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1

Julian Przyboś and the Literary Genres

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Kwiatkowska A.

Zagadnienia Rodzajów Literackich

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2016

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vol. 59/117 z.1

37-46

EN

This article reviews the various ways in which Julian Przyboś dealt with genre conventions in his poetry. He used old forms of prose poetry, reworked the convention of hymn, ode and sonnet, wrote lullabies and rhymes, and, as one of the first poetry writers, brought the non-literary genres into poetry (letter, menu, postcard, note). Przyboś is also a prolific author of articles published in periodicals, prefaces and afterwords in books by other authors, or texts included in joint publications, many of which were forgotten or scattered. Through recalling these mostly concise publications a fuller reconstruction of Przyboś’s attitude to genre conventions is enabled and helps to track the generic evolution of the avant-garde poet. Also, a new perspective is provided by reviewing the poet’s home archive, which has been kept by his wife thus far. The poet paid attention to form consciously constructed structure to his compositions, with precision and scrupulousness, forming complex, though apparently simple constructions. The hesitation accompanying the classification of some of the notes only confirms the innovative character of his poetry, putting forward new forms, which undertake the game with tradition and exploit the richness of modern Polish.

2

Literární žánry jako historický pramen

100%

Brabec J.

Střed. Časopis pro mezioborová studia Střední Evropy 19. a 20. století. / Centre. Journal for Interdisciplinary Studies of Central Europe in the 19th and 20th Centuries.

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2012

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vol. 4

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issue Supplementum_2

181-186

EN

This paper reflects upon the literary genre of memoirs, their typological differentiation and their specific source value. It also refers to the unique historical testimony of poetry, which directly reflects the events of the period and the atmosphere which they bring about, as well as presenting a certain "reading of history".

3

Variables as Contextual Constraints in Translating Irony

88%

Babîi O.

Linguaculture

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2015

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vol. 2015

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issue 1

98-123

EN

The translator’s role and responsibility are high in any act of interlingual communication, and even higher when irony, an indirect and deliberately elusive form of communication, is involved in the translation process. By allowing more than one possible interpretation, irony is inevitably exposed to the risk of being misunderstood. This paper attempts to capture the complexity of translating irony, making use of theoretical frameworks provided by literary studies and translation studies. It analyses if and how the types of irony, the literary genres and the cultural, normative factors, perceived as potential contextual constraints, have an impact on the translator’ choices in rendering irony in translation, taking illustrative examples from Jonathan Swift, Oscar Wilde, Aldous Huxley and David Lodge’s works.

4

Kuglowanie teorią. Casus Stanisława Barańczaka

71%

Tarnogórska M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2019

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vol. 7

137-149

EN

This article deals with Stanisław Barańczak’s playful approach to the theory of literature, presented in his book Pegaz zdębiał. Poezja nonsensu a życie codzienne: Wprowadzenie w prywatną teorię gatunków (first edition: London, 1995). The author, inspired by the tradition of literary nonsense and so-called academic humour, creates ‘a private theory of literary genres’ that combines two different linguistic modes: 1. an abstract scientific jargon of structuralism, along with its professional terminology, and 2. a metaphorically-oriented style, relying on visual effects, as well as evoking humour by the contrast with academic discourse. In Barańczak’s treatment, theory becomes a juggler’s prop, which he applies to showcase his sophistication and ingenuity. Like a prestidigitator, the author performs tricks in order to grant his readers an illusion of a scientifically deep fictive theory, with such methods as his multiplication of generic phenomena, presented through excessively detailed classification, enormously long footnotes, the description of generic rules resembling a culinary show, and extravagant, bizarre literary terms. He thus reveals the comical potential of theoretical discourse, turning the theoretical into the theatrical.

PL

Wirtuozerskie umiejętności Stanisława Barańczaka, o których wielokrotnie pisano, komentując jego twórczość literacką i translatorską, znajdują potwierdzenie również w sposobie posługiwania się przez niego dyskursem (quasi)naukowym, konstruowanym na potrzeby intelektualnej zabawy. Osobliwym tego przykładem jest „prywatna teoria gatunków” wyłożona w książce Pegaz zdębiał (I wyd. w 1995 r.), w odniesieniu do której formuła kuglarskiego seansu, oznaczająca pewną odmianę sztuki zręcznościowo- magicznej, stanowić może istotne narzędzie interpretacji. Stosowane przez Barańczaka efektowne techniki oddziaływania na wyobraźnię odbiorcy („żonglowanie” teoretycznymi pomysłami, triki służące budowaniu naukowej iluzji, użycie zaskakujących form obrazowania w charakterze budzących podziw rekwizytów, symulowanie obfitującego w dziwności spektaklu) tworzą atmosferę niezwykłości, typową dla prestidigitatorsko- iluzjonistycznych praktyk.

5

„Genologia multimedialna” Edwarda Balcerzana. Uwarunkowania i perspektywy

71%

Pawelec D.

Forum Poetyki

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2016

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issue 4-5

132-137

EN

This article discusses Edward Balcerzan’s concept of a “multimedia theory of genres,” intended by him to function as a “metaphor for the present,” representing a division of semiotics that would analyze and systematize the consequences for the study of genres of many different forms of expression in cultural space. The concept of “multimedia” is given consideration in the context of this proposed application. The author of the essay presents Balcerzan’s concept in the context of his earlier proposals within the sphere of genre theory and correspondences between or among the arts, at the same time contemplating some possible approaches to supplementing and further developing this theoretical concept.

PL

Artykuł omawia koncepcję „genologii multimedialnej” Edwarda Balcerzana, która w zamyśle autora miała być, jako „metafora teraźniejszości”, nazwą działu semiotyki, analizującego i systematyzującego genologiczne konsekwencje istnienia wielu różnych przekaźników w przestrzeni kultury. Refleksji poddane zostaje pojęcie multimediów w kontekście zaproponowanego zastosowania. Autor szkicu pokazuje projekt Balcerzana na tle jego dotychczasowych propozycji w zakresie genologii oraz korespondencji sztuk, zastanawiając się przy tym nad możliwościami uzupełnienia i rozwinięcia tej koncepcji teoretycznej.

6

Jungmannova Slovesnost jako genologie

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Šidák P.

Slovo a smysl - Word & Sense

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2022

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vol. 19

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issue 40

13-45

EN

Jungmann’s Slovesnost as Genre Theory This study considers Jungmann’s Slovesnost (‘Belles-lettres’; 1820) as a comprehensive theory of literary genres, examining the work on its own merits but also as part of the contemporary discussion on genre theory. Attention is also given to the development of this discussion in the 18th century, particularly in the German-language context at the turn of the 18th and 19th centuries. Jungmann’s work on genre is presented as an independent contribution to contemporary thinking in the field, covering a number of aspects of genre theory: linguistic, hierarchical, historical, intermedial, and modal.

7

Voltaire et le roman historique

63%

Messaoudi A.

Romanica Wratislaviensia

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2014

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vol. 61

33 - 43

EN

The article takes as a starting point the well-known hesitations of and even disagreements among critics regarding the classification of Voltaire’s works. The category of historical novel helps here to foster a discussion about genres by positing Voltaire’s case as one that is both exemplary and problematic. His case is therefore related to and underlined by the recently renewed interest in questions regarding the historical novel as well as the links between literature and history in general. In this respect, the highly heuristic quality of Voltaire’s works can all the more help us to explore new paths in both fields.

8

"Toť utopie!": Newtonův mozek Jakuba Arbesa a počátky české science fiction v žánrovém pohledu

51%

Adamovič I.

Česká literatura (Czech Literature)

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2023

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vol. 71

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issue 3

269-287

EN

Jakub Arbes’s (1840–1914) Newtonův mozek (Newton’s Brain) is one of his first series of “romanettos”, a recently created genre that was associated with him in particular. However, Newton’s Brain was later referred to as a Czech science fiction forerunner and the very first Czech science fiction prose work. The following article analyses how close Newton’s Brain is to the science fiction genre, both in terms of traditional criteria and more recent views on literary genres, which perceive genre not as an immutable literary category, but as a historically anchored process inherently connected with the publication, reading and reflection upon a given group of texts.

9

Verš a žánr. Skica k předválečné tvorbě Viktora Dyka

45%

Kolár R.

Slovo a smysl - Word & Sense

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2021

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vol. 18

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issue 37

29-42

EN

The article deals with versified works of Viktor Dyk from the pre-war period (1897–1914) written in iambic pentameter. It analyses the relationship between the texts’ genre (lyric, satire, drama) and their rhythmic features (frequencies of stressing the line-initial and line-final syllables, frequencies of enjambment). The article concludes that Dyk’s lyric poems as well as his drama tend to employ features generally perceived as more literary compared to his satire.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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1 Střed. Časopis pro mezioborová studia Střední Evropy 19. a 20. století. / Centre. Journal for Interdisciplinary Studies of Central Europe in the 19th and 20th Centuries.

1 Zagadnienia Rodzajów Literackich

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1 Adamovič I.

1 Babîi O.

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