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

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

4

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.

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

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.

9

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.

10

Śmieciowe jedzenie? Problematyka odpadów w Pokarmie suweren Kacpra Bartczaka

54%

Lubińska M.

Śląskie Studia Polonistyczne

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2019

|

vol. 13

|

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

Geografia i poezja. Owidiusz na warsztacie Wawrzyńca Korwina (1465–1527)

51%

Zawadzki R. K.

Collectanea Philologica

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2019

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issue 22

101-116

EN

The article offers a survey of the reception of Ovid in the Wawrzyniec Korwin’s astronomical dissertation Cosmographia dans manuductionem in tabulas Ptolemaei (ed. 1496) by applying literary perspectives of such Ovid`s poems as Metamorphoses, Fasti, Epistulae ex Ponto, Amores and Heroides. The title Korwin’s take on Ovid hints at the actual and real potential of his heritage that is both a fixed, poetic base shared by Korwin since his study at the Cracow Academy as well as a body of references constantly being reinterpreted in response to astronomical and geographical challenges of the work of the Polish writer. The reader is given an insight into the processes shaping Korwin’s borrowings from Ovid and the importance of Cosmographia to the Polish Renaissance culture.

51%

Borys I.

Acta Polono-Ruthenica

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2018

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vol. Tom 1 Nr XXIII

103-112

EN

The article describes Russian translations of literary works by authors from Warmia and Mazury: Marek Barański, Tomasz Białkowski, Alicja Bykowska-Salczyńska. Zbigniew Chojnowski, Wojciech Kass, Włodzimierz Kowalewski, Jan Pietrzyk and Krzysztof Szatrawski, from the perspective of the perception of the national, social and cultural identity of Warmia and Mazury. All these works have been translated by Igor Belov and published in the journal “Baltika-Kaliningrad” (2017/4).

18

The Philosophy of Julian Tuwim’s Stanza

51%

Matywiecki P.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 36

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issue 6

179-195

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

Druže Tito svi smo mi – ti

51%

Sorel S.

Poznańskie Studia Slawistyczne

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2013

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issue 5

EN

The article describes different ways of depicting Josip Broz Tito in poems which embody socialistic values. The notion of the Government relies on the idea of the abscence, and the exact abscence requires the image in order to be effective. This is the key role of poetry, which conveyed the constructs of both individual and social illusion.

20

POSSIBILITE ET IMPOSSIBILITE DE LA TRADUCTION DES METAPHORES COMME PARTICULARITE DU LANGAGE POETIQUE

51%

Durdureanu I. I.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2010

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vol. 2

161-172

EN

Translation of poetry relies on some strategies that envisage the text as a unit of translation. Consequently, the translator will adapt his/her methods according to the type of text, focusing also on the target culture. Metaphors, as stylistic devices of poetry, are culturally bounded to a certain way of viewing the world; that is, the translator must take into account first the culture involved in the translation process and then the linguistic and formal aspects.

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