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Szekspir Czesława Miłosza

100%
Romanowska A.
Studia Litteraria Universitatis Iagellonicae Cracoviensis
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2009
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vol. 4
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issue 1
PL
Czesław Miłosz translated only one play by Shakespeare, As You Like It, and the fi rst two actsof Othello. Both „Shakespearean episodes” by this otherwise prolifi c translator took place atthe time of dramatic circumstances that were heavily affecting Miłosz’s life and work. The taskof translating As You Like It was commissioned by the Polish Underground Theatre Board in1943. The attempt at translating Othello had been undertaken just before the poet emigrated toFrance as a political refugee in 1951.The paper focuses on some of the areas of interest that the case of Miłosz’s Shakespeareopens for historico-literary analysis: the aims and conditions of Miłosz’s translation of Shakespearemarked by the extreme extra-textual conditions; Miłosz’s poetry about the Nazi occupiedWarsaw vis-a-vis his artistic, intellectual and political involvement in translating As YouLike It; the translated texts’ literary and theatrical reception versus the poet’s initial aims andhis low opinion about his rendition; Miłosz’s decision to give up Othello in the face of the growingisolation from his homeland. The presented analysis highlights the position of translationwithin the wider context of Miłosz’s creative work as poet-translator.
2
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Jarosław Iwaszkiewicz as Translator of Shakespeare

100%
Romanowska A.
Anglica Wratislaviensia
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2018
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issue 56
119 - 132
EN
While theatre has always been the major force generating new translations of Shake­speare’s plays, the prerequisite assuring a successful (i.e. theatrically functional) rendering is the translator’s awareness of the theatrical potential of poetic drama. The combination of poetic and dramatic skills on the part of the translator, coupled with the interpretative reading that underlies all translation, provides a literary historian with interesting questions. How are the translator’s creative forces channelled to strike a balance between translating and playwrighting? To what extent should we perceive translated literature as an integral part of the writer–translator’s literary output? Is it possible to interpret one in the light of the other and can such interpretation enrich our understanding of the translated texts’ functioning in the target culture? Looking for answers to these questions, I focus on the blend of the poetic and playwrighting temperaments that characterise Jarosław Iwaszkiewicz’s translations of Shakespeare’s Romeo and Juliet and Hamlet.
3
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The Role of Memory in Penal Sciences

100%
Romanowska A.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2021
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issue 13
99-105
EN
The ancient Greeks believed that memory was a gift from the beautiful goddess Mnemosine, daughter of Uranus and Gaia, belonging to the first generation of titans and a titanide. Nowadays memory is understood and defined in many different ways, sucha as multi-stage process consisting of the ability to register and recall data information. Memory processes are undoubtedly very closely related to emotions. They differ depending on the duration of the memory trace, as well as the type of information and the degree to which we are consciously involved in the process of remembering and recreating information. The aim of this paper is to show the importance of human’s memory in penal science. Memory allows to recreate a so- -called memory portrait with the help of a qualified police cartoonist or a computer program, the perpetrator of which the witness or the aggrieved person saw only for seconds. Such portraits are published through various means of communication, such as the press, the Internet, and television. They often cause the quick identification and apprehension of the perpetrator.
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