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1

Affect and Nostalgia in Eva Hoffman’s Lost in Translation

100%
Kella E.
Studia Anglica Posnaniensia
|
2015
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vol. 50
|
issue 2-3
7-20
EN
This article examines the affective terrain of Poland, Canada, and the US in Eva Hoffman’s autobiographical account of her migration and exile in Lost in Translation: A Life in a New Language (1989), the text that launched Hoffman’s reputation as a writer and intellectual. Hoffman’s Jewish family left Poland for Vancouver in 1959, when restrictions on emigration were lifted. Hoffman was 13 when she emigrated to Canada, where she lived until she went to college in the US and began her career. Lost in Translation represents her trajectory in terms of “Paradise,” “Exile,” and “The New World,” and the narrative explicitly thematizes nostalgia. While Hoffman’s nostalgia for post-war Poland has sometimes earned censure from critics who draw attention to Polish anti-Semitism and the failings of Communism, this article stresses how Hoffman’s nostalgia for her Polish childhood is saturated with self-consciousness and an awareness of the politics of remembering and forgetting. Thus, Hoffman’s work helps nuance the literary and critical discourse on nostalgia. Drawing on theories of nostalgia and affect developed by Svetlana Boym and Sara Ahmed, and on Adriana Margareta Dancus’s notion of “affective displacement,” this article examines Hoffman’s complex understanding of nostalgia. It argues that nostalgia in Lost in Translation is conceived as an emotion which offers the means to critique cultural practices and resist cultural assimilation. Moreover, the lyricism of Hoffman’s autobiography becomes a mode for performing the ambivalence of nostalgia and diasporic feeling.
2
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Информативность тропов и композиция лирического текста

84%
Zeldowicz G.
Przegląd Rusycystyczny
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2019
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vol. 2019
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issue 4
EN
  The paper is concerned with the most basic compositional division to be found in lyrical texts, i.e. that between fragments referring to some kind of experience open to the author (lyrical subject), and fragments where the author, based on this experience, discovers an important more general truth. It is shown that this opposition may be marked by the structure of relevant tropes, since there is a strong tendency for more informative tropes to appear in fragments of the latter type.
PL
  Artykuł poświęcony jest zasadniczemu podziałowi kompozycyjnemu tekstów lirycznych, polegającemu na tym, iż na planie dalszym tekstu przedstawia się pewne doświadczenie przeżywane przez autora (podmiot liryczny), na planie zaś bliższym – wynikające z tego doświadczenia odkrycie istotnej prawdy o charakterze bardziej ogólnym. Analizie poddana została rola, jaką w wyznaczaniu tego „rozłamu” odgrywa struktura tropów występujących w odpowiednim tekście. Przytoczone są argumenty na rzecz hipotezy, że istnieje mocna tendencja ku występowaniu tropów bogatszych informacyjnie na planie bliższym.
RU
Статья посвящена основному композиционному делению лирических текстов, заключающемуся в том, что фоном для текста является определенный опыт автора (лирическая тема), а ближе - обнаружение общей истины, вытекающей из этого опыта. Была проанализирована роль, которую играет структура следов в соответствующем тексте в определении этого "разделения". Представлены были аргументы в пользу гипотезы о сильной тенденции к появлению более информативных тропов на более близком плане.
3
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“Per meglio capire l’orrore”. Antonella Anedda in dialogo con Amelia Rosselli

84%
Baldacci A., Baldacci A.
Kwartalnik Neofilologiczny
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2021
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issue 1
4

Obecność liryki w homilii

67%
Pintal L.
Roczniki Liturgiczno-Homiletyczne (Liturgical and Homiletic Annals)
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2011
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issue 2(58)
213-237
EN
From various directions voices come about the decreasing effect of the homily on living choices and attitudes of the listeners to these homilies. Pope Benedict XVI in his apostolic adhortation Sacramentum Caritatis on the Eucharist, the source and peak of the Church’s life and mission, reminds: “Given the importance of the word of God, the quality of homilies needs to be improved” (Sacramentum Caritatis 46). New challenges may be met by literature, which is consistent with the indications of the Vatican Council II: “Literature and the arts are also, in their own way, of great importance to the life of the Church” (Pastoral Constitution on the Church in the Modern World Gaudium et Spes 62). The Council Fathers’ words open new horizons and broad possibilities before literature, and especially before lyric poetry in homily preaching.
5
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Básník jako oběť, svědek i žalobce: kontradějiny v básnické skladbě Ivana Diviše Moje oči musely vidět (1987-1989)

67%
Vojvodík J.
Česká literatura (Czech Literature)
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2022
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vol. 70
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issue 1
29-57
EN
Ivan Diviš’s My Eyes had to See (1987–1989) can be considered one of the finest poetic creations and performances of Czech poetry at the end of the 20th century. Its powerful effect lies in the fact that it combines poetic testimony, (auto)biographical intimacy, a suprapersonal, generally applicable message and a reflection on universal history and the modern Czech history of the last century in both fiction and fact. It is as if the identity of the poet is actually determined by the testimony: the poet is the one who sees, must see, and bear witness to what he sees.
6
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Literární prameny o dětech a pro děti. Příspěvek ke komparaci historiografických pramenů a literatury středověku v českých zemích

59%
Dvořáčková-Malá D.
Mediaevalia Historica Bohemica
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2016
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vol. 19
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issue 1
35-85
EN
The study deals with a comparison of the literary and historiographic sources of the Middle Ages in the Czech lands in relation to the life of children and conception of childhood in the written monuments. It starts from the fact that childhood has not yet been assessed in entertaining literature. The text follows the conception of childhood on several levels; the predestination of children, the reflection of the divine child and the education and way of life of children. At the same time, it makes distinctions in the individual genres and gender breakdowns, and also in the assessment of a good and bad society. Using the example of new translations form the domestic German literature and its comparison with the Latin and Old-Czech sources from the Czech lands, it proves that the literary monuments comprise a component of the source historiographic matter. At the same time, it also follows the genesis of literature for children with that, namely a comparison of the earliest evidence on the future fairy tales for children.
7
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Amor udrí – la poesía cortesana árabe en la Península Ibérica

59%
Janowska K.
Forum Filologiczne Ateneum
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2019
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vol. 7
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issue 1
323-342
ES
La obra de los poetas arabigo-andaluces es un puente entre la cultura oriental y occidental. Sus raíces se remontan al siglo VI, cuando las primeras canciones beduinas resonaron en las áreas ilimitadas del desierto de Arabia. Sus ecos resonaron en la poesía de los trovadores provenzales. Los motivos de esta poesía se pueden encontrar en las obras de los poetas del Renacimiento, incluso en las de Petrarca. Los elementos de la poesía andaluza también fueron visibles en la poesía de la corte española del siglo XVI. Las formas poéticas características de esta poesía todavía aparecieron en la poesía del siglo XX: fue alcanzada por al menos uno de los poetas españoles más destacados, Federico García Llorca. Su mayor prosperidad fue en los siglos X y XI, y entre los poetas andaluces más destacados se encontraban tanto hombres como mujeres. El motivo principal de esta poesía era el amor incumplido, que seguía siendo el elemento dominante de la poesía moderna de la corte europea.
EN
The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.
8
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Deotyma – „Dziesiąta muza” Norwida

51%
Krysowski O.
Studia Norwidiana
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2020
|
vol. 38
5-20
EN
This article is an attempt to recreate the image of Jadwiga Łuszczewska from literary and epistolary works of Cyprian Norwid. The young improviser aroused controversy not only among the critics, but also among the members of the art society in Warsaw in the era of romanticism. Norwid, however, considered her personality as original, modern and capable of refreshing the Polish poetry. In his poems he described her as „the tenth Muse” and compared to Sappho, who was called exactly the same name by Plato, in recognition for her poetic talent. Moreover, he depicted her in an idealized manner, like acontemporary Sibylla, who gives advise to the nation on how to proceed in a tragic historical period. Norwid’s enthusiasm waned at the begining of 1860s, when it became clear that the poetic skills of Deotyma were moving in circles, constantly exploitingthe same motives, ideas and aesthetic means, not being able to go beyond the initially drawn horizon. He realized that behind the female figure he himself ennobled-a comforter, Samaritan, visionary, a statuesque Muse-there is a personality of an artist, which is humanly imperfect and in some aspects trivial, affected or philistine.
PL
Artykuł stanowi próbę rekonstrukcji wizerunku Jadwigi Łuszczewskiej w utworach literackich i korespondencji Cypriana Norwida. Postać młodej improwizatorki budziła kontrowersje nie tylko wśród krytyków, ale też uczestników życia artystycznego romantycznej Warszawy. Norwid tymczasem dostrzegł w niej osobowość oryginalną, nowoczesną, mogącą wnieść świeże wartości do polskiej poezji. W liryce określił ją mianem „dziesiątej Muzy”, zestawił z Safoną, którą Platon tak właśnie nazwał w uwielbieniu dla jej kunsztu poetyckiego. Co więcej, ukazał ją w sposób wyidealizowany, jako współczesną Sybillę, wieszczkę wskazującą narodowi drogę postępowania w tragicznym dla niego okresie dziejowym. Na początku lat sześćdziesiątych, gdy okazało się, że kunszt poetycki Deotymy się nie rozwija, że porusza się ona stale w kręgu tych samych, wyeksploatowanych wątków ideowych i środków estetycznych, nie mogąc wykroczyć poza horyzont, który na początku sobie nakreśliła, entuzjazm Norwida dla jej osiągnięć osłabł. Za uwzniośloną przez siebie figurą kobiety-pocieszycielki, samarytanki, wizjonerki, posągowej Muzy poeta dostrzegł realną osobowość artystki – po ludzku niedoskonałą, pod pewnymi względami trywialną, afektowaną, filisterską.
9
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When poetry inspires war

43%
El-Amri A.
Lublin Studies in Modern Languages and Literature
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2015
|
vol. 39
|
issue 1
EN
For Apollinaire, poetry inspires war. Calligrammes, written at the very heart of the drama, involves a three-dimensional combat. His I acquires three representations that differ in status, process and the ideal defended. The first I is the empirical soldier fighting on behalf of his country in the real world. The second lyrical I is fictitious in order to fight for convulsive emotions made of dreams and frustrations. The third, creative, I of the poet defends an aesthetic that is necessary, in a pioneering spirit, to crystallize it in modern culture. In short, the creative warrior is transmuted into creating war.
FR
Le numéro contient uniquement les résumés en anglais.
PL
Tom zawiera abstrakty tylko w języku angielskim.
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