Kein Mensch ist ein Ich-Land [No man is an island]. The metaphorof an island in reflections on friendship

In her essay, the author recalls literary contexts (including John Donne, Michel Houellebecq and Ernest Hemingway) and philosophical and anthropological contexts (including Aristotle, Thomas Merton, Maurice Blanchot, Jean-Paul Sartre and Gilles Deleuze) presenting the poetic “I’s” various ways of approaching friendship. The quotation from a German translation of John Donne’s poem used in the title of the article is in itself a meaningful phonetic wordplay: “Kein Mensch ist ein Ich-Land” (no man is an “I” land, no man is an island). The main part of the essay includes an interpretation of the television series Lost — Joanna Roszak investigates philosophical references in the series and indicates biblical contexts (“Am I my brother’s keeper?”). A very apt comment to many episodes in the series is, according to the author, the formula told by Z. Herbert’s Fortinbras: Ani nam witać się ani żegnać żyjemy na archipelagach/ A ta woda te słowa cóż mogą cóż mogą” [It is not for us to greet each other or bid farewell we live on archipelagos/ and that water these words what can they do what can they do prince]. It is a similar defencelessness in which the main characters of Lost try to struggle the reality, even if they live together, and die all alone. Collective memory has become a safeguard for the community in the world, which is to be destined for homelessness and forlornness. The other person though becomes a reference point — it is him or her that makes it possible to find the way home

What\u27s So Key About These 8-Letter Words?

Can you come up with the particular property that this list of 8-letter words share

„O honor” (1950) Jakuba Herziga, (nie)znany dramat na temat powstania w getcie warszawskim

The paper presents the history of the play entitled O honor [For Honour] and the fate of its author, Jakub Herzig (1887–1956). Herzig survived Holocaust thanks to frequent relocations. He witnessed numerous dramatic events about which he tried to talk after the war. Herzig wrote numerous works of fiction, including the play O honor [For Honour] that probably was never published in Polish. The play tells the story of the Warsaw Ghetto Uprising from the point of view of the Jewish fighters. While the play is not a literary masterpiece, it is a valuable and interesting testimony of Holocaust. The paper also describes other works penned by Herzig, the manuscripts of which were given to Yad Vashem. Some of them were later published in New York and Tel Aviv.W artykule przedstawiono dzieje dramatu pt. O honor…, a także losy jego autora, Jakuba Herziga (1887–1956). Przeżył on Holokaust na ziemiach polskich, bardzo często zmieniając miejsce zamieszkania. Był świadkiem wielu dramatycznych wydarzeń, z których relacje starał się zdać już po wojnie. Pozostawił po sobie kilka obszernych utworów literackich, w tym – prawdopodobnie nigdy niepublikowany w języku polskim – dramat O honor…, podejmujący temat powstania w getcie warszawskim z perspektywy żydowskich bojowców. Utwór jest wprawdzie niedoskonały literacko, jednak niezwykle cenny i interesujący jako świadectwo Zagłady. W artykule opisano także inne utwory Herziga, przekazane w postaci maszynopisów do Jad Waszem. Część z nich ukazała się później w Nowym Jorku i Tel Awiwie

Disruptive strangeness or domesticated exoticism? Some challenges of cultural translation in the Polish rendition of Fury by Salman Rushdie

The unfolding hybridisation of cultures calls for a culture-oriented approach to translation that could respond to the needs and expectations of contemporary readership. The present paper is devoted to the concept of the cultural turn in translation studies and its practical implications on actual translations of contemporary literary works. To illustrate the complexities of translating cultural elements, the Polish translation of Fury reflecting the usual Rushdian blend of voices, plots, multi-cultural hybrid and culture references is used. The paper seeks to exemplify and discuss choices made by the translator striving to acquaint the target text reader with the complex universe of the novel to the similar extent as experienced by the source text reader. The principal strategy adopted by the Polish translator might be labelled as domesticated [email protected] Stawecka-Kotuła works as an assistant lecturer at Maria Curie-Skłodowska University in Lublin, Poland. She holds an MA degree in Applied Linguistics in English and French from Maria Curie Skłodowska University in Lublin, and an MA degree in French Studies from The John Paul II Catholic University of Lublin, where she is currently working towards a PhD. She also completed a master’s degree program (Master 1) in Specialised Translation and Language Engineering (French and English) at Paris Diderot University. Her research interests centre on translation, intercultural communication, and contrastive linguistics.Maria Curie-Sklodowska University, PolandBassnett, S. & Lefevere, A. (eds). 1990. Translation, History and Culture. London: Pinter.Bhabha, H. 1994. The Location of Culture. London and New York: Routledge.Di Mauro, L. (ed.) 1990. Modern British Literature, Volume III. Detroit: St James Press.Hatim, B. 2001. Teaching and Researching Translation. Essex: Pearson Education Limited.Katan, D. M. 1996. The translator as cultural mediator. Quaderno 96 Programma 'Sociologia Internazionale, Istituto di Sociologia Internazionale di Gorizia, 1-19.Knauer, K. 1996. Między kompetencją lingwistyczną a kulturową. Tłumaczenie odmian angielskiego na podstawie przekładu powieści Alice Walker The Colour of Purple. In: P. Fast (ed.), Polityka a przekład, 85-93. Katowice: Wydawnictwo Śląsk.Kwieciński, P. 2004. Between Conventional Exoticism and Impenetrable alterity. A Tentative Descriptive Framework. In: O. Kubińska, & W. Kubiński (eds.), Przekładając nieprzekładalne 2, 29–42. Gdańsk: Wydawnictwo Uniwersytetu Gdańskiego.Longman Dictionary of Contemporary English (Fifth Edition). 2009. Harlow: Pearson Education Limited.Pieczyńska-Sulik, A. 2005. O przydatności kategorii idiolektu w przekładzie; Na materiale Wróżb kumaka Güntera Grassa. In: J. Koźbiał (ed.), Recepcja, Transfer, Przekład 3. Oblicza recepcji, 103-115. Warszawa: Wydawnictwo UW.Ramière, N. 2006. Reaching a foreign audience: Cultural transfers in audiovisual translation. The Journal of Specialised Translation 6: 152-166.Rushdie, S. 2002. Furia. Poznań: Dom Wydawniczy REBIS.Rushdie, S. 2002. Fury. London: Vintage Books.Snell-Hornby, M. 1990. Linguistic transcoding or cultural transfer: a critique of translation theory in Germany. In: S. Bassenett, & A. Lefevere (eds.). Translation, History and Culture, 79-86. London: Pinter.Tokarz, B. 2006. Przekład w dialogu międzykulturowym. In: F. Piotr, & P. Janikowski (eds.). Dialog czy nieporozumienie? Z zagadnień krytyki przekładu, 7-20. Katowice: Wydawnictwo Śląsk.Urbanek, U. 2010. Tłumaczenie jako komunikacja interkulturowa. In: S. Grucza, A. Marchwiński, & M. Płużyczka (eds.). Translatoryka. Koncepcje Modele Analizy, 156- 163. Warszawa: Wydział Lingwistyki Stosowanej UW.Woods, T. 2005. Postcolonial Fictions. In: L. Marcus, & P. Nicholls (eds.), The Cambridge History of Twentieth Century English Literature, 736-750. Cambridge University Press.34 (3/2021)465

Logos and Metanoia

The aim of this paper is to reconsider the meaning of the two title concepts which can be found at the base of the European thought. Referring to the works of Giovanni Reale (Italian historian of philosophy from the turn of the 20th and 21st centuries) the author tries to reconstruct the Greek reflection of spiritual transformation. Starting with Odyssey by Homer and selected works by Plato the concept of “second navigation” is presented. In case of Plato, it is his Letters that play a crucial role in the demonstration of „second navigation”. The transformation of this very concept in Neoplatonism of Philo of Alexandria and Plotinus is subsequently discussed. The author also brings to mind two Greek conceptions of time: Cronus and Caerus. The text also has reference to contemporary philosophy and literature. On the one hand, “second navigation” takes on a new meaning in the light of the concept of “stream of consciousness” invented by William James. On the other one, the idea of “stream of consciousness” was deliberately used in Ulysses by James Joyce in order to describe a situation when no “second navigation” is possible. In this way, the story of spiritual transformation of both Odysseus and Stephen Dedalus from Ulysses by James Joyce can be reinterpreted anew.Celem artykułu jest rozważenie znaczenia dwóch tytułowych pojęć, które można znaleźć u podstaw myśli europejskiej. Nawiązując do pracy Giovanniego Reale, włoskiego historyka filozofii przełomu dwudziestego i dwudziestego pierwszego wieku, autor dokonuje próby rekonstrukcji greckiej refleksji o przemianie duchowej. Zaczynając od Odysei Homera i wybranych dzieł Platona, dokonana zostaje prezentacja „drugiego żeglowania”. W przypadku Platona szczególnie ważną rolę odgrywają Listy, wyraźnie prezentujące to pojęcie. Następnie zostaje omówiona przemiana tego pojęcia w neoplatonizmie Filona z Aleksandrii i Plotyna. Ponadto autor przypomina dwa greckie pojęcia czasu: Kronosa i Kairosa. Prowadzi to do odniesień wziętych ze współczesnej filozofii i literatury. Z jednej strony „drugie żeglowanie” nabiera nowego znaczenia w świetle koncepcji strumienia świadomości Wiliama Jamesa. Z drugiej zaś strumień świadomości został świadomie zastosowany w Ulissesie Jamesa Joyce’a do opisu sytuacji, w której nie dochodzi do „drugiego żeglowania”. W ten oto sposób na nowo może być reinterpretowana historia duchowej przemiany Odysa i Stefana Dedalusa z Ulissesa Jamesa Joyce’a

Zagłada miasta. Warszawa w Pianiście Romana Polańskiego

This article is an analysis of Roman Polanski’ The Pianist, focused on presenting how the city space in this film, both its exteriors and interiors, makes it a story of Warsaw during the Second World War. The gradual destruction of the city is presented in two supplementary fashions. On the one hand, there is as a quasi-documentary reconstruction of the past based on literary (Władysław Szpilman’s diary) and visual (archive photographs and films) material, while on the other, there is a symbolic narration, where particular places and events bear hidden meanings. Next to Chopin and his music, the piano, interiors and city walls, the most meaningful symbol in the film is a monument of Jesus Christ carrying the cross, a statue standing in front of The Church of the Holy Cross in Warsaw, a motif that appears in the second shot of the Pianist and returns three more times during the film.The Annihilation of a City. Warsaw in Roman Polanski’s The PianistThis article is an analysis of Roman Polanski’ The Pianist, focused on presenting how the city space in this film, both its exteriors and interiors, makes it a story of Warsaw during the Second World War. The gradual destruction of the city is presented in two supplementary fashions. On the one hand, there is as a quasi-documentary reconstruction of the past based on literary (Władysław Szpilman’s diary) and visual (archive photographs and films) material, while on the other, there is a symbolic narration, where particular places and events bear hidden meanings. Next to Chopin and his music, the piano, interiors and city walls, the most meaningful symbol in the film is a monument of Jesus Christ carrying the cross, a statue standing in front of The Church of the Holy Cross in Warsaw, a motif that appears in the second shot of the Pianist and returns three more times during the film

Taniec z obecnym i przeszłym (Jerzy Kronhold Epitafium dla Lucy)

The essay on the newest volume of poetry by Jerzy Kronhold is an attempt to indicate the most characteristic advantages of Epitafium dla Lucy and its predominant meanings. The author puts special emphasis on the approach to the topic of passing and death. She stresses the diversity of realization of the motif of memory and its metaphysical context. The poems are often a record of the reality available to the poet, his personal struggle against time. In Kronhold’s volume, an important place is also occupied by historical and geographical concrete, often as a point of departure for conclusions of existential nature. One should also notice the changes in forms of expression and poetics, distinct in comparison with the poet’s previous volumes. Of special interest is the sensuality of several poetic images, the significance of details, the role of musical motifs, as well as a visible tendency to expose the aesthetic qualities of the text

Siedem pieśni religijnych Ottona Mieczysława Żukowskiego (1867–1942) w kontekście zagadnień semantycznych i muzycznych

In the present article the author discusses seven religious songs by the little-known Polish composer, Otton Mieczysław Żukowski (1867˗1942). The songs are: Ojcze nasz (Our Father) op. 47, Panie do Ciebie wołam (Lord, unto Thee I cry), Twych Panie łask (Your mercies, o Lord), Gdy boleść wstrząsa (When sorrow strikes), Panie miłosierny (Merciful Lord), Do Boga (To God) and Wierzymy Panie (Lord, we believe). The songs’ semantic meaning conveys the basic and most essential truths of the Catholic faith. Thereby, they formed the awareness of the listeners and became a catechesis to be sung. The discussed songs have also a strong patriotic and national emphasis as they were created in the time of Poland’s partition and non-existence in Europe. The songs are evidence that God may be involved in the history of a nation and change its difficult position. In terms of musical layer the songs are characterized by a cantilena melodic line and tonal harmony.In the present article the author discusses seven religious songs by the little-known Polish composer, Otton Mieczysław Żukowski (1867˗1942). The songs are: Ojcze nasz (Our Father) op. 47, Panie do Ciebie wołam (Lord, unto Thee I cry), Twych Panie łask (Your mercies, o Lord), Gdy boleść wstrząsa (When sorrow strikes), Panie miłosierny (Merciful Lord), Do Boga (To God) and Wierzymy Panie (Lord, we believe). The songs’ semantic meaning conveys the basic and most essential truths of the Catholic faith. Thereby, they formed the awareness of the listeners and became a catechesis to be sung. The discussed songs have also a strong patriotic and national emphasis as they were created in the time of Poland’s partition and non-existence in Europe. The songs are evidence that God may be involved in the history of a nation and change its difficult position. In terms of musical layer the songs are characterized by a cantilena melodic line and tonal harmony

“НЕСПОКІЙНИЙ ПОЛІТ НАД МАЙДАНОМ” — СУЧАСНІ КОНТЕКСТИ ФУНКЦІЮВАННЯ СИМВОЛУ ОРЛА В ПОЛЬЩІ ТА УКРАЇНІ

The article focuses on the attempt to trace the actualization of animals symbolic, the symbol of eagle in particular, in modern discourse; there has been represented the attempt to analyze the specifi city of the origination of a new semantic meaning of the eagle symbol, his new association connections, which appeared during the epoch of the dynamic social-political changes, projected on the events connected with the Revolution of Dignity in Ukraine 2013–2014. The attention is paid to the role of a literature tradition. The way the symbolics of the eagle used under conditions of a modern information war has been analyzed.У статті здійснено спробу простежити актуалізацію символіки тварин, зокрема символу орла, у сучасному суспільному дискурсі; репрезентовано намагання проаналізувати специфіку породження нового семантичного наповнення символу орла, його нових асоціативних зв'язків, виявлених в епоху динамічних соціально-політичні змін, що спроектовано передусім на події, пов’язані з Революцією гідності в Україні 2013–2014 років. Увагу акцентовано на ролі в цьому процесі літературної традиції. Проаналізовано також, як використовується символіка орла в умовах сучасної інформаційної війни.У статті здійснено спробу простежити актуалізацію символіки тварин, зокрема символу орла, у сучасному суспільному дискурсі; репрезентовано намагання проаналізувати специфіку породження нового семантичного наповнення символу орла, його нових асоціативних зв'язків, виявлених в епоху динамічних соціально-політичні змін, що спроектовано передусім на події, пов’язані з Революцією гідності в Україні 2013–2014 років. Увагу акцентовано на ролі в цьому процесі літературної традиції. Проаналізовано також, як використовується символіка орла в умовах сучасної інформаційної війни