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1

Niepotrzebna opona na skraju drogi, czyli Miłosz rozlicza się z Ginsbergiem

100%

Jarniewicz J.

Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

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2011

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issue 25

142-154

EN

The article discusses Czesław Milosz’ ambiguous relationship with American beat and confessional poetry, and with the counterculture of the sixties, focusing on one of his late poems dedicated to Allen Ginsberg published in Facing the River in 1994. The poem, though ostensibly about Ginsberg, is in fact one of the most confessional poems Milosz has ever written, presenting his own life as failure, “a discarded tire by the road”, and setting up Ginsberg as an exemplary wiser poet, “who persisting in folly attained wisdom”. Seemingly, it is hard to think of two more different personalities than Miłosz and Ginsberg. On the other hand, however, Ginsberg was to Miłosz the true heir to Whitman, whom Miłosz has always admired. It is argued here that in the poem discussed, Ginsberg served Miłosz as his antithesis, a Yeatsian mask, or a Jungian shadow, representing everything that Miłosz, with his admitted contempt for any trace of weakness and mental instability, has never been or valued.

2

Translating and Transcending Censors: Modernist Appropriation and Thematisation of Censorship in the Works of Virginia Woolf, Allen Ginsberg, Czesław Miłosz and Bohumil Hrabal

87%

Sriratana V., Polišenská M.

Poznańskie Studia Slawistyczne

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2018

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issue 14

PL

Censorship has often been regarded as the archenemy of artists, thinkers and writers. But has this always been the case? This research paper proposes that censorship is not a total evil or adversarial force which thwarts and hinders twentieth-century writers, particularly those who were part of the artistic, aesthetic, philosophical and intellectual movement known as Modernism. Though the word “censor” originally means a Roman official who, in the past, had a duty to monitor access to writing, the agents of censorship – particularly those in the modern times – are not in every case overt and easy to identify. Though Modernist writers openly condemn censorship, many of them nevertheless take on the role of censors who not only condone but also undergo self--censorship or censorship of others. In many cases in Modernist literature, readership and literary production, the binary opposition of victim and victimiser, as well as of censored and censor, is questioned and challenged. This research paper offers an analysis of the ways in which Virginia Woolf (1882–1941), Allen Ginsberg (1926–1997), Czesław Miłosz (1911–2004) and Bohumil Hrabal (1914–1997) lived and wrote by negotiating with many forms of censorship ranging from state censorship, social censorship, political censorship, moral censorship to self-censorship. It is a study of the ways in which these writers problematise and render ambiguity to the seemingly clear-cut and mutually exclusive division between the oppressive censor and the oppressed writer. The selected writers not only criticise and compromise with censorship, but also thematise and translate it into their works.

3

Nie miałem prawa tak mówić o tobie, Robercie. Czesław Miłosz i poeci amerykańscy

72%

Franaszek A.

Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

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2011

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issue 25

81-92

EN

In 1946 Czesław Miłosz started his diplomatic service in the USA, which allowed him a more serious encounter with American culture, particularly with American poetry. He would observe it closely and participate in it till the end of his life. This article discusses the cultural shock experienced by Miłosz, who arrived in safe and affluent America from a Europe devastated by the war. It also talks about the poet’s distance towards American culture and about his interest, sometimes bordering on ambiguous fascination, in such authors as Walt Whitman or Robinson Jeffers. In the 1960s and 70s, as a resident of California, Miłosz argued with contemporary American poetry, Robert Lowell and Allen Ginsberg among others. His argument focused on two fundamental issues: poets’ concentration on their own experiences or their need to capture the greatest possible part of the world external to them and different understandings of nihilism. Frequently accusing confessional poets of feeling sorry for themselves, of dazzling readers with their own “I”, only towards the end of his life did Miłosz start to reveal, in such poems as This or To Allen Ginsberg, his own doubts and despairs that he had kept secret for private reasons and as part of his artistic strategy

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2 Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

1 Poznańskie Studia Slawistyczne

1 Franaszek A.

1 Jarniewicz J.

1 Polišenská M.

1 Sriratana V.

1 2018

2 2012

Niepotrzebna opona na skraju drogi, czyli Miłosz rozlicza się z Ginsbergiem

Translating and Transcending Censors: Modernist Appropriation and Thematisation of Censorship in the Works of Virginia Woolf, Allen Ginsberg, Czesław Miłosz and Bohumil Hrabal

Nie miałem prawa tak mówić o tobie, Robercie. Czesław Miłosz i poeci amerykańscy