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Looking backward, going forward? “The abominable bride” and fan f(r)iction

100%
Krawczyk-Żywko L.
Acta Philologica
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2016
|
issue 49
331-339
EN
The BBC’s “Sherlock” is believed to have pleased even the most fervent Sherlock Holmes fans, yet “The Abominable Bride” episode caused a serious amount of friction within the series fandom. To escape numerous stereotypical trappings, the creators of the show offered a modernised setting, and thus not only did they transcend the Grand Game but also made the show an instant transcultural success. Deciding to place Sherlock in his “original” surroundings in the Christmas special, they fell into the trap of their own making, since their own text became one of the adapted ones. References to the Canon and its adaptations were the driving force throughout the three series, but the amount of auto-referentiality was a step backward as far as the viewers and “gamers” are concerned.
2
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Dual codes: Text within a Text in Lotman and Kristeva

84%
Spassova K.
Prace Filologiczne. Literaturoznawstwo
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2018
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issue 8(11) cz.2
13-28
EN
Lotman explicitly affirms that his methodological wager is an attempt to join the formal-structural paradigm of Roman Jacobson and the contextual-dialogical paradigm of Mikhail Bakhtin. Lotman conceives the structure of the text as heterogenous just because it is at least dually coded, while semiosis is exactly the process of this inner hybridization, which has a creative potentiality. My paper will examine the dual coded structure of Lotman in the light of early Kristeva distinction between semiotic and symbolic function. I will examine the influence of Lotman in Kristeva’s works in the context of the 60s.
3
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Czytanie Pilcha w sensie ścisłym. O wpływie autotematyzmu na powstanie persony medialnej Jerzego Pilcha

84%
Hanik K.
Świat i Słowo
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2023
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vol. 40
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issue 1
59-74
EN
Reading Pilch in the strict sense. About the influence of self-referentiality on the formation of the public persona of Jerzy Pilch The essential focus of this article is the issue of the “trap of self-referentiality” that Jerzy Pilch and his audience fell into. The aim of the article is to trace Pilch’s autobiographical and self-referentiality comments and examine how they affected the reception of his image, as well as the interpretation of his persona. The analysis of various commentaries allows the author to carefully trace the intricacies of the public persona created by Jerzy Pilch, a persona that became for him both a popularizing trademark and a burden for a sensitive man. Hanik shows that Pilch destined himself to such a fate, over the years meticulously creating the image, that he maintained in interviews, numerous speeches and numerous autobiographical novels. This earned him both a crowd of loyal fans and a group of harsh critics. The author sketches Pilch’s image emerging from these statements in order to retrace where it was disturbed, and to analyze the statements, reviews and comments on his persona that reinforced this image or undermined its authenticity. Finally, the article shows that the creation of one of the first such distinctive media personas in the Polish literary market, was at the same time the creation of one of Pilch’s characters, one of the most difficult to interpret.
4
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Perpetuum mobile, czyli kilka uwag o autotematyzmie

83%
Grądziel-Wójcik J.
Forum Poetyki
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2015
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issue 2
108-119
EN
The article presents a short history of the development of the concept of autotematyzm, a term proposed in the mid twentieth century by Artur Sandauer, referring to a kind of self-referentiality, that evolved considerably in scholarly thought in subsequent decades.  Problems in defining the term relate to both its terminological fluidity and the scope of its use, dependent on the influence of literature as it changed and the languages used to describe and analyze it.  The author proposes to formulate the development of the term as a result of the linguistic turn and thus situates it at the center of modernism, whose dominants it expresses, becoming an operative tool for the interpretation of modernity. At the same time, she directs readers’ attention to the current that privileges subjectivity in the reflection on self-referentiality, and its close connection with autobiography, particularly visible after the post-structuralist rupture.
PL
Artykuł przedstawia w dużym skrócie historię rozumienia pojęcia ‘autotematyzm’, zaproponowanego w połowie ubiegłego wieku przez Artura Sandauera i znacząco ewoluującego w refleksji badawczej w następnych dziesięcioleciach. Problemy definicyjne z autotematyzmem związane były zarówno z jego płynnością terminologiczną, jak i zakresem występowania tego zjawiska, uzależnionego od wpływu zmieniającej się literatury oraz języków jej opisu. Autorka proponuje ujmować rozwój autotematyzmu jako konsekwencję zwrotu lingwistycznego, sytuując go w centrum modernizmu, którego dominanty uwyraźnia, stając się operatywnym narzędziem interpretacji nowoczesności. Jednocześnie zwraca uwagę na wątek uprzywilejowujący podmiotowość w myśleniu o autotematyzmie oraz ścisłe jego powiązanie z autobiografizmem, widoczne w szczególny sposób po przełomie poststrukturalistycznym.
5
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Ja tłumaczę – Ja piszę? O przekładzie wierszy autotematycznych

71%
Waligóra A.
Porównania
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2020
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vol. 26
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issue 1
77-102
EN
The article describes an attempt to conduct an experimental translation of a self-referential poems with the conversion of the subjective “I who write” into the subjective “I who translate”. It contains numerous translations of three poems (written by Robert Lowell, Frank O’Hara and Jane Kenyon). They are interpreted and compared with the original works and provided with commentary, which situates them in a broader translatological and theoretical context. The translations were made by the students of the translation speciality (Wydział Filologii Polskiej i Klasycznej, Adam Mickieiwcz Univeristy in Poznań).
PL
Artykuł opisuje próbę przeprowadzenia eksperymentalnego tłumaczenia autotematycznych utworów lirycznych z zamianą podmiotowego “Ja, które pisze” na podmiotowe “Ja, które tłumaczy”. Przytoczone zostają liczne przekłady trzech wierszy (autorstwa Roberta Lowella, Franka O’Hary oraz Jane Kenyon): zostają zinterpretowane one i porównane z dziełami oryginalnymi oraz opatrzone komentarzem, sytuującym je w szerszym kontekście translatologicznym i teoretycznoliterackim. Tłumaczenia dokonały studentki specjalności przekładowej na Wydziale Filologii Polskiej i Klasycznej Uniwersytetu im. Adama Mickiewicza w Poznaniu.
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