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EN
Legends, fairy tales, and myths have always aroused the interest of diverse societies. They are discursive genres that represent the imaginary of peoples and communities. Through them, identities and beliefs are constituted, revealing common aspects of a particular culture. In the narratives we find heroes and heroines who defend cities, stop the enemy, and are at the mercy of their own fate. Based on this assumption, this study aims to answer the following research question: how can the linguistic-symbolic convergences of the female heroic archetype of Iara and Syrenka be explained from a transdisciplinary theoretical assumption? To address this issue, we propose the following objectives: a) to present the symbolic and archetypal convergences that emerge in the narratives of Iara and Syrenka’s female heroism through Brazilian and Polish discourse and the imaginary; b) to propose a theoretical-methodological analysis in terms of transdisciplinarity. The work presented here shows that the exercise of this instaurative transdisciplinarity is possible if the methods and the theoretical path are made clear. Finally, the study has shown that the female heroic archetype is present in both cultures, Brazilian and Polish contexts, from which the narratives originate, sharing mythical traits and textual-discursive configurations.
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EN
The article is dedicated to a novel by Józef Ignacy Kraszewski, originally published under the title Syrena [The Mermaid] in the Warsaw paper Gazeta Codzienna [The Everyday Daily] in 1859, then as a book under the title Piękna pani [The Beautiful Lady] in Lviv in 1871. The novel was appraised negatively by literary critics, mainly due to the role played in it by a strong demonic female figure threatening the male world, which for the reviewers was difficult to accept. Taking into account the contexts of Kraszewski’s other novels (e.g. the novel Orbeka, 1867) which presented the image of the femme fatale and feminocentric mythological themes, the article proposes a reading of this work as an open, ambiguous, controversial text, and thus one creatively recorded in the history of the 19th-century literature and criticism. The mermaid’s silence mentioned in the title becomes a metaphor for what is not said directly in the novel and what is connected to the experience of femininity – an experience that is disturbing, difficult, painful – the metaphor also translating into the Polish collective experience. 
PL
Artykuł dotyczy powieści Józefa Ignacego Kraszewskiego, opublikowanej pierwotnie pod tytułem Syrena w warszawskiej „Gazecie Codziennej” z 1859 roku, a następnie w wersji książkowej pod tytułem Piękna pani we Lwowie w 1871 roku. Powieść została negatywnie oceniona przez krytykę literacką, co miało związek przede wszystkim z trudną do zaakceptowania przez recenzentów rolą, jaką odgrywała w powieści silna, demoniczna postać kobieca zagrażająca światu męskiemu. Biorąc pod uwagę konteksty innych powieści Kraszewskiego (np. powieść Orbeka, 1867), prezentujących wizerunek femme fatale oraz feminocentryczne wątki mitologiczne, w artykule przedstawiono propozycję lektury tego utworu jako dzieła otwartego, wieloznacznego, wywołującego kontrowersje, a tym samym twórczo zapisanego w historii literatury i krytyki XIX wieku. Tytułowe milczenie syreny staje się metaforą tego, co w powieści nie zostało wypowiedziane wprost, a co wiąże się z doświadczeniem kobiecości – niepokojącym, trudnym, bolesnym, przekładającą się również na polskie doświadczenie zbiorowe.
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