Search results - CEJSH

1

Wiersze w przekładzie Mariusza Tchorka

100%

Yeats W. B., Blake W., Tchorek M.

Konteksty - Polska Sztuka Ludowa

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2018

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vol. 72

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issue 4(323)

319-320

2

Ulice i niebo

100%

Vogel D.

Konteksty - Polska Sztuka Ludowa

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2019

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vol. 73

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issue 1-2 (324-325)

168

PL

Fragment z tomu "Akacje kwitną" Debory Vogel z 1933 roku wraz z komentarzami tłumaczy jej tekstów na język ukraiński oraz japoński.

EN

Fragment from the volume: "Akacje kwitną" by Debora Vogel (1933) together with comments by the translators of her texts into Ukrainian and Japanese.

3

Bez językowego rozwibrowania poletko wiersza jawi mi się dość jałowo

63%

Czechowska J.

Res Publica Nowa

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2013

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issue 1

145-147

EN

Interview with poet and headmaster of Mikolowski Institute Maciej Melecki made by Justyna Czechowska about poetry.

4

Łacińskie wiersze Schellinga

63%

Schelling F. W. J.

Estetyka i Krytyka

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2008

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issue 13-14

87-90

5

Apokaliptyczny cierń. Apofazy Różewicza

63%

Czaja D.

Konteksty - Polska Sztuka Ludowa

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2018

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vol. 72

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issue 3(322)

185-191

PL

W niepokojącym wierszu Nauka chodzenia, Tadeusz Różewicz oznajmia: „w ostatnich dwóch latach biorę lekcje/u pastora Dietricha Bonhoeffera”. Widziana z poziomu uklepanych frazesów na temat światopoglądu poety, ta deklaracja musi brzmieć dość zaskakująco. Poeta, którego uznawano za dyżurnego ateistę polskiej poezji, twórca, którego proklamowano jako nihilistę i proroka nicości, zwraca się oto, dość niespodziewanie, w stronę nauk ewangelickiego pastora. Ten gest – na pierwszy rzut oka, może niejasny, może wątpliwy, może samozaprzeczny – da się wszakże zrozumieć, trzeba tylko zacząć kopać poniżej obiegowych banałów. Mówiąc krótko: stawiam tezę, że twórczość Różewicza, zwłaszcza jej późna część, grawituje w stronę pewnej postaci poetyckiej teologii (w wersji mocno nieortodoksyjnej!) a postać protestanta Bonhoeffera jest tego zwrotu widomym śladem. Śladem może nie jedynym, ale na tyle wyrazistym, że warto go podjąć.

EN

In his disturbing poem: nauka chodzenia (Learning to Walk) Tadeusz Różewicz declared: “In the last two years I take lessons / from Pastor Dietrich Bonhoeffer”. Seen from the level of banal phrases about the poet’s world outlook this declaration must sound rather surprising. An author regarded as the “on call” atheist of Polish poetry, a writer proclaimed as a nihilist and a prophet of nullity, now, rather unexpectedly, turns towards the teachings of an Evangelical pastor. This gesture - at first glance perhaps unclear, doubtful, and self-negating -– can be, however, understood once we begin to dig deeper beneath conventional banalities. In a word: I propose the thesis that the Różewicz oeuvre, in particular its later part, gravitates towards a certain form of poetic theology (in an extremely unorthodox version!) and that the person of the Protestant Bonheoffer is a discernible trace of that turn. Quite possibly it is not the sole trace but sufficiently conspicuous to make following it worthwhile.

6

Tłumaczenie „Akacje kwitną” Debory Vogel na język japoński. Pokusy i trudności

63%

Kato A.

Konteksty - Polska Sztuka Ludowa

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2019

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vol. 73

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issue 1-2 (324-325)

169-174

EN

This paper outlines the significance of Debora Vogel’s prose in 20th century modernist literature. Additionally, referring to my own experience of translating Vogel’s Acacias Blooming (published in Yiddish in 1935 and Polish in 1936) from Polish and other works from Yiddish, this study explores the characteristics of Vogel’s prose through her original concept of the “montage” as a literary genre, as well as the similarities in literary and artistic concerns between Vogel and Bruno Schulz. First, this study suggests that Debora Vogel, a Yiddish modernist writer who was rediscovered in the mid-2000s and who contributed to modernist Yiddish magazines published in the US, is a key figure in the reevaluation of the modernist movements of Central and Eastern Europe. Vogel’s choice of Yiddish, a language of diaspora that was not her native tongue, enabled her, living in Lviv, the “periphery” of modernist literature and art, to join the forefront of modernist literature flourishing in major cities like Paris, New York or Berlin. Second, by describing the characteristics of Vogel’s prose and her concept of “montage,” this paper explains the difficulty of translating her prose into Japanese (for example, her frequent use of conjunctions like “and” and “but”). Third, this paper identifies similarities in the literary and artistic concerns of Vogel and Schulz as well as their different approaches: first, they attempted to blur the traditional boundary between visual art and literature, and second, they objected to the poetic language proposed by Tadeusz Peiper. Finally, this paper summarizes the current trend in the study of Polish interwar literature in which interwar Polish writers like Vogel, Schulz, or Bruno Jasieński, who were bilingual or multilingual, have become key figures in the present day reevaluation of the modernist maps of the 20th century. Their activities reached beyond the boundaries of language and country, therefore, by searching for the materials written by or on these writers in languages other than Polish, we can discover new networks and extensions of European modernism.

7

Milczenie o wierszu „De passage à Paris”

63%

Próchniak P.

Konteksty - Polska Sztuka Ludowa

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2018

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vol. 72

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issue 1-2(320-321)

63-78

PL

Co pamięta wiersz? Co w sobie przechowuje? Czego strzeże? Czemu pozwala wychylić się w naszą stronę? W niektórych wierszach trwa coś dojmująco realnego i zarazem nieokreślonego, jakaś rzeczywista obecność – pozbawiona oparcia, zawieszona gdzieś pomiędzy, zawsze w drodze. Ta nieokreślona obecność zjawia się w naszym świecie jako niejasne uczucie, ślad intuicji, afekt pamięci. Ma w sobie lotną lekkość muzycznego pasażu i sama staje się pasażem – przejściem, prześwitem, połączeniem. Sądzę, że zapisem takiej właśnie obecności jest wiersz De passage à Paris Stanisława Balińskiego, a artykuł jest próbą uchwycenia tej obecności w jej różnych i przenikających się modalnościach – od literackich, poprzez egzystencjalne i historyczne, po muzyczne.

XX

What does a poem remember? What does it store within? What does it guard? Why does it allow to deviate in our direction? Certain poems contain something poignantly real and, at the same time, undefined, some sort of a real presence devoid of support and suspended somewhere in between, always on the move. This nondescript presence appears in our world as an unclear feeling, a trace of intuition, an affection of memory. It contains the volatile lightness of a musical passage, and itself turns into the latter – a transition, a clearance, and a combination. I believe that De passage à Paris by Stanisław Baliński is a record of such a presence, and my article is an attempt at capturing it in assorted mutually permeating modalities - from literary, existential, and historical to musical.

8

Żeby było jasne [rec. Krzysztof Siwczyk: Jasnopis. Kraków: Wydawnictwo a5, 2016, ss. 74.]

54%

Piotrowska-Grot M.

Śląskie Studia Polonistyczne

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2016

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vol. 8

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issue 1-2

277-284

EN

The presented review concerns Krzysztof Siwczyk’s latest book of poetry. Jasnopis, published under the imprint of a5 publisher in 2016, refers to the subject matter that the poet has dealt with so far; however, clothing it a new, lighter, less complicated dress; following the current trends and at the same time resigning from all extravagance. The unpredictable world was closed in a quite predictable and tamed form. Yet, the present review focuses not only on the issues raised by the poems included in the volume, but also on the analysis of the poetic mechanisms employed by the author, the examination of the dialogue which Siwczyk establishes with other contemporary writers. Moreover, the reviewer attempts to situate the latest collection of the Silesian writer on the map of his previous poetic works.

9

Śmieciowe jedzenie? Problematyka odpadów w Pokarmie suweren Kacpra Bartczaka

54%

Lubińska M.

Śląskie Studia Polonistyczne

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2019

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vol. 13

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issue 1

261-273

EN

The article investigates the theme of waste in Kacper Bartczak’s poetry volume Pokarm suweren [The Sovereign Food]. An introduction outlining the cultural contexts prefaces the interpretation proper; those contexts are filled with visions of waste dominant in global imagination. The said interpretation touches upon the issue of subjectivity in the poems, the understanding of which is conditional upon are contexts of moving and transforming characteristic of the lifecycle of waste in various spaces. Other notions interpreted herein are language interceptions frequent in the volume along with Bartczak’s “notional recycling.” Within the mentioned waste contexts, the author of the article also places the problem of political and social resounding of the discussed poems.

10

Śmieciowe jedzenie? Problematyka odpadów w Pokarmie suweren Kacpra Bartczaka

54%

Lubińska M.

Śląskie Studia Polonistyczne

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2019

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vol. 13

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issue 1

261-273

EN

The article investigates the theme of waste in Kacper Bartczak’s poetry volume Pokarm suweren [The Sovereign Food]. An introduction outlining the cultural contexts prefaces the interpretation proper; those contexts are filled with visions of waste dominant in global imagination. The said interpretation touches upon the issue of subjectivity in the poems, the understanding of which is conditional upon are contexts of moving and transforming characteristic of the lifecycle of waste in various spaces. Other notions interpreted herein are language interceptions frequent in the volume along with Bartczak’s “notional recycling.” Within the mentioned waste contexts, the author of the article also places the problem of political and social resounding of the discussed poems.

11

Antynomia życia i śmierci w poezji Inny Lisnianskiej

51%

Letka-Spychała O.

Acta Polono-Ruthenica

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2010

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vol. Tom 1 Nr XV

77-87

EN

The article explores life and death antinomy in the Inna Lisnyanskaya’s poetry. The subject of this analysis is the series of poems Archivy published in 2006 in the magazine “Druzhba Narodov”. Characteristic element of the Lisnyanskaya’s poems is an archive which can be regarded as a main leitmotif. In the article particular attention has been paid to conceptual metaphors: DEATH IS AN ARCHIVIST, ARCHIVE IS HELL, LIFE IS AN ARCHIVE. The study is an attempt at cognitive analysis of the life and death antinomy.

12

Constitution and poetry

51%

Łętowska E.

Nauka

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2017

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issue 4

PL

This essay (given at the PENClub Polska) deals with the relationship between constitutional matters and poetry. The essay takes a closer look at the poetry of Adam Zagajewski, Marcin Świetlicki, Julian Tuwim and Adam Bieszek. “There is nothing on us in the Constitution” – Marcin Świetlicki angrily declaims the bitterness of civil rejection in the poem “Under the volcano”. However, the poet is not right. The Constitution sometimes means more than it says directly. If it is silent about something, that does not always amount to rejection, as Świetlicki claims. The two first parts of the essay explain why the poet could have made such a mistake as to his presence in the Constitution. The third part expounds the change that is taking place in Poland: the rejection of the foundations of the Constitution without changing its text.

13

Influence of the city on identity and works of Frank O'Hara

51%

Bugajna A.

Anthropos?

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2015

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issue 24 Miasto i miejsce

170-180

EN

Main subject of the article is New York as a place which has a big influence on identity and works of Frank O'Hara. This influence is represented through three perspectives. First of all, New York as a place, where O'Hara had lived, worked and written. Second, it was an element of his everyday life, which at the same time was the main subject of his esthetic experience. At last, experience of the city created his identity as a New York poet and has the main influence on the style and subject of his poetry. New York is a multicultural metropolis which does not build stable but dispersed identity immersed into experience of the city.

14

Naim Frashëri - Founder and professor of Albanian literature for children

51%

Alimerko R.

Academicus. International Scientific Journal

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2012

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issue 05

143-152

EN

The tradition that Naim created is alive and inspirational even among the lives of the present society. More than a writer, Naim is the greatest poet of our National Renaissance, is a patriot, think-tank and famous activist of education and Albanian culture. His most special merit in this literary creativity stands in the fact that he raised the literature for children at a higher artistic level, strongly affecting the other Renaissance figures. Which are the virtues that Naim Frashëri wants to develop among the children? As a writer and professor, Naim aimed to activate through his creativities the intellectual and educational thought and the spiritual moral emancipation of the children. In his literary creativity, Naim Frashëri appears not only as a famous writer and poet, but as a great professor at the same time, publishing literary and pedagogical works. The book Reader for boys with short stories distinguished him as a talented prose writer for children, whereas the poetic art in the collection Poetry for the first grades established him as the founder of the poetry for children, where Naim appears as an educator and serves as a propagandist of the noble virtues of love for work, of honour, faith, justice, truth, humanism, will for learning and knowledge, love for one’s country. In the general view of this literature, as a poet and writer through different genres and types, Naim aims to give advices, to convey wisdom and philosophy but also to emanate elements of culture and good manners, behaviour and moral. Naim, likewise his predecessors: Naum Veqilharxhi and Kostandin Kristoforidhi, dedicated himself to the literature for children to deeply affect the conscience and moral of the children. In this point of view there is another reason why Naim dedicated himself to the literature for children: he was convinced that the boundaries of the linguistic culture of the nation are laid down at school and in childhood. “Little boys and maids need to learn their language, to read it correctly and write it good”. Thus, the poetry and prose for children subdue to his aim; the artistic and patriotic education of children. Therefore, for this contribution that he brought, Naim Frashëri deserved being named as the founder of Albanian literature for children and as its main representative during the National Renaissance.

15

Translation of ambiguities in literary texts – an attempt to resolve the problem on the example of the poem "The unsaid" by Patrick Jones

51%

Zyga M.

Annales Neophilologiarum

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2010

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issue 4

223-238

EN

This paper is a case study of the poem the unsaid by a Welsh poet/playwright Patrick Jones in an attempt to propose a solution to the problem of ambiguities in translation. The theoretical framework to be used here is constituted by the Theory of Translatorical Maximalism (Teoria Maksymalizmu Translatorskiego) advocated by Stanisław Barańczak, as well as cognitive poetics and cognitive approach to translation as postulated by Margaret H. Freeman. On this basis a 5-step model is formulated and applied to render a highly ambiguous and opaque poem the unsaid into German and Polish. In conclusion I posit that the model, which appears to be an effective one with quite stable theoretical foundations, is put under further examination to check its applicability to different types of literary texts of various degree of complexity.

PL

Celem niniejszego artykułu jest przedstawienie propozycji rozwiązania problemu tłumaczenia wieloznaczności. Propozycja ta została zaprezentowana na przykładzie analizy wiersza walijskiego pisarza i dramaturga Patricka Jonesa pt. "The unsaid". Za bazę teoretyczną swoich rozważań autorka przyjęła Teorię Maksymalizmu Translatorskiego Stanisława Barańczaka oraz poetykę kognitywną wraz z kognitywistycznym podejściem do tłumaczenia postulowane przez Margaret H. Freeman. Na tej podstawie powstał pięciofazowy model, według którego wysoce wieloznaczny wiersz "The unsaid" został przetłumaczony na język niemiecki i polski. Autorka proponuje wykorzystanie przedstawionego modelu w procesie tłumaczenia innych tekstów literackich o różnym stopniu złożoności, gdyż model ten wydaje się być efektywny i opiera się na stabilnych podstawach teoretycznych.

16

“Est locus, aestifero” (Carm. 1.18) as an Example of the Locus Amoenus Topos in the Poetry of Venantius Fortunatus

51%

Gacia T.

Roczniki Humanistyczne

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2019

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vol. 67

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issue 3: Filologia klasyczna - Selected Papers in English

63-72

EN

The Polish version of the article was published in Roczniki Humanistyczne vol. 61, issue 3 (2013). In this article the author presents the poem “Est locus, aestifero,” which appeared in the first book of Carmina, against the background of the topic of locus amoenus in the poetry of Venantius Fortunatus. The poem has 18 lines and is written in elegiac meter. It is a description of the village (country estate) of Bissonum, near Bordeaux. The ekphrasis, into which are woven the elements of the topic we are interested in, is combined with a very clear motif of laudation. This is a characteristic feature of Venantius Fortunatus’ poetry. The English translation of the poem is an integral part of the essay.

17

Rzeczy, które ranią. O Krakusie Cypriana Norwida

51%

Dąbrowicz E.

Białostockie Studia Literaturoznawcze

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2017

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vol. 10

EN

The contemporary “material turn” in cultural and anthropological studies or rather “defence of things” has inspired a fresh reflection upon the poetry of Cyprian Norwid, whose works have for long shown the poets acute awareness of the material world. The article analyses the “tragedy” Krakus. The conflict between two characters, Rakuz and Krakus, manifests itself in the scene with unconventional use of a horse spur. Rakuz injures his brother, and the wound creates a divide between them. Symbolically, however, it differentiates between two modes of action, “pragmatic” and “ideal” and consequently, it outlines the conflicting roles of the ruler and the saviour.

18

The Philosophy of Julian Tuwim’s Stanza

51%

Matywiecki P., marzenaw@uni.lodz.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 36

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issue 6

EN

The aim of the article is to argue that Tuwim’s way of conceptualizing both the world and poetry was based on the principle of stanza. In his opinion, the entire world and our experience of it reach us in a stanzaic form. In Tuwim’s writing the stanza could be compared to an atom of poetic structure. It also builds our primary consciousness of language. The stanzaic structure of our poetic and linguistic experience imposes an order on the universe as we see it. Tuwim hears and thinks his world as a stanza.

19

“I Did Not Know Then...” Two Autothematic Poems

51%

Pasterski J.

Tematy i Konteksty

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2020

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issue 1

427-434

EN

The author discusses the autothematic motifs in the poems Sitowie by Julian Tuwim and Przeciwne wiatry by Tomasz Różycki. The author analyses bothpoems and compares the transformations of the autothematic motifs, emphasizing the connections with literary tradition and the dialogue of the poets’ artistic attitudes. In both literary works the key problem is the relation between words and things.

20

Intimate but Not Private: Deep Image and the Telluric Sublime in W. S. Merwin’s Poems

51%

Zazula P.

Academic Journal of Modern Philology

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2016

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vol. 5

181-189

EN

If we define a poet’s encounter with the sublime as an inherently religious experience, then many of W. S. Merwin’s poems can be considered as deeply religious. At its best, his poetry has an air of uncanny familiarity, a “familiar strangeness,” as one critic has put it. In this sense Merwin’s lyrics offer a modified approach to the concept of the sublime. Blending archetypal imagery with defamiliarized diction, the American poet tries to reconnect his readers with a long-gone religious paradigm – that of earth-oriented, pagan spirituality of Western Europe, filtered, though, through Merwin’s essentially Buddhist sensibility. Offering a close-reading analysis of selected poems (with an emphasis on Merwin’s use of what Robert Bly calls the deep image), this paper attempts to decode some of their more complex metaphorical meanings in the light of the poet’s spiritual affinities. These, though theologically unspecified, seem grounded in his both “pagan” and poignant awareness of nature’s self-contained status vis-á-vis the human condition. Thus, both Nature’s ultimate ontological status and Merwin’s private creed remain a riddle.

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