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The Conceptual Art of Translation

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Brzoskowska-Tereszkiewicz T.

Prace Filologiczne. Literaturoznawstwo

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2013

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issue 3(6) cz.1

107-124

EN

The paper presents a variety of expressly anti-illusionist practices in literary translation which derived their inspiration from the neo-avant-garde’s radical artistic proposal known as conceptual art. As self-referential and self-reflexive literary experiments, conceptual translations tend to lean towards visual, installation and performance art, while privileging aleatoric and combinatory procedures for the construction of target texts. They are also likely to be marked by an intense preoccupation with intermediality and “synesthesia” an inherent tension between sensory and intellectual cognition in the translation process and a promotion of the translator’s conceptual idea instead of translational mimetism.

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Uwagi o języku i poezji w wierszach Mirosława Dzienia

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Bobryk R.

Świat i Słowo

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2023

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vol. 40

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issue 1

253-267

EN

Remarks on language and poetry in the poems of Mirosław Dzień Miroslaw Dzień is perceived as a metaphysical poet. The subject matter of his poems frequently oscillates around existential problems and touches on various religious issues (including eschatological ones). An ambivalent view of language emerges from Dzien’s poems. The language used there serves to capture different aspects of reality and preserve various phenomena. On the other hand, however, it does not allow the poet to address the most important issues and articulate his innermost thoughts. In this context, it is the poetry that is the higher form of communication, though it also has great limitations. This is because everything that matters most is contained in silence.

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„...dum Capitolium scandet cum tacita virgine pontifex”. Funkcja figury pochodu w pieśni III, 30 Exegi monumentum Horacego

85%

Kopek W.

Roczniki Humanistyczne

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2021

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vol. 69

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issue 3

63-93

EN

This article contains a semiotic analysis of the “dancing procession” motif in Carm. III 30 Exegi monumentum (vv. 7–14) in the perspective of the topos of a meeting with a deity in the Horacian lyric, that was defined as a form of a rite of passage. The author also sought to answer the question of the function of the said motif in the composition of the text and in shaping the figure of the author’s subject, shown as a “poet” (vates). The posed research problem required the use of a semiotic definition of the text and forced an approach to the topos of a meeting with a deity as a cultural text. Which, in turn, bear in on reference to anthropology (the concept of ritual) and cultural studies (κῶμος, χορός), as well as linguistics in terms of semantics and the aspect of a verb. After the analysis the author concluded that the “dancing procession” motif in the ode Exegi monumentum is shown in two phases as a cyclical, ritual χορός, which became a sign of the one-time κῶμος. In this sense, the motif was shown as a figure of memory, referring to the fact that Horace combined Aeolian meters with Roman literature. In reply to the question regarding the figure of the subject, the author indicated that on the basis of the above figure of memory the vates was deified and as such he took the place of the deity in the literary transformation of the topos of the meeting with a deity, aspiring to a role analogous to the figure of “Anacreont” in Anacreontic poetry.

PL

Celem artykułu jest semiotyczna analiza motywu „pochodu tanecznego” w Carm. III, 30 Exegi monumentum (w. 7-14) w perspektywie toposu spotkania z bóstwem w liryce Horacjańskiej, rozumianego jako forma rytuału przejścia. Autor poszukuje również odpowiedzi na pytanie, jaką funkcję pełni przywołany motyw w kompozycji tekstu oraz w ukształtowaniu figury podmiotu odautorskiego, ukazanego w roli „poety” (vates). Postawiona problematyka wymagała odniesienia się do semiotycznej definicji tekstu oraz ujęcia toposu spotkania z bóstwem jako tekstu kultury. To z kolei wpłynęło na odniesienie się do badań antropologicznych (pojęcie rytuału) oraz kulturoznawczych (κῶμος, χορός), a także językoznawczych w zakresie semantyki i aspektu czasownika. Po przeprowadzonej analizie autor doszedł do wniosku, że motyw „pochodu tanecznego” w pieśni Exegi monumentum został ukazany dwufazowo jako cykliczny, rytualny χορός, który stał się znakiem jednorazowego κῶμος. W tym sensie motyw ten został ukazany jako figura pamięci, odnosząca się do faktu połączenia przez Horacego miar eolskich z literaturą rzymską. W odpowiedzi na pytanie o konstrukcję podmiotu autor wskazał, że na bazie powyższej figury pamięci nastąpiło ubóstwienie wieszcza, który w przeformułowanym toposie spotkania z bóstwem zajmuje miejsce samego bóstwa, aspirując do roli analogicznej do figury „Anakreonta” w poezji anakreontejskiej (Carm. Anacr. 1 W, 1-3, 11-17).

4

Mam jakiegoś ciebie, masz jakiegoś mnie”. Autotematyzm a podmiot wierszy Stanisława Barańczaka

80%

Dźwinel K.

Prace Polonistyczne

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2014

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vol. 69

83-101

EN

The author of the article is focused on those of the places in Stanisław Barańczak’s poetry, in which the subject is revealed and the fact that the sender is the poet, who creates in statu nascendi and at the same time reflects on the essence of this process, is emphasize. These are obviously the self-reference procedures, directly related to perfecting his own poetic workshop. In the case of Barańczak those threads are also transferred on the self epistemology area, which means that they are involved with the identification of the subjects own identity, which is worth of interpreting precisely as an self-reference procedure. Self-reference at this point is being expanded only in a manner of pretense: it is absolutely important to remember that the “self-recognition” making subject is exactly the poet. The key figure to the topic taken in this way will be the doppelganger (and bond to this issue mirror theme). The exemplification material will be given by both early Korekta twarzy, and the subsequent volumes of Barańczak’s poetry.

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1 Prace Filologiczne. Literaturoznawstwo

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1 Dźwinel K.

1 Kopek W.

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The Conceptual Art of Translation

Uwagi o języku i poezji w wierszach Mirosława Dzienia

„...dum Capitolium scandet cum tacita virgine pontifex”. Funkcja figury pochodu w pieśni III, 30 Exegi monumentum Horacego

Mam jakiegoś ciebie, masz jakiegoś mnie”. Autotematyzm a podmiot wierszy Stanisława Barańczaka