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Andere Stimmen – Protest gegen Krieg und Gewalt in der polnischen und ukrainischen Dichtung über den Ersten Weltkrieg

100%
Woldan A.
Przegląd Humanistyczny
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2019
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vol. 63(1 (464))
7-25
EN
Polish and Ukrainian poetry on World War I have much in common: they were written mainly by soldier-poets, young men fighting in the Polish Legions or the Ukrainian Sich Riflemen. This poetry is, first of all, a patriotic legitimation of the war as a way of regaining political independence. Heroism and suffering for the fatherland are dominating issues. Nevertheless, besides this pathetic gesture, we can find voices that point out the horror of war and question it at all. Such criticisms is expressed by certain motives, which appear in both the Legions’ and the Sich Riflemens’ poetry, like: fratricide, lists from soldiers to their families at home, devastation of nature and culture, autumn and death, as well as pacifist notions. These voices do not form any dominant discourse in the poetry on World War I, but they are not to be ignored, as they mark a common place in the Polish and Ukrainian literature at this time, which has not been researched until now.
2
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Działalność literacko-kulturowa Marii Karpińskiej-Węgrzynowskiej w kontekście ukraińskiego modernizmu

100%
Koniewa J.
Acta Polono-Ruthenica
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2008
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vol. Tom 1 Nr XIII
367-376
EN
The article analyzes the life and poetry of a little-known Ukrainian poet of the Polish origin Maria Karpinska-Wengrenowska (1899-1963), a member of the union of the country writers „Plough” (1922-1925). In 2007, in Kiev the book Chords o f grief of this writer was published for the first time.
3
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LIBERTÀ PROMESSA

100%
KOSTENKO L., Pachlovska O.
pl.it / rassegna italiana di argomenti polacchi
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2022
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vol. 13
152-157
4
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Меланхолический номадизм Сергея Жадана и украинское национальное воображение

88%
Korchagin K.
Przegląd Wschodnioeuropejski
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2018
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vol. 2
319-327
EN
A recent state crisis in Ukraine launched the process of the re-treatment of national and state borders not only in public politics and media, but also in culture and literature. According to Deleuze and Guattari, contemporary humans live in the epoch when nomadic subjectivity comes on the scene in order to change the regime of national spatial imagination. Nomadic existence regarding individuals as always “on the road” seems to be a tool for the de- and re-territorialization that shapes new cultural and state borders. This paper regards Serhiy Zhadan, one of the most prominent contemporary Ukrainian poets, and his treatment of the Ukrainian nation and its borders. For Zhadan, the need for poetry practice has to participate in the nation-building process intensified after Maidan. The key concept for this process’s comprehension is melancholia, which could help to draw an image of contemporary Ukranian subjectivity.
5
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Karpaty w twórczości Bohdana Ihora Antonycza i Jerzego Harasymowicza

88%
Ksenicz A.
Acta Polono-Ruthenica
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2008
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vol. Tom 1 Nr XIII
79-88
EN
The paper is an attempt to compare the artistic vision of the Carpathian Mountains in the poetry of the two outstanding authors. It has been made with reliance on the analysis of several significant aspects that might be noticed in both cases. They encompass such questions as, for instance, remaining in a given place and creating beauty in its spiritual/material dimensions as well as the historical existing of this area together with its inhabitants. The comparative fathoming of numerous poems and other poetic forms indicates decisive similarities between the two authors’ ways of artistic expression whose essential and one of the most original components is an exceptional capability of metaphorising presented world.
6
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The Surrealist Image of Hell in Vasyl Stus’s Poetry based on "Merry Cemetery"

88%
Mościszko M.
Slavia Orientalis
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2019
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vol. LXVIII
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issue 1
7

Poezja Łesi Ukrainki w przekładach Kazimierza Andrzeja Jaworskiego

63%
Choma-Suwała A.
Roczniki Humanistyczne
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2019
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vol. 67
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issue 7: Słowianoznawstwo
193-206
PL
Kazimierz Jaworski zaczął tłumaczyć utwory Łesi Ukrainki w połowie lat 50. Pierwsze translacje ukazały się w dziewiątym numerze „Kameny” z 1956 roku, w dziale Z poezji ukraińskiej. Przekłady K. A. Jaworskiego oraz w numerze piętnastym z 1958 roku. Wszystkie spolszczenia jej utworów zawiera trzeci tom Pism Jaworskiego pt. Przekłady poezji ukraińskiej, białoruskiej i narodów kaukaskich, opublikowany w 1972 roku w Lublinie. Znalazło się w nim dziewięć wierszy Ukrainki, pochodzących z wczesnych tomów poezji На крилах пісень (Na skrzydłach pieśni, 1893), Думи і мрії (Myśli i marzenia, 1899). Відгуки (Odgłosy, 1902). Wiersze Łesi Ukrainki w przekładach Jaworskiego stanowią swoistą kwintesencję jej twórczości poetyckiej. Zarówno ich selekcja, jak i sposób tłumaczenia są starannie przemyślane. Przy ich wyborze lubelski poeta nie stronił od utworów refleksyjnych, wierszy o tematyce egzystencjalnej i tych związanych z rolą poety w społeczeństwie. Liryka Łarysy Kosacz w przekładach Jaworskiego jest niezwykle ekspresyjna i dynamiczna. Jest to wynik odpowiednich zabiegów tłumacza w planie znaczeń pragmatycznych i emocjonalno-stylistycznych.
EN
Kazimierz Jaworski began to translate Lesya Ukrainka’s works in the mid-1950s. The first translations were published in the ninth issue of “Kamena” magazine from 1956, in the section From Ukrainian Poetry. K. A. Jaworski’s Translations, and in the fifteenth issue from 1958. All Jaworski’s translations of her works were included in the third volume of his Pisma, entitled Przekłady poezji ukraińskiej, białoruskiej i narodów kaukaskich (Translations of the Poetry of Ukraine, Belarus and the Caucasian Nations), published in 1972 in Lublin. It included nine poems by Ukrainka from her early books of poetry На крилах пісень (On Wings of Songs, 1893), Думи і мрії (Thoughts and Dreams, 1899), Відгуки (Echoes, 1902). Ukrainka’s poems in Jaworski’s translations are a quintessence of her poetic works. Both the selection of poems and the manner of translating them were carefully considered. The poet from Lublin did not avoid reflexive works, poems about existential matters and those concerning the role of the poet in the society. Larysa Kosach’s lyricism in Jawirski’s translations is exceptionally expressive and dynamic. It is the result of the translator’s strategies on the plane of pragmatic and emotional-stylistic meanings.
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