O myszach i kobietach : przepisywanie "Iliady" przez Pat Barker

Artykuł omawia najnowszą powieść Pat Barker, The Silence of the Girls (2018), która stanowi przepisanie wydarzeń Iliady z perspektywy Bryzejdy i innych kobiet wziętych w niewolę i sprowadzonych do roli nałożnic w trakcie wojny trojańskiej. Głównym celem analizy jest prześledzenie sposobów, w jaki Barker rozprawia się z przemilczeniami homeryckiej opowieści. Uwalniając stłumione głosy bezsilnych kobiet, wplątanych wbrew woli w przedstawione w eposie konflikty, pisarka dekonstruuje jeden z kluczowych mitów zachodniej cywilizacji, odsłaniając jego niechlubne, mizoginiczne podstawy. Ponadto artykuł zwraca uwagę na wyeksponowanie bezpośredniości doznań zmysłowych podczas opisów okropności wojny, a także w obrazach życia w obozowisku wojskowym dotkniętym przez plagę szczurów.The article discusses Pat Barker’s latest novel, The Silence of the Girls (2018), which follows the events of the Iliad from the perspective of Briseis and other women abducted and reduced to sex-slaves during the Trojan conflict. The main focus of the analysis are the ways in which Barker challenges the ellipses of the Homeric original. By freeing the silenced voices of unwilling and powerless participants in the epic events, she deconstructs one of the key myths of the Western civilization, exposing its inglorious, misogynistic underpinnings. Additionally, what comes under scrutiny is Barker’s exploration of the immediacy of sensory experience as she describes the viscera of war, as well as the messy realities of life in a rat-infested army camp

Another look at Joyceans : Evelyn Conlon’s rewrite of "Two gallants"

The subject of the article is the satirical portrayal of Joyce scholarship in Evelyn Conlon’s short story "Two Gallants", offered for the tribute volume of Dubliners 100, a writerly joint venture edited by Thomas Morris in 2014. The analysis acknowledges the intertextual richness of Conlon’s creation, as she engages not only with the master text, but with other writers’ responses to Joyce’s work. Questions related to repetition, referencing and repurposing of the words of others prove central to the story’s plot, in which a female scholar has to guard her research against an ungallant tandem of plagiarist colleagues. The motif of feminist revenge looms large in the narrative which ties the fate of a cheated servant maid with that of her modern granddaughter, lashing out against unfair academic practice

Witkacy metodą total immersion. O tłumaczeniach Daniela Charlesa Geroulda

Witkacy by Total Immersion: On the Translation Methods of Daniel Charles Gerould This article discusses the achievement of Daniel Charles Gerould, one of the world’s most renowned “Witkacologists” and the best known translator of Witkacy’s works into English. Gerould’s devotion to the Polish playwright spanned more than half a century: from his early encounter with Witkacy’s oeuvre in the mid-1950s until his death in February 2012. Gerould translated almost all of Witkacy’s plays as well as fragments of his novels, theoretical and philosophical treatises, letters to Bronisław Malinowski and Rules of the S.I. Witkiewicz Portrait Painting Firm. He was also instrumental in bringing Witkacy’s dramas onto the Anglophone stage and making the Polish artist recognized worldwide not only as a pioneer of the Théâtre de l’Absurde but also as one of the first postmodern playwrights. The article examines examples selected from Gerould’s numerous translations in order to prove that his translation method was that of “total immersion” in Witkacy’s art and life. Thanks to the intimate relationship he had developed with his favourite artist (as he confessed in his memoirs, he saw Witkacy as his “twin” or “double”), Gerould was able to make his renderings of Witkacy’s texts almost transparent, without a trace of the translator’s idiosyncratic intrusions. Exceptionally faithful and composed with a perfect ear for stage dialogue, Gerould’s translations capture Witkacy’s vivid style and unique sense of humour. They are also published with the utmost editorial care, complete with exemplary critical commentaries, so that recipients of these texts – regular readers, actors, directors, students or literary critics – can also immerse themselves in the curious worlds conjured up by Witkacy