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1

Recepcja literacka – jak może być rozumiana we współczesnym literaturoznawstwie?

100%

Jarmuszkiewicz A.

Pamiętnik Literacki

|

2019

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vol. 110

|

issue 1

139-148

PL

W artykule analizowany jest problem współczesnych badań nad recepcją literacką i możliwych dróg ich rozwoju – w kontekście perspektywy, jaką tworzą związki recepcji literackiej z socjologią literatury. Szczególnie dużo uwagi poświęcono rozumieniu wspólnot interpretacyjnych – pojęcia stworzonego przez amerykańskiego literaturoznawcę pragmatystę, Stanleya Fisha. W idei owych wspólnot podkreśla się wolność czytelnika, który może wybierać różne warianty i uczyć się nowych strategii odczytań literatury. Idąc tym tropem, w artykule stwierdza się, że sytuacja, w której nowy tekst zostaje przyjęty do danej wspólnoty interpretacyjnej i staje się swoistym kluczem, wytrychem, strategią interpretacyjną we wspólnocie, to właśnie istota recepcji literackiej.

EN

The article analyses the problem of contemporary research in literary perception and the possible ways of its development. The analysis is carried out in the context of the perspective offered by the connections between literary reception and literary sociology. Especially much attention is paid to the understanding of interpretive communities—the term coined by an American literary scholar and pragmatist Stanley Fish. The idea of communities underline the readers’ freedom due to which they may select different variants and learn new readings of literature. Following this way of reasoning, the article supports the view that the situation in which a new text is adopted by the interpretive community to become a certain key, a picklock, an interpretive strategy, is the essence of literary reception.

2

Route 66 and No End: Further Fortunes of Shakespeare’s Sonnet 66

100%

Pfister M.

Linguaculture

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2010

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vol. 2010

|

issue 2

39-50

EN

At the SHINE-conference in Murcia in 1999 I claimed that sonnet 66 has been largely disregarded by Anglo-American critics whereas, in continental Europe, it has been frequently used as a medium of protest in crucial political situations. In the light of more recent findings I will revise this claim and draw attention to English poets and novelists from the Romantic period to Modernism reworking or working with the sonnet with a political thrust

3

What kind of place is Norden? The image of Norden in Polish literary reviews of Nordic literature

100%

Schab S. I.

Folia Scandinavica Posnaniensia

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2023

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vol. 34

74-87

EN

The article discusses the question of how Nordic literature in translation – as reflected in Polish literary reviews – creates Norden as a place. What kind of imagery (constructed in a continuous discursive process) is projected on the Nordic region, and what purposes does this construction serve? The analysis draws on an understanding of place as a construct based on “body, landscape and culture” (Ringgaard & DuBois 2017:20) and uses concepts taken from imagology and literary reception studies.

4

De receptie van Madelon Székely-Lulofs in de Hongaarse pers in het interbellum

88%

Tóth Z.

Neerlandica Wratislaviensia

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2017

|

vol. 27

155-167

EN

Madelon Székely-Lulofs occupies a distinguished place in the history of the Dutch-Hungarian literary relations. Through her marriage with Hungarian planter and writer László Székely she was able to develop closer contact with the Hungarian literary world of the 1930s than any other Dutch author in this period. The Székely-Lulofs couple considerably contributed to the strengthening of the literary relations between these two countries: thanks to their translations in the 1930s and 1940s, the Dutch readership became acquainted with some of the most outstanding Hungarian writers of the time. Furthermore, they stimulated the popularity of the Dutch literature in Hungary by translating the works of Dutch writers to Hungarian. In this paper, I focus on how her works were received in Hungary in the 1930s and compare her Dutch and Hungarian reception. My research is based on a corpus of articles published in the Hungarian (literary) press of the time.

5

Sulla ricezione e le traduzioni italiane di Italia di Maria Konopnicka

88%

Amenta A., Amenta A.

Kwartalnik Neofilologiczny

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2021

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issue 1

6

‘Rzecz czarnoleska’ as perceived by the third generation of romantics: Cyprian Norwid and Teofil Lenartowicz

75%

Woźniewska-Działak M.

Studia Norwidiana

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2016

|

vol. 34 English Version

61-80

EN

This article offers a synthetic overview of how Jan Kochanowski's artistic legacy manifested itself in the poetry of the third-generation Romantics - Cyprian Norwid and Teofil Lenartowicz. This overview of the work of the two latter poets proves that Czarnolas was perceived by them as an invaluable model of community life in the 19th-century context. The Czarnolas community ideally matched the Romantic reflection on the sense of freedom and the grandeur of the Polish nation – living in the political subjection to the partitioners. Jan Kochanowski and his oeuvre was a vital rediscovery, which allowed the 19th-century restitution of the myth of the Old Polish epoch, with its turning back to the roots of the Polish language and its debate on the fundamental problems of the time. All these motifs feature in the poetry by Norwid and Lenartowicz, who repeatedly made reference to the topos of the Czarnolas lute to show that they credit Kochanowski with being a poet of the nation.

7

Translation and Transformation of John Chrysostom’s Urban Imagery into Old Church Slavonic

75%

Dimitrova A.

Studia Ceranea

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2020

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vol. 10

63-82

EN

John Chrysostom was not only one of the most prolific and influential authors of late antiquity but also a renown preacher, exegete, and public figure. His homilies and sermons combined the classical rhetorical craft with some vivid imagery from everyday life. He used descriptions, comparisons, and metaphors that were both a rhetorical device and a reference to the real world familiar to his audience. From 9th century onwards, many of Chrysostom’s works were translated into Old Church Slavonic and were widely used for either private or communal reading. Even if they had lost the spontaneity of the oral performance, they still preserved the references to the 4th-century City, to the streets and the homes in a distant world, transferred into the 10th-century Bulgaria and beyond. The article examines how some of these urban images were translated and sometimes adapted to the medieval Slavonic audience, how the realia and the figures of speech were rendered into the Slavonic language and culture. It is a survey on the reception of the oral sermon put into writing, and at the same time, it is a glimpse into the late antique everyday life in the Eastern Mediterranean.

8

Význam Slovanského přehledu pro českou (zejména literárněvědnou) bulharistiku

51%

Černý M.

Slovanský přehled: historická revue pro dějiny střední, východní a jihovýchodní Evropy (Slavonic Review: Review for Central, Eastern and Southeastern European history)

|

2015

|

vol. 101

|

issue 3

627-671

EN

This contribution analyzes Bulgarian subjects in the Slavonic Review in the years 1898–2014. Particular attention is devoted to the 1st and 2nd stages of the journal’s existence (before 1939), and important findings by leading scholars of Bulgaria are discussed, as are the personal contacts maintained by the editor-in-chief Adolf Černý, along with those of his friends who also specialized in Bulgarian studies. The development of the field in the postwar years is also briefly sketched out, with special emphasis on the decade following the putsch in February 1948 and the so-called normalization period, when Bulgarian studies were politicized within the framework of an overall ideologization of scholarship. One of the most fundamental changes made to the contents of the journal was its transformation from a popular non-fiction periodical featuring wide-ranging cultural-historical subject matter into an outlet for purely historical studies, which took place when the editorship was transferred from the Slavonic Institute ČSAV (later the Institute for Languages and Literatures ČSAV) to the Institute for the History of European Socialist Countries ČSAV in 1964, and subsequently to the Czechoslovak-Soviet Institute ČSAV. After November 1989 the field of Bulgarian studies (now free of negative ideological encumbrances) was cultivated in the spirit of the long-standing tradition of Czech-Bulgarian relations and often benefited from interdisciplinary encroachments into ethnology, political science, the history of scholarship, cultural history, Byzantine studies, and Balkan studies.

9

‘Rzecz czarnoleska’ as perceived by the third generation of romantics: Cyprian Norwid and Teofil Lenartowicz

51%

Woźniewska-Działak M.

Studia Norwidiana

|

2016

|

vol. 34 English Version

61-80

EN

This article offers a synthetic overview of how Jan Kochanowski's artistic legacy manifested itself in the poetry of the third-generation Romantics - Cyprian Norwid and Teofil Lenartowicz. This overview of the work of the two latter poets proves that Czarnolas was perceived by them as an invaluable model of community life in the 19th-century context. The Czarnolas community ideally matched the Romantic reflection on the sense of freedom and the grandeur of the Polish nation – living in the political subjection to the partitioners. Jan Kochanowski and his oeuvre was a vital rediscovery, which allowed the 19th-century restitution of the myth of the Old Polish epoch, with its turning back to the roots of the Polish language and its debate on the fundamental problems of the time. All these motifs feature in the poetry by Norwid and Lenartowicz, who repeatedly made reference to the topos of the Czarnolas lute to show that they credit Kochanowski with being a poet of the nation.

10

„Rzecz czarnoleska” w recepcji trzeciego pokolenia romantyzmu. Na przykładzie Norwida i Lenartowicza

51%

Woźniewska-Działak M.

Studia Norwidiana

|

2016

|

vol. 34

61-80

EN

This article offers a synthetic overview of how Jan Kochanowski's artistic legacy manifested itself in the poetry of the third-generation Romantics - Cyprian Norwid and Teofil Lenartowicz. This overview of the work of the two latter poets proves that Czarnolas was perceived by them as an invaluable model of community life in the 19th-century context. The Czarnolas community ideally matched the Romantic reflection on the sense of freedom and the grandeur of the Polish nation – living in the political subjection to the partitioners. Jan Kochanowski and his oeuvre was a vital rediscovery, which allowed the 19th-century restitution of the myth of the Old Polish epoch, with its turning back to the roots of the Polish language and its debate on the fundamental problems of the time. All these motifs feature in the poetry by Norwid and Lenartowicz, who repeatedly made reference to the topos of the Czarnolas lute to show that they credit Kochanowski with being a poet of the nation.

11

Roráte karlo-arnoštské: Kapitola z historie českých obrozenských mystifikací

45%

Škarpová M.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

115-140

EN

One of the most significant changes in the manner of reproduction, distribution, usage and interpretation of Czech Rorate chants took place in the 1830s and 1840s. It was then that Czech catholic priest Václav Michael Pešina (1782–1859) provided an interpretation of early modern Czech utraquist liturgical Rorate chants (which were newly available in the edition published in 1823 by Jan Hostivít Pospíšil) as Charles-Ernest Rorate, i.e. as old Czech chants of an advent worship for people, which, according to Pešina, were introduced into St. Vitus Cathedral and other Czech churches by Archbishop Ernest of Pardubice with the support of Charles IV. Pešina also put into effect new ways in which Czech Rorate chants were reproduced and distributed, and initiated their introduction into Czech catholic churches, including the Prague cathedral, as revived Old Czech morning advent catholic worship for the people. In this paper, we analyze the strategies which were used to assert the interpretation of Czech Rorate chants, such as the Charles-Ernest Rorate, in the Czech cultural domain, as well as the strategies which led to the Rorate from the year 1823 being determined as the primary source. We also focus on the demystifying processes which resulted in the rejection of the concept of the Charles-Ernest Rorate, and in the virtually complete erasure of Pešina’s person from the Czech collective memory. Attention is also paid to the identity- and culture-forming function of this Revivalist mystification and its potential to become a valuable analytic tool for the modern-day Czech society.

12

Alice u Ukrajini ili o ukrajinskim prijevodima djela Lewisa Carrolla

45%

Vasiljeva L.

Libri & Liberi

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2015

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vol. Vol 4

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issue 4.2

395-413

HR

U ovome članku cilj je predstaviti postojeće ukrajinske prijevode knjige Alice’s Adventures in Wonderland i njihove autore, obratiti pozornost na neke razloge pojavljivanja ponovnih prijevoda djela Lewisa Carrolla u posljednje vrijeme, pokazati određene aspekte prevoditeljskoga rada svojstvene ukrajinskim prijevodima koji služe, prije svega, kao sredstvo ekvivalentnoga prijenosa stvaralačkih mogućnosti teksta Lewisa Carrolla ukrajinskim čitateljima. Knjiga je sve popularnija u Ukrajini, u posljednjih 10 – 15 godina bila je objavljena četiri puta. Ponovni prijevodi Aličinih pustolovina u Čudozemskoj, iako su svojevrsna reakcija prevoditelja na zahtjeve naručitelja, produžuju komunikacijski lanac književne recepcije koji ponovo prelazi jezične granice i privlači u krug poštovatelja Lewisa Carrolla nove čitatelje, otvarajući im bezgraničnu smislenu perspektivu priče o Alici. Sačuvavši opću ekvivalentnost originalu, svaki prevoditelj pokušavao je primijeniti stvaralački arsenal jezičnih sredstava koja postoje u ukrajinskome jeziku imajući u vidu, kao što je i sâm Lewis Carroll zamislio, različite skupine čitatelja.

EN

The aims of this paper are to introduce existing Ukrainian translations of Alice’s Adventures in Wonderland and their respective translators; to discuss some reasons for recent retranslations of Lewis Carroll’s works; and to show some aspects of translators’ work which are characteristic of translations into Ukrainian and which primarily serve as a means of transferring the equivalent of the creative attributes of Lewis Carroll’s text for Ukrainian readers. The book is gaining in popularity in Ukraine and has been published four times in the last 10 to 15 years. Although it may be said that recent retranslations of Alice in Wonderland show the translators’ response to the demands from the publishers, these retranslations also expand the communication chain of literary reception which continues to cross linguistic boundaries, bringing new readers to the circle of Carroll’s admirers and opening up to them the boundless meaningful perspective of the Alice story. Preserving general equivalence to the original, each translator has tried to make use of the creative arsenal of language resources that exist in the Ukrainian language, bearing in mind – much like Lewis Carroll himself – different groups of readers.

DE

Im Beitrag werden zuerst die vorhandenen ukrainischen Übersetzungen des Werkes und deren Autoren vorgestellt, um dann auf die Gründe dafür einzugehen, warum in der Ukraine in der letzten Zeit Carrolls Werke neu aufgelegt werden. In diesem Zusammenhang wird auf bestimmte Aspekte der Übersetzungsarbeit hingewiesen, die den ukrainischen Übersetzungen eigen sind und die vor allem als Mittel der äquivalenten Übertragung der schöpferischen Möglichkeiten des Textes von Lewis Carroll dienen, die speziell auf den ukrainischen Lesern ausgerichtet sind. Carrolls Buch gewinnt in der Ukraine an Popularität, weshalb es auch in den letzten fünfzehn Jahren vier Mal herausgegeben wurde. Obwohl Neuausgaben eine Reaktion der Übersetzer auf bestimmte Forderungen der Auftraggeber darstellen, erweitern diese zugleich die Kommunikationskette der literarischen Rezeption eines Werkes. Sie überwinden immer wieder die Sprachbarrieren und begeistern neue Leser für Carrolls Werk, indem sie ihnen die grenzenlose Sinnperspektive der Geschichte über Alice immer wieder aufs Neue eröffnen. Dabei bemüht sich jeder Übersetzer um die Erhaltung der allgemeinen Äquivalenz seiner Übersetzung, verwendet jedoch das ihm in der ukrainischen Sprache zur Verfügung stehende schöpferische Sprachpotential, um auf diese Weise zugleich − gemäß den Vorstellungen von Carroll − verschiedene Leserschichten zu erreichen.

13

„Niewygodna dla władzy” twórczość poetycka Antoniego Goreckiego

45%

Kowal J.

|

2014

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vol. 7

|

issue 1(12)

9-30

PL

Twórczość literacka Antoniego Goreckiego sprowadza się w zasadniczej mierze do tzw. literatury okolicznościowej. Poeta wielokrotnie, przy użyciu pióra, komentował aktualne wydarzenia polityczne i społeczne. Ze szczególnym upodobaniem pisywał bajki polityczne, które przysporzyły mu największej popularności. Gatunek ten, poprzez częste wykorzystywanie tzw. języka ezopowego, stwarzał możliwość przemycania niewygodnych dla caratu treści. Nie zawsze jednak udawało się poecie uniknąć konfliktu z cenzurą, w wyniku czego znalazł się nawet w więzieniu. Co znamienne, twórczość Goreckiego była cenzurowana nawet po jego śmierci, na co przykłady odnajdujemy w lipskich wydaniach zbiorowych Pism z roku 1877 i 1886.

EN

Literary work of Antoni Gorecki essentially resembles so-called occasional literature. The poet repeatedly made comments about the current political and social events by the use of a pen. He wrote political fables which were his real predilection and brought him the most popularity. This genre, by the frequent use of the so-called Aesopian language, created the opportunity to smuggle content inconvenient for the tsarism. Not always, however, did the poet manage to avoid a conflict with the censorship. As a result, he was even imprisoned. Significantly, Gorecki’s work was censored even after his death, as the examples can be found in the Writings of Leipzig collected editions of 1877 and 1886.

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Recepcja literacka – jak może być rozumiana we współczesnym literaturoznawstwie?

Route 66 and No End: Further Fortunes of Shakespeare’s Sonnet 66

What kind of place is Norden? The image of Norden in Polish literary reviews of Nordic literature

De receptie van Madelon Székely-Lulofs in de Hongaarse pers in het interbellum

Sulla ricezione e le traduzioni italiane di Italia di Maria Konopnicka

‘Rzecz czarnoleska’ as perceived by the third generation of romantics: Cyprian Norwid and Teofil Lenartowicz

Translation and Transformation of John Chrysostom’s Urban Imagery into Old Church Slavonic

Význam Slovanského přehledu pro českou (zejména literárněvědnou) bulharistiku

‘Rzecz czarnoleska’ as perceived by the third generation of romantics: Cyprian Norwid and Teofil Lenartowicz

„Rzecz czarnoleska” w recepcji trzeciego pokolenia romantyzmu. Na przykładzie Norwida i Lenartowicza

Roráte karlo-arnoštské: Kapitola z historie českých obrozenských mystifikací

Alice u Ukrajini ili o ukrajinskim prijevodima djela Lewisa Carrolla

„Niewygodna dla władzy” twórczość poetycka Antoniego Goreckiego