses the problem of the translation of the text by Barańczak. The present author evokes contemporary opinions of the libretto by Da Ponte (Starobinski, Žižek and Dolar), which emphasize not only the love, but also the political and revolutionary character of the opera The Marriage of Figaro. In this context, the author of the essay interprets Barańczak’s poem pointing to the permanent nature of art contrasted with the destruction of history and emphasizes the poet’s conviction expressed in the text about the primary meaning of love in people’s lives.

PL

Szkic prezentuje interpretację wiersza Stanisława Barańczaka Z okna na którymś piętrze ta aria Mozarta. Barańczak jest tłumaczem libretta operowego Lorenza Da Pontego do opery Mozarta Wesele Figara. Fragment arii Cherubina wykorzystał poeta jako cytat w wierszu Z okna na którymś piętrze ta aria Mozarta. W szkicu Autorka przybliża problematykę przekładu tekstu wokalnego w ujęciu Barańczaka i odwołuje się do współczesnych odczytań libretta Da Pontego (J. Starobinski, S. Žižek i M. Dolar) podkreślających nie tylko miłosny, ale także polityczny i rewolucyjny charakter opery Wesela Figara. W kontekście tych spostrzeżeń Autorka interpretuje wiersz Barańczaka wskazując na trwanie sztuki przeciwstawione destrukcji historii, podkreśla przy tym wpisane w tekst utworu przekonanie poety o prymarnym znaczeniu miłości w egzystencji ludzi.

17

Świat jako zadanie dla inteligenta. O dwóch wierszach Stanisława Barańczaka (Spójrzmy prawdzie w oczy, Grudzień 1976)

67%

Kopeć Z.

Przestrzenie Teorii

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2016

|

issue 26

131-138

PL

The analysis in this article focusses on two of Stanisław Barańczak’s poems in the context of the writer’s biography, i.e. the fact that he was an intellectual, poet, translator and essayist, as well as an opposition activist and one of the co-founders of the Workers’ Defence Committee (Komitet Obrony Robotników). The starting point is a reference to Czesław Miłosz's essays entitled Life on the isles and Immorality of art, in which the Nobel prizewinner ponders the role of the poet in the contemporary world. The poems discussed in this article are presented as one of the possible forms through which the 20th-century ethos of the intellectual is realised.

18

Kartografia ziemskiego bólu. Stanisław Barańczak, Bo tylko ten świat bólu

67%

Śliwiński P.

Przestrzenie Teorii

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2016

|

issue 26

139-148

PL

The interpretation of Stanisław Barańczak’s poem And it’s only that world of pain focuses on the depiction of pain and suffering, the relationship between the writer and reader’s experience, as well as the connection between the human being and nature understood in the broadest possible terms. Particular attention has been given to the subject and the formal discipline of the poem, juxtaposed with the experiences situated on and beyond the boundaries of language.

19

Barańczak i Ulro

67%

Skrendo A.

Przestrzenie Teorii

|

2016

|

issue 26

109-129

PL

The article comprises sketches by Stanisław Barańczak and Konstanty Jeleński on Czesław Miłosz’s The Land of Ulro. By comparing these three texts, important features of the thought of each author are described. The main figure is, however, Stanisław Barańczak: his thoughts on religion and literature.

20

Stanisław Barańczak i awangarda

67%

Świeściak A.

Przestrzenie Teorii

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2016

|

issue 26

65-85

PL

The poetry of Stanisław Barańczak, who himself was against historical avant-garde as a movement that abandoned ethical commitments, has quite a lot in common with avant-garde. Like other New Wave artists, his poetry can be read in the context of the neo-avant-garde and counterculture, e.g. in the context of Guy Debord’s The Society of the Spectacle and Herbert Marcuse’s Onedimensional Man, with the propositions that overlap in many places with those of Baranczak’s “dialectic Romanticism”. When analysing the links of this poetry with the participant art of the 1960s and 1970s, it can be concluded that new-wave commitment has little in common with the typical attempts of the neo-avant-garde at regaining privacy, since the political character of Barańczak’s poetry is based on giving a position of privilege to the martyrdom code of Polish romanticism, which he frames in elitist modernist language.

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Ucieczka z poetyki

Stanisław Barańczak w drugim obiegu wydawniczym

Recenzja książki Jerzego Kandziory „Ocalony w gmachu wiersza. O poezji Stanisława Barańczaka”

Spektakl Jednym tchem w Teatrze Ósmego Dnia

Tyger, Tygrys i Тигр – o dzikim zwierzu i jego twórcach-stwórcach

“The greatness of a writer consists in articulating the eternal problems and dilemmas of humanity”

“I think that poets and, more broadly, all artists have some certain cognitive impatience in them”

‘The translator’s extraordinary artistry’. An Interview with Magdalena Heydel, Conducted by Karolina Król

Dialog człowieka z Bogiem w poezji Stanisława Barańczaka

Etyka aautentyczności jako postulowany styl życia (glossa o krytyce etycznej Stanisława Barańczaka)

Tropy Chory. Przestrzeń w utworach Tomasza Pułki

Improving the Original. Stanisław Barańczak’s Clown-World

Nostalgia w poezji Stanisława Barańczaka

Ja wiem, że to przedmowa

Dom versus ściana. Gesty uobecnienia Stanisława Barańczaka w przestrzeni Poznania

Stanisław Barańczak słucha Mozarta

Świat jako zadanie dla inteligenta. O dwóch wierszach Stanisława Barańczaka (Spójrzmy prawdzie w oczy, Grudzień 1976)

Kartografia ziemskiego bólu. Stanisław Barańczak, Bo tylko ten świat bólu

Barańczak i Ulro

Stanisław Barańczak i awangarda