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Venice in Poetry and Prose: Adam Wiedemann’s Visit to the City

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Czyżak A.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
|
2020
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issue 9
215-226
EN
The main aim of the article is to identify key interpretation issues in two texts by Adam Wiedemann. Both texts feature contemporary literary pictures of visits to Venice – the Polish author wrote a short story (Sens życia. Opowiadanie śródziemnomorskie, 1998) and a poem (Tramwaj na Lido, 2015) about his journeys to Italy. Those textual visions of the urban space of Venice show that Wiedemann is fully aware of many similar attempts made earlier yet still strives to stress his distinctness, creating a record of meetings of the contemporary visitor with the unique phenomenon of the unusual urban phenomenon.
2
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Podwojony dialog — przekładu i twórczości własnej — ujęcie komparatystyczne?

81%
Gawlak M.
Przekłady Literatur Słowiańskich
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2014
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vol. 5
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issue 1
200-214
SL
Prispevek obravnava problematiko prevoda, kadar je prevajalec sicer tudi sam pisec literature. V takšnem primeru sta pomembna tako dialog poetike avtorja primarnega besedila s poetiko prevajalčeve lastne literarne ustvarjalnosti, kot tudi relacije, v katere se zapleta konkretni prevod s prevajalčevimi (lastnimi) literarnimi besedili. Ti vprašanji odpirata široko področje prevodoslovnih in komparativističnih raziskav. Prevajanje in prevod, razumljen kot interpretacija, sta tu obravnavana v skladu s postulati sodobne komparativistike, torej kot dialog kultur, dialog literatur, ki vodi v nadaljnje dialoške odnose v okviru ciljne kulture in prevajalčeve lastne literarne ustvarjalnosti. Na Poljskem je to vprašanje mdr. aktualno v ustvarjalnosti (avtorski in prevajalski) Stanisława Barańczaka, Juliana Tuwima in Czesława Miłosza. Če gre za prevajanje slovenske literature na Poljskem in poljske v Sloveniji (po letu 1990), je glede tega zanimivo vzajemno prevajanje dveh pesnikov — Adama Wiedemanna in Primoža Čučnika. Funkcija njunih prevodov je bolj dopolnjujoča kot polemična. Pesnika eksplicitno opozarjata na medbesedilne relacije med svojimi teksti. Podobnost njunih avtorskih poetik in izbori besedil, ki (si) jih prevajata, pa pričajo o idejni, svetovnonazorski in estetski sorodnosti.
EN
The subject of this article is concerning the area of translation created by an author, a writer. In such case not only the dialogue between poetics of an author’s primary texts and the poetics of self-translated texts is at importance. The relation in which particular translation is involved with the original author’s passages also cannot be diminished. Those problems open a wide space for the translation and comparative studies research. The translation is perceived as an interpretation seen accordingly to the postulates of modern comparative studies — so as an intercultural dialogue, the dialogue of literature, opening itself for further relations in the sphere of ultimate culture and the own artwork of the author of the translation. In Poland it applies to works (original and translational) of — among others — Stanisław Barańczak, Julian Tuwim or Czesław Miłosz. In reference to the translations of Slovenian literature in Poland and Polish literature in Slovenia (after year 1990) one of the fascinating phenomenon in this context would be mutual translation of their own texts of two poets — Adam Wiedemann and Primož Čučnik. Their translations function as a complement rather than polemic factor. The authors explicitly point to initiating the intertextual relations between their texts. The resemblance of the poetics and choices made in the scope of translation unveil the relationship in terms of an idea, outlook on the world and aesthetics.
3
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Podmiot gatunkowo usytuowany. Sonet i bajka w twórczości poetyckiej Adama Wiedemanna

72%
Dalasiński T., Redakcja pisma „Inter-Literatura-Krytyka-Kultura”, Tomasz Dalasiński – doktor nauk humanistycznych w zakresie literaturoznawstwa (dysertacja obroniona w 2014 roku na UMK w Toruniu) p., tdalasinski@gmail.com
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
|
2015
|
vol. 04
PL
Artykuł porusza problem gatunkowego usytuowania podmiotu mówiącego w wierszach Adama Wiedemanna. Problem ten analizowany jest w odniesieniu do tradycyjnych form gatunkowych: stricte literackich oraz sytuujących się na przecięciu literatury „oficjalnej” i tradycyjnej (oralnej), tj. sonetu i bajki ezopowej. Autor artykułu wskazuje, że reorientacje gatunkowych wzorców wypowiedzi lokalizują „ja” mówiące w wierszach Wiedemanna w obszarze dialektyki: między świadomością konieczności odnoszenia się do tradycji a jej dekonstruowaniem, między generowaniem literackich inwariantów a podleganiem wpływowi konwencji literacko-kulturowych, wreszcie – między aprobatą własnej fikcjonalności a poszukiwaniem autentyzmu w przekraczaniu ustalonych reguł.
EN
The article addresses the issue of the genre of the speaking “I” in the poems by Adam Wiedemann. The issue is analysed in relation to traditional genre forms: both purely literary and those that are the cross between “official” and traditional (oral) literature, namely the sonnet and the Aesopian fable. The article indicates that the reorientation of genremodels of expression locate the speaking “I” in Wiedemann’s poetry in the field of dialectics: between the awareness of the need to refer to tradition and its deconstruction, between generating literary invariants and being subject to the influence of literary and cultural conventions, and finally – between approving of its own fictionality and the search for authenticity in crossing the established rules.
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