Polish poetry

The paper deals with the topic of ecologically oriented poetry of Krystyna Miłobędzka as a vital tradition for 21st-century Polish ecopoets. The author tries to trace the changes in the poetic canon after 1990 and shows the increasing interest in Miłobędzka’s poetry among modern poets. By analyzing mainly meta-poetic texts, the paper contrasts Miłobędzka’s posthumanistic, “event-driven” way of writing with the humanistic lyrical subject of Wisława Szymborska’s poetry. The author presents the former as more influential and more productive for modern, ecopoetic styles, including elements such as: waking the awareness, organic perspective of language, an egalitarian way of life and thinking about relations in categories of space and adhesion rather than domination.

Bolesław Leśmian is an impossible writer – according to Edward Balcerzan, “a poet with no masters, a master with no followers.” Additionally, he is usually considered as an untranslatable poet: the creator of his own idiomatic language, fraught with neologisms, archaisms, and dialectisms and subjected to the rigours of rhythm and rhyme, permeated with philosophical thought and vivid colours of the Slavic world – in short, an evident proof of the existence of the phenomenon known as untranslatability. But is it quite so? The main objective of the article is to present some difficulties connected with translating Leśmian’s poety into English at the example of the translations of Leśmian’s ballade “Dusiołek” (by Rochelle Stone, Marian Polak-Chlabicz, and Krzysztof Bartnicki) and to compare the translation strategies adopted by their authors.

aksjologiczne preferencje humanistów stały się naturalnym kontekstem utworów poetyckich. Czymś oczywistym jest to zjawisko w renesansie, ciekawi jednak również, co z etycznego dziedzictwa humanistów przetrwało w twórczości poetyckiej formacji następnej, kiedy to prąd, w którym tyle uwagi poświęcano zagadnieniom etycznym, wyczerpał już swe siły żywotne, lecz przecież nie uśmierciło to humanistycznych idei. Nie sposób, rzecz jasna, w niedużym studium udzielić wyczerpującej odpowiedzi. obserwacje czynione poniżej ograniczać się będą do wybranych odmian poezji. wychodząc od twórczości autobiograficznej i okolicznościowej (marginalnie tylko przywołana zostanie epika) 1 , przejdę następnie do omówienia wybranych zbiorów lirycznych. dla prezentowanej problematyki wydają się one istotne z uwagi na panoramiczny charakter całości, których varietas stanowić miała wyraz, jak sądzę, różnych aspektów afirmowanej koncepcji antropologicznej, a więc takiej, która dotyczy również porządku wartości. Przyjętej strategii sprzyja zarówno miejsce księgi pieśniowej w dorobku Jana kochanowskiego, jak i podobne inicjatywy naśladowców oraz kontynuatorów. Rzecz jasna, wybór określonych odmian poezji wynika z poszukiwania, 1 aksjologia humanistyczna generalnie w słabym stopniu odbiła się w zwierciadle epickim, które lepiej służyło afirmacji tradycyjnych wartości heroicznych. Stąd zapewne upodobanie autorów renesansowych do form biograficznych. Roman Krzywy uniwersytet warszawski aksjologia humanistyczna w poezji polskojęzycznej XVI i XVII wieku 3 zob. np. J. Ijsewijn, Humanistic Autobiography, w: Studia humanitatis Ernesto Grassi zum 70. Geburtstag, red. e. Hora, e. kessler, München 1973. 4 zob. R. krzywy, Sztuka wyborów i dar inwencji. Studium o strukturze gatunkowej poematów Jana Kochanowskiego, warszawa 2008, s. 262. 5 zob. np. J. Pelc, Kochanowski. Szczyt renesansu w literaturze polskiej, warszawa 2001, s. 98-100.

Artykuł poświęcony został literackiej zagadce Jana Kochanowskiego (Fraszki III 78) z XVI w. o zwierzęciu z jednym okiem, do którego strzela się pozba-wionymi grotu strzałami. Jej rozwiązanie do dziś sprawia bowiem badaczom egzegetom problem. Autor polemizuje z dotychczasowymi propozycjami odpowiedzi (broń palna, anus homoseksualisty, anus niewieści, przenośny wychodek), zaczynając swój wywód od szczegółowej analizy leksykalnej epigramatu. Omówiwszy poetykę staropolskiej dwuznacznej zagadki obsce-nicznej (sugerującej skojarzenia nieprzyzwoite, by podsunąć niewinne roz-wiązanie), a także podstawowe różnice postrzegania niewieściego ciała w XVI stuleciu i dziś, autor wykazał, że dawni czytelnicy zagadki Ko-chanowskiego uznawali, iż jej rozwiązaniem była kobieca wagina. To try-wialne rozwiązanie również i dziś wydaje się najbardziej prawdopodobną odpowiedzią. The paper focuses on the literary riddle written in the 16 th century by Jan Kochanowski (Fraszki III 78), concerning an animal with one eye that is shot at with arrows without arrowheads. The answer to the riddle is still debated by exegetic researchers. The author discusses the answers proposed so far (firearm, a homosexual's anus, a female anus, an outhouse), starting with detailed lexical analysis of the epigram. Having discussed the poetics of the Old Polish ambiguous ribald riddle (suggesting indecent associations, but leading to an innocent answer) and the differences in the perception of the female body in the 16 th century and today, the author shows that the audience of the riddle in the times of Kochanowski reached the conclusion that the answer was a female vagina. This trivial solution still seems to be the most probable answer.

The article focuses on the poetry of Polish-Canadian writer Wacław Iwaniuk in his only volume in English Evenings on Lake Ontario [Wieczory nad jeziorem Ontario]. The aim of the essay is to highlight the book’s distinctness and importance in the interpretation and discussion of the image of Canada in Iwaniuk’s poems, tackling the question of his position in the actual and metaphorical Polish-Canadian borderlands. The analysis of the volume and its individual poems is woven into the background of the North American nature-writing discourse in an attempt to describe the Polish-Canadian identity in the work of Wacław Iwaniuk.

Amid the turmoil the bell tolls of hope - translated by Teresa Bałuk-Ulewiczowa, first published in 'Stereotyp a nieprzekładalność bezwzględna.' In: Między oryginałem a przekładem VIII: Stereotyp a przekład. Eds.U. Kropiwiec, M. Filipowicz –Rudek, J. Konieczna-Twardzikowa. Kraków: Księgarnia Akademicka 2003, pp. 35-44.

W tej książce spróbuję na przykładzie wierszy wybranych poetów opowiedzieć, na ile to możliwe, o wywodzącym się z lat 90. liryczno-narracyjnym projekcie; o tym, jakie efekty przynosi jego realizacja na trzech, najważniejszych dla liryki płaszczyznach budowania metaforycznych znaczeń: języka, podmiotu i świata przedstawionego. Sądzę, że narracyjna liryka pozostaje główną formą ekspresji nietypowej – awangardy lat 90. – od Świetlickiego do Podsiadły, przez Wiedemanna i Foksa, po Sosnowskiego i Piórę. Nie chodzi tu oczywiście o kompletne ujęcie wszystkich języków poezji lat 90. Pragnę po prostu zaprezentować własny wybór poetyckich propozycji, które, według mnie, rzeczywiście przyczyniły się jakoś do poszerzenia zasobu narzędzi ekspresji polskiej nowoczesnej poezji, kładąc przy okazji nacisk na specyficzny dla niektórych twórców debiutujących w ostatniej dekadzie XX wieku literacki światopogląd czy, lepiej byłoby powiedzieć: tekstową filozofię.

Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth  century Polish poet and writer – one book is special: Poems for Naughty Children  [Wiersze dla niegrzecznych dzieci] published in 1987. The book is unique not only because of the poetical qualities it represents – rhythmicity, melodiousness, catchiness, melancholy and lyricism equally with pure nonsense, absurdity, grotesque, (black) humour and numerous equivoques and puns, which are characteristic for Wawiłow’s poetical works; above all else Poems for Naughty Children  is a collection of translations of the traditional English nursery rhymes, made by Danuta Wawiłow, who claimed more than once that she was a translator long before she had become a writer. The article aims to explore Wawiłow’s translation work which (up to now) remains almost unknown and un-described in Polish theoretical discourse. Moreover, the author presents the outcome of her research conducted to find “missing originals” of translated nursery rhymes, offers the classification of them and undertakes critical reflection over translation strategy adopted by Danuta Wawiłow.

‘But – Grandson – Thou Shalt Remember’. Reception of Norwid’s Poetry between 1939 and 1956.
The outbreak of the Second World War was a turning point in the reception of Norwid and his literary output, which shared the fate of other prominent works of Polish culture, condemned to many years of clandestine existence. At that time (which also included the initial post-war years), reading Norwid had a different dimension than in the inter-war period: his works revealed the depth of the 19th century poet’s ethical and philosophically historical reflection, engaged in a fundamental dispute with the contemporaneity, and transformed – according to Henryk Markiewicz – into a ‘social fact’, since the reactions it caused reflected, ‘just like a splinter of the mirror, a significant part of the history of Polish intellectuality’. External circumstances imposed the way his literature was read and had a predominant influence on the scale of its effect in the first years of the Polish People's Republic, when it was doomed to a subdued existence, and published rarely and then only in an extremely exclusionary manner.
The period between 1939 and 1956 was distinguished not by the extensiveness, but the depth and intensity of the effect of Norwid’s literature. During the war, representatives of the younger literary generation confronted the attitudes of 19th century poet’s with historical reality, and, taking the real-life consequences from his works, wrote about his ‘fundamental creative stance’, which assumed the primacy of ethics in art and subordinated literature’s aesthetic functions to the postulate of shaping national awareness and man’s mature attitude towards history.
The first part of the book Norwid’s Third Shadow is devoted to the poet’s presence in the intellectual and literary life of twenty-year-olds, who – according to Andrzej Trzebiński – ‘believe in the necessity of deep spiritual transformations, and yet – at the same time – learn numerous things from the 19th century, appreciating the hitherto neglected values of the Polish tradition’. What I mostly scrutinise there is the journalistic writings, poetry and prose written by authors associated with the covertly published monthly Art and Nation [„Sztuka i Naród”], and works by Krzysztof Kamil Baczyński, a poet who owed as much to Norwid as he did to Słowacki. An important supplement to the picture of how Norwid’s poetry was received in German-occupied Poland is the information on individual editions of his works available during the war and the story of Zenon Przesmycki’s collection of Norwid memorabilia, found in the debris of the capital after the Warsaw Uprising.
In the second part entitled ‘Ferocious Cracking of Clouds’. Ideological Struggle for and against Norwid, I focus on the presence of Norwid’s output in Polish culture between 1944 and 1955, paying particular attention to attempts made to deprive the poet of his fully-deserved position in the history of our literature and the initiatives to counteract them (taken by such prominent Norwid experts as Wacław Borowy, Juliusz Wiktor Gomulicki, Hanna Malewska, and Kazimierz Wyka).
Immediately after the war, Church-related cultural circles endeavoured to make Norwid the patron of the state’s reconstruction. His philosophy of labour, most comprehensively expressed in Promethidion, seemed to be the most appropriate programme for those years. The exhibition of his works and memorabilia, held to commemorate the 125th anniversary of his birthday, not only consolidated his legendary status, but also propagated his output among a wider range of readers. In the first years after the war, before Marxist ideology gained its dominant position, it seemed that Norwid would occupy one of the most significant seats in the pantheon of artists.
However, it soon transpired that the new leaders had an entirely different vision of tradition. The poet who, according to Czesław Miłosz, ‘became monopolised by certain Catholic and nationalist circles’ in the inter-war period, was now considered inconvenient, mainly due to his ‘fideism’, ‘idealism’, and his inclinations for ‘metaphysics’. The new authorities found Norwid of no use politically, since he could not be incorporated into the progressive traditions as his works were perceived as useless in the process of shaping the socialist man.
Advocates of Norwid utilised arguments taken from their ideological adversaries – they presented him not as a Catholic and a foe of the revolution, but as the first ‘proletarian poet’ in the history of Polish literature, who had to earn his keep by working his fingers to the bone, and was an intransigent critic of the bourgeoisie and capitalism. And they sought arguments to support this thesis in his writings.
The fate of Norwid himself and his works proved that it was worth being faithful to the path man had chosen to follow and not admitting defeat, despite the most adverse circumstances. In the reality of the totalitarian state, this meant being ready for violence and being willing to pay the highest price. The most illustrative example of such a tenaciousness was the attitude of  Jerzy Braun, the pre-war editor-in-chief of the periodical Zet, an expert on Norwid and Hoene-Wroński, and – during German occupation – the founder of the underground organisation named Union [Unia], whose members included Karol Wojtyła and Mieczysław Kotlarczyk.
In the next part of the book, I discuss Two Models of Reading Norwid, focusing on his presence in the literary journalism and poetry of two prominent authors – Mieczysław Jastrun and Julian Przyboś.
The former was minded to recognise Norwid as a forerunner of modernity, and a poet whose works can only recently be appropriately read and appreciated. In his interpretation, Jastrun stated primarily that what distinguished Norwid’s writings was a skilful blend of moralisation and high artistry. The accomplished writing and the vision of the world incorporated into the 19th century poet’s works had a profound influence not only on Jastrun’s poetry, but also – apparently – on his political views. In the 1950s, Jastrun underwent a transformation from an active campaigner for ‘a new face’ of culture and an apologist for the communist authorities to their fervent adversary. Traces of Norwid’s works can be found in all Jastrun’s collections of poems that document his ideological evolution.
What primarily separates Przyboś from Jastrun is the rudimental ambivalence of his opinions on Norwid, who both fascinated and repulsed him. Thus, Przyboś demonstrates his approval for Norwid’s poetic mastery and accomplished writing, and yet rejects his Catholic worldview. He remains a stranger to Norwid’s intention for literature engaged in the transformation of reality, as he believes that poetry should not have to address any extra-artistic objectives but focus exclusively on its innate aesthetic function.
The final part of the book is devoted to events in 1956 and their impact on the dynamics of the reception of Norwid’s works (the picture is completed by the description of the 1958 anniversary ceremony). According to Stanisław Barańczak, Norwid writings seemed to ‘fill the gap left by the spiritual disaster of Stalinism’ after October 1956.
The basal thesis formulated within the book could be summarised as follows: between 1939 and 1956, Norwid was read as a poet of difficult moral dilemmas and a preacher of internal freedom. The statement ‘Son – shall discard my scripture, but – grandson – thou shalt remember’ was taking the shape Norwid would find closest to his heart: his works were gradually becoming ‘a testament to the act’, and resulted in personal sacrifice (Baczyński, Trzebiński), unshaken loyalty to principles of Christian ethics (Braun, Ostromęcki), and a quest for the truth (Jastrun), burdened by mistakes, errors and naiveties. It all confirmed the opinion stated by Stefan Kołaczkowski in the inter-war period, who wrote: ‘I know of no other author who could better than Norwid prepare people for historical maturity, and who could be deeper and nobler in his comprehension of the role of man as the creator of history’. It is this dimension of Norwid’s presence in the awareness of his 20th century readers that the subheading of the book – On People, Books, and History – attempts to capture.

This article is an attempt to interpret the culminant work of the collection
of poems Imiesłowy by Krystyna Miłobędzka. In this paper, based on cultural
and philosophical contexts, the analisys of different meanings of text (especally
metaphoric meaning) was carrried out. The main purpose of the analisys was
to state a role of poem entitled *** [Razić, urazić, porazić, wyrazić…] not only
in the mentioned collection of poems, but also in entire poetic work of Miłobędzka.

Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. Before and behind the performer's work, the translator and the transcriber deal with important issues such as timbre and tone, which are not less important than parameters easier to define and more debated (rhythm, phonics). The translator of poetry should " think for poetry " , paraphrasing the title of Leibowitz's book about transcription "Thinking for orchestra".

The first in Polish humanities study on litany written by an academic in the field of theory of literature with the use of the methods of historical and theoretical poetics. The book contains a concise reconstruction of origins of litany in the ancient cultures. The dissertation also deals with the character of connections between the Christian worldview and the analysed genre. It emphasises the thousand years lasting presence of litany in the Polish literature, where the poetic and religious elements were still intermingled. The participation of litany in the creation or development of the other literary genres is described on the examples of the forms of a troped Kyrie and canonical hours, acathist, lament, elogium, hortulus, preambulum, credo, poetic prose, European ghazal, modern alba and serenade. Methods of theory of versification are helpful to estimate to what extent the litany influenced the Polish, especially modern verse forms (the poems by Bak, Harasymowicz, Herbert, Iwaszkiewicz, Klejnocki, Liebert, Norwid, Pasierb, Podsiadlo, Rózewicz, A. Rymkiewicz, Slobodnik, J. Twardowski, Wierzynski, Wojaczek, Woroszylski and others). The book also deals with the typical for the Polish literature overrepresentation of women among the authors of litanies (Deotyma, Grossek-Korycka, Hartwig, Illakowiczówna, Kamienska, Konopnicka, Ostrowska, Szymborska, Zawistowska and the others) and the adoption of patriotic litany tradition by the poetry (models of litanies by Mickiewicz and Ujejski).

Given the universal myths in conjunction with national myths and literary dialogues, out of which Las Ardeński is built, the article points to the sources of inspiration presented in the poem: the memory of the fallen, the mission of the poet as a connector between the concrete and metaphysical worlds, the need to stay true to the human condition, cultural tradition and shared generational experiences.

Biorąc pod uwagę mity uniwersalne w połączeniu z mitami narodowy- mi i dialogami literackimi, z których skonstruowany jest Las Ardeński, artykuł wskazuje na źródła inspiracji uobecnione w wierszu: pamięć o poległych, misję poety jako łącznika między światem konkretu i świa- tami metafizycznymi, potrzebę wierności kondycji ludzkiej, tradycji kulturowej i wspólnym przeżyciom pokoleniowym.

About the author's textual variants of Campo di Fiori by Czesław Miłosz and their rather heavy implications in the six different italian translations of one of the most important Polish 20th century poems on Shoah.

inc.
Campo di Fiori del Premio Nobel 1980 Czesław Miłosz è fra le liriche più fa-mose della poesia polacca del Novecento, figurando come uno dei testi nodali nel dibattito sulla responsabilità morale dei non ebrei nella tragedia dell'Olocausto...

The article discusses the role of vermin in the vanitas discourse in the Polish poetry from the late 16th until the 18th centuries. The introduction, using the example of Żale nagrobne by Sebas-tian Fabian Klonowic, shows the change in the manner of discussing death, which came about soon after the death of Jan Kochanowski, making it possible to return to the medieval visions of decomposition , enriched by that poet by a broad range of hideous things, symbols of vanity. The second part of the paper discusses Baroque paintings of worms eating away the corpse based on selected works, and presents major poetic devices which are meant to convey the vanitas message. There are descriptions of metaphysical nature and ones showing the nothingness of existence in a purely earthly dimension. The paper closes with remarks on exhausting the vanitas discourse using the worms imagery, the example of which are poems using the coffin hideousness in an erotic context.

Nieobecność Niewiele brakowało, a moja matka mogłaby poślubić pana Zbigniewa B. ze Zduńskiej Woli. I gdyby mieli córkę -nie ja bym nią była.Może z lepszą pamięcią do imion i twarzy, i każdej usłyszanej tylko raz melodii. Bez błędu poznającą który ptak jest który. Ze świetnymi stopniami z fizyki i chemii, i gorszymi z polskiego, ale w skrytości pisującą wiersze od razu dużo ciekawsze od moich. Niewiele brakowało, Ausência Faltou pouco, para minha mãe se casar com o senhor Zbigniew B., de Zduńska Wola. E se tivessem uma filha, não seria eu. Talvez tivesse melhor memória para rostos e nomes e para músicas ouvida apenas uma vez. Sem errar reconhecendo qual pássaro é qual. Com notas fantásticas em química e física e piores em língua polonesa, mas às ocultas escrevendo poemas de imediato melhores que os meus. Ao mesmo tempo, Qorpus

The article focuses on the representations of the body in Zuzanna Ginczanka's poetry. There are four crucial poetic constructions in this respect that need to be properly contextualized: the Jewish body (Ginczanka's beauty and stigma, her legendary eyes), the lyrical body (the feminine origin of her poetry, its erotic, emancipatory character, the meaning of victim and revenge themes), the individual and the social body (the ways of shaping her identity and some of her key performative gestures), and, finally, the visual body (the poet's public image in the past and now).

Różycki’s dark metaphors. The article is concerned with the characterisation of Tomasz Różycki’s art of poetry, especially the qualities of his style and the structure of the world presented in his poems. The author argues that Różycki’s poetics is characterised by the complex and multi-level use of metaphors, accompanied by diverse figures of enumeration as well as the specific way of presenting the world from the point of view of nothingness, lack and emptiness. The enumerations and figures of absence in this poetry create the effect of accumulation and excess, but at the same time ruin the sense of harmony and clarity: they together create a poetic technique that could be called negative mimesis. Metaphorical associations and poetic games with excess and lack in Różycki’s poems serve the purpose of showing the man as a being that is internally contradictory and impenetrable, and the world around him as a space filled with both abundant signs of life and continuous destruction.

Co mają wspólnego etyka i literatura? Książka Michała Kozy proponuje świeże spojrzenie na to, jak teksty literackie włączają się w kulturową produkcję projektów i granic tego, kim jesteśmy i kim możemy być.

Część metodologiczna książki prowadzi przez analizę różnych sposobów etycznego czytania, by uważnie przyjrzeć się używanym w nich pojęciom i nadać im krytyczny, literaturoznawczy sens. Propozycja autora czerpie zwłaszcza z dokonań teorii krytycznej, posthumanizmu i neomarksizmu, zestawiając filozoficzne inspiracje z problemami wyobraźni literackiej, reguły fikcji z produkcją tożsamości i wspólnot, a myślenie etyczne z politycznym.

Zastosowaniu tych metod i technik jest poświęcona dalsza część książki. Autor omawia w niej wiodące trajektorie etyczne w literaturze polskiej w pierwszych dekadach po 1989 roku, na czele z indywidualizacją podmiotu i jego etykopolitycznych wizji „produkcji siebie” (jako konsekwencją późnokapitalistycznych przemian) oraz z patriarchalnym zawłaszczeniem i zakonserwowaniem określonych technik „bycia sobą”. By pokazać te tendencje jako zjawiska literackie, sięga m.in. do tekstów Jolanty Brach-Czainy, Szczepana Twardocha, Olgi Tokarczuk, Izabeli Filipiak, Marcina Świetlickiego i Ignacego Karpowicza, zakorzeniając dostrzegane problemy jeszcze w tekstach twórców Nowej Fali.

Z literaturoznawczych dociekań wyłaniają się ascetyczne, nostalgiczne i nomadyczne linie ujścia etycznej wyobraźni i produkcji literackich podmiotów. Jednocześnie metodologiczno-krytyczny obraz nakreślony w książce Michała Kozy pozostaje otwarty na rozwinięcia, dalsze różnicowanie i kontynuację namysłu nad etycznymi dyskursami kultury.

Referring to the symbols and myths connected with a mirror, the author of this essay presents Polish translations of Brazilian and Uruguayan poetry and Brazilian translations of Polish poetry. Selected poems that refer to the mirror inspire multicultural reflection on the translation process, the meaning of the poetry and human condition .

Looking through poems of Szymborska that concern destiny, casuality and love, this paper tells the story of a poem that was adapted as a graphic novel, song and film. The intertextual and interartistical dialogue is also one of the topics discussed here

Passeando pelos poemas de Szymborska que falam do acaso, destino e amor, este ensaio conta a história do poema que fez carreira multimidiática: foi adaptado como um romance gráfico, canção e filme. A margem discute-se os diálogos intertextuais e interartes provocados pelo poema.

The starting point of the sketch are the motifs of days and nights (as well as sleep, insomnia and light) in the works of Andrzej Sosnowski. These are presented to indicate essential observations for his texts about work, productivity, consumption and the possibility of “real” life in late capitalism. The author refers to the interpretation of Marta Koronkie- wicz, selected tools of ideological criticism of Fredric Jameson and the central figure in Sosnowski’s writing, “the Little Match Girl”. This is done in order to reconstruct the ambiguous vision of the world which is torn between moderate optimism and extreme pessimism, devoid of both real days and real nights. The aim of the paper is to show the intentional inconsistency and critical potential of the quasi-utopian themes present in Sosnowski’s writing.

Wisława Szymborska não pertence aos escritores que expõem os eventos de suas próprias vidas e contribuem assim para o surgimento do mito literário. Ao contrário dos costumes vigentes atualmente, a poeta protege a privacidade: evita confissões, não fala sobre suas experiências e sentimentos. A sua maneira de conviver com os outros sempre consistiu em conversas com amigos, e não em aparecer em frente às câmeras e discursar para as multidões. A fama mundial que o prêmio Nobel de Literatura, em 1996, trouxe a Szymborska exigia sacrifícios, porque de um dia para outro uma pessoa reservada teve que transformar-se em uma personalidade pública. A poeta nasceu em Kórnik, perto de Poznań, mas toda a sua vida criativa estava ligada à Cracóvia e ao meio literário da cidade. Ali ela estudou literatura polonesa e sociologia, ali, no Círculo de Jovens da Associação dos Escritores Poloneses, encontrou o ambiente propício para seu desenvolvimento artístico. Sabe-se que durante muitos anos trabalhou na redação do "Vida Literária". Nesse semanário de Cracóvia ela publicou a série de textos Leituras obrigatórias [Lektury obowiązkowe], coordenando também -juntamente com Włodzimierz Maciąg -o departamento Correio literário [Poczta literacka], provavelmente o 1 Historiador da literatura, crítico literário, ensaísta, professor títular no Departamento de Estudos Poloneses da Universidade Jaguelônica, vicepresidente na filial de Cracóvia da Associação de Escritores Poloneses. Autor de vários livros sobre a literatura do exílio, a poesia de Wisława Szymborska e de Zbigniew Herbert, entre outros. O presente artigo é a tradução da sua conferência proferida na UFPR, por ocasião do evento "Pelas veredas da poesia polonesa do século XX" em 2013. 2 Professor de literatura polonesa na UFPR, doutorando em literatura pela UFSC. A presente tradução foi realizada com apoio do CNPq, Conselho Nacional de Desenvolvimento Científico e Tecnológico -Brasil. A tradução contou com a revisão de Eduardo Nadalin e sugestões de Eneida Favre, a quem devo gratidão .

Poesia: sussurro, grito e silêncio -sobre três poemas de Iossif Brodskii, Aleksander Wat e Zbigniew Herbert[1] Piotr Kilanowski[2] Quando Theodore Adorno escreveu a célebre e terrível frase: "Escrever um poema após Auschwitz é um ato de barbárie, e isso corrói até mesmo o conhecimento de por que hoje se tornou impossível escrever poemas"[3], certamente não imaginava que a poesia poderia falar ou até gritar por meio do silêncio. O papel e o poder da poesia após os totalitarismos questionados naquela frase aparecem em vários poemas. A cisão entre "o poeta e a família humana", como mostra Miłosz em sua obra O testemunho da poesia[4], nascida da poesia que quer ser a religião para os eleitos, rejeitando a comunidade burguesa, desapareceu na poesia dos países da Europa Central e Oriental em função da necessidade de uma palavra poética que pudesse expressar o sofrimento indescritível, que foi comungado por todos os que foram tocados pela guerra e pelos totalitarismos. Seja como vítimas, testemunhas ou ajudantes dos perpetradores, a realidade cruel do século XX tocou a todos os habitantes das terras chamadas de Terras de Sangue pelo historiador Timothy Snyder[5]. Essa experiência deu como fruto a poesia que, diferente da simbolizada pela lua de Paulo Leminski (Lua à vista/brilhavas assim/ sobre Auschwitz)[6], participava diretamente dos acontecimentos. Palavras de Czesław Miłosz, Krzysztof e entre os poloneses exilados do seu país, Qorpus

"Life Without God Is Impossible”: On the Human Need of Metaphysics in Rozewicz’s Poetry

Something has changed in Rozewicz’s world, as poetry turns out to be helpless against modernity. It appears that in childhood, in times of clear moral order and of doubtless faith, the world was more friendly. But changes brought about by the war do not seem optimistic. People have learned to live as consumers, without art or God.
God’s absence in the world and in the protagonist’s life is one of the most prominent subjects of Rozewicz’s poetry, especially in his later collections. The question of Transcendence is not always linked to theology, but it is present in the poet’s whole work and it is a source of his constant struggles.
Although religion usually does not live up to the expectations, not helping a mature person to reach the Absolute, it is sometimes replaced by poetry, and sometimes by life itself. Experience and the new reality do not allow for simple relations with God, but there is something which makes leaving Him impossible as well. Memories, the surroundings, maybe He himself. Only, “the one I / was looking for above / is waiting down here.”
Rozewicz’s poetry tries to grasp the moment when the human being is looking for his/her new identity after the death of God, not ceasing to need metaphysics. However, such metaphysics must find for itself a new formula of reality, which makes one negotiate the understanding of humanity stretched between the old values and their nihilizing rejection.

TOWARDS THE POST-HUMAN BODY... POLISH POETRY AFTER 1989 IN THE FACE OF NEW MEDIA AND NEW REALITY

The subject of the study is to analyse, on the basic of contemporary young poetry, changes taking place in the contemporary world. They go together with the changes and modifications in contemporary culture resulting in the creation of a larger catalogue of domains included in the area of a widely understood notion of culture. There are also some fields that belong to it from now on (such a relationship exists at present e.g. between culture and technology, which seems to constitute certain novelty; technology accepted as an indispensable element of everyday life more and more often becomes a part of high culture as a from of artistic expression). Together with the aforementioned changes, the picture of contemporary literature and culture changes as well. Aesthetics also changes. The field defined by experts as aesthetics of new media (i.e. communications, IT, new-media, electronic, digital and design and design aesthetics, as well as video-image aesthetics) becomes more and more popular. The sore point seems to be a specific border between the reality of the real world and the virtual reality of media.
The answer to such a way of reality penetrating the minds of human beings who experience it comes from several phenomena, including but no limited to a visible change of world’s perception, characterized by slow limitation, and perhaps soon disappearance of tolerance for linearity of feelings. A linear order is disappearing and the role of individual sequence is being taken over by concurrency and multiplicity. The way of experiencing (reading) the text changes. It is nothing else but a gift from the computer age.. The world is perceived first of all by means of eyes. The process of absorbing the text starts to be convergent with mechanisms managing the absorption of communications illustrated with images and sounds, like information coming from television and computer programs, with increasing role of images and structuring a graphic layer of the text, which starts losing its transparency, whereas the aspects of its spatial organization acquire some degree of significance.
The analysis of contemporary poetry may allow for a conclusion that the written word in its traditional meaning gradually stops being a sufficient code. Not only transparency of the prose discourse, but also specific condensation being the property of the poetical language stops being a satisfactory means of expression, which in poetry leads to specific experiments, which assuming the form of attempts at making it more modern, are based first of all on following general fashion, on acquiring a sense of security from everything that is modern, as well as on emanating with references to terms coming from contemporary technical civilization. Attempts at replacing the traditional information channel with becoming similar to channels of different types (medial and multimedia channels) prove confidence of the contemporary man to state-of-the-art communications techniques, using images and sounds (television or radio communication), as well as techniques assuming a possibility of interactive participation in the creation of the form of a medial piece of art best suiting the recipient (simulation of programs and computer games). Together with the tendencies listed above there is a drive to shorten messages as much as possible, maximum condensation of meanings, and thus more and more clear iconicity in literature, which is supposed to contribute to that effect, using thought abbreviations, images, quotations and paraphrases of advertising slogans. Poems, assuming the function of quasi-documents, start to play documenting functions towards reality, they become similar to reportages, photographs etc. It is a proof of the changing world. At the same time, the poetic form becomes disintegrated, various genres overlap in a specific way, genres become contaminated with medial and multimedia formats. Poetry, entering into relationships both with genres originating at the border of literary kinds (epic and drama, e.g. a screenplay) and those belonging to medial and multimedia formats, coming from a different system in terms of structure (based on a screenplay, but using in equal proportions also images, sound, and first of all animation, e.g. films or computer games) becomes a non-homogenous form. Most of poetic works of that kind turn out to be amorphous creations, characterized with a high degree of heterogeneity. Intertextual relations taking place refer to texts of various kinds, both poetic texts, texts for film works, and spatially structured hypertexts. All that makes us refer to the issue of significance of relationship between the text and reality as well as possible mutual relations on that surface.
The plan of this study focuses on the analysis of the following phenomena occurring in contemporary poetry:
The dialogue with popular culture; a video-clip technique; On photography; Medial and multimedia poetics; Musicality of a literary work; On advertisements; Post-human body; On the trip nowhere (a category of the individual “stuck” to the place). The analysis will mainly regard a group of artists, whose poetry is referred to using the term “young”, and a significant turning point I will refer to is 1989 as the date preceding numerous poetic and prose debuts. I take into consideration works of the following poets: Jacek Podsiadło, Miłosz Biedrzycki, Artur Szlosarek, Mariusz Grzebalski, Maciej Melecki, Marcin Sendecki, Eugeniusz Tkaczyszyn-Dycki, Zbigniew Machej, Marcin Baran, Paweł Marcinkiewicz, Radosław Kobierski, Dariusz Sosnicki, Tadeusz Pióro, Tomasz Majeran, Grzegorz Olszański, Sławomir Matusz, Wojciech Kuczok, Jolanta Stefko, Marta Podgórnik, Julia Fiedorczuk, Anna Podczaszy, Paweł Barański, Adam Wiedemann, Wojciech Brzoska, Bartłomiej Majzel, Paweł Macierzyński etc.
The analysis covers all references to a widely understood “sphere” of inventions of contemporary technology, utilization of notions regarding or coming into intertextual discourse both with popular culture, including mass culture, an a quite abundantly represented group of contemporary authors of the anthropological thought. Observations of the poetry being currently created makes me distinguish its several characteristic features, out of which the most important ones in my opinion are as follows: clichéness and iconicity – using images to an equal extent as linguistic signs (letters), reference to and utilization of ready-made clichés in the form of images; non-homogeneity (heterogeneity) of signs. Frequently, apart from traditional linguistic signs (letters), signs coming from other structural and meaning systems (digits, images, graphic signs) are used. Entering into relationships with systems of signs used mainly by the techné sphere so far. Utilisation of signs and symbols reserved so far for such devices as a computer, telephone, or a video camera.
Any text enriched with those clichés somehow loses its linear character. It becomes a form of hypertext, or structural communication. It is a relation to the omnipotent and omnipresent influence of the computer technology, a piece of chain preceding the condition of poetry, when one of the elements co-constituting the structure of a poetic work will be simply a photo, a shot or a section of a film, whereas the hardcopy will be totally replaced with computer links. The reaction to the information noise bombarding us all around and a snapshot character of experiencing the world relating to it becomes also fragmentariness of poetic messages, reduction of the world presented to a sequence of notions-images constituted in a calculative order.
A contemporary poem more and more often becomes a kind of experiment aimed at depicting – as faithfully as possible – a specific way of perceiving the world with the eye “contaminated” by contact with mediatised reality, an experiment, which due to its character and a kind of operations made on a “tissue” of poetic communication could successfully be called quasi-medial// quasi-multimedia in nature. Among methods of that type repeating with the highest frequency we may distinguish: shaping of poetic expression based on poetics similar in terms of construction to the video-clip technique, characterized by high frequency of changes of the poetic images, snapshots, sensory character, and fragmentariness; following the technique of television communication, utilization of methods and terms characteristic for the technology of moving picture (film); constructing of the process of lyrical expression following the relation made by means of the eye equipped with modern tools of contemporary technical civilization (camera lens, digital camera, regular camera); making the process of expressing statements similar to the communication registered on a photographic film, as well as film, video or tape-recorder tape; purposeful imitation of various types of means used in mass media carried out most frequently by making the structure of a poem similar to particular television programs built on fixed composition patterns; construction of poetic expression based on a pattern of computer games; frequent references to the sphere of inventions of contemporary technology and multimedia and virtual reality, utilization of professional terminology.
Virtualisation regards and touches poetic reality. This notion can by successfully used with reference to young Polish poetry, and especially to the reality described in it. Blurred edges between art and everyday life have resulted in literature in creating a new model of poetry, which, by borrowing and using some of the props characteristic for non-poetic reality, constitutes a tangible proof of transformations that the world available to the present cognition and experience has gone through.

Experience and Hermeneutics. Papers on Non-contemporary Polish Poetry
A methodological basis for this book is hermeneutics (especially works of P. Ricoeur and H.G. Gadamer) which is one of the most important models of scientific discourse in literary studies and, more broadly, in the humanities. In her work the author discerns an axiological aspect of interpretation and its functional union with an understanding lecture. A hermeneutic of a person which is proposed in the book has been opposed to trends of deconstructive models of reading prevailing nowadays and has been made similar to an approach of e.g. late semiotic works of M. Bakhtin. For her description of the latest literary achievements the author shows a tradition of Romanticism and its conceptualizations formulated in the works of theorists and historians of literature (e.g. Cz. Zgorzelski, M. Maciejewski, M.H. Abrams, Ch. Taylor, H. Friedrich) as both cultural and aesthetic turning point.
A group of terms related to interpretation (e.g. personal identity, intimacy, lyricism, recognition, affirmation, integration, importance of simplicity, distant context, distinguishing, credibility) have been presented in the introduction and in the first chapter of the book (Lyricism and Models of New Poetry of Nowadays). In the next two chapters (New interpretations, Towards Meditation, towards epiphany) the terms were used to describe a multitude of phenomena of 20th and 21th century poetry. These are canonical works (of such authors as J. Iwaszkiewicz, A. Wat, W. Sebyła, J. Czechowicz, Cz. Miłosz, M. Białoszewski, J.S. Pasierb, J. Pollakówna, T. Ferenc) as well as the recent ones (of e.g. R. Krynicki, R. Honet, A. Szlosarek, E. Tkaczyszyn-Dycki); and – as a context – a work of R.M. Rilke (Malte). In the fourth chapter (Experience united) the problems of the book have been extended by an aspect of  academic propedeutics.

Anna Świrszczyńska (1909-1984) já é conhecida pelo leitor brasileiro do livro Eu construía a barricada (2017). Além da autora daquele testemunho poético potente também foi uma das mais importantes poetas femininas e feministas da Polônia. A seleta aqui apresentada não contempla os mais importantes dos poemas feministas de Świrszczyńska (com exceção, talvez, do poema "Coragem"). A ideia, ao contrário é mostrar os poemas que não sejam grandes manifestos da autora, excetuando-se novamente o poema "Coragem". Muito pelo contrário, são poemas que dispensam ao assunto das mulheres uma atenção cotidiana, quase prosaica. Em palavras simples e concisas a autora expressa os dramas e as realidades femininas. Coloca o assunto "mulher" no centro das atenções e aumenta assim os limites do mundo apresentados pela literatura.

W części trzeciej Zasłony, zatytułowanej Iść ku duszy rzeczy, Milan Kundera snuje rozważania o "powieściach, które myślą". Aby wyjaśnić swój koncept, odwołuje się do dzieł Hermanna Brocha i Roberta Musila. Wiemy dobrze, że obaj pisarze wprowadzili do swoich utworów partie refleksyjne, a nawet rozbudowane teksty eseistyczne (jak Upadek wartości włączony do Lunatyków Brocha). Za ich sprawą epika uległa eseizacji, otworzyła się na różne formy dyskursywności i wchłonęła je. Ale w pojęciu "myślących powieści" idzie o coś więcej, a mianowicie o to, że myślenie obecne jest w nich nieustannie; miejscem, w którym wydarza się myśl, staje się każda forma podawcza-opowiadanie o zdarzeniach, opis miejsca czy charakterystyka postaci. Ta konstatacja funduje mocną, wartościującą opozycję literatury i filozofii. Otóż, jak dowodzi autor Nieznośnej lekkości bytu, refleksja powieściowa nie ma nic wspólnego z refleksją naukowca czy filozofa; powiedziałbym nawet, że w swej intencji jest afilozoficzna, wręcz antyfilozoficzna, to znaczy skrajnie niezależna od wszelkiego narzuconego systemu idei; nie ocenia; nie głosi prawd; przepytuje, dziwi się, bada; może przybrać najprzeróżniejsze formy: metaforyczną, ironiczną, hipotetyczną, hiperboliczną, aforystyczną, zabawną, prowokującą, fantazyjną; a zwłaszcza: nigdy nie porzuca magicznego kręgu życia bohaterów; to życie bohaterów żywi ją i usprawiedliwia 1. Literatura (a konkretnie powieść, którą Kundera uznaje za najważniejsze wcielenie ducha Czasów Nowożytnych) okazuje się zatem bardziej filozoficzna niż sama filozofia; ponawia fundamentalne

Zbigniew Herbert's "Pan Cogito" in German. Remarks on imperial translation This short analysis of Karl Dedecius's work, especially of his translations, and German-language edition of Zbigniew Herbert's Cogito-poems focuses on aspects of literary translation that might be described as imperial-like the claim of totality and monumentality (manifesting itself e.g. in multi-volume anthologies or in the founding of institutions) or a "freehand" approach to the source-language material relying on the translator's interpretation and its intended effects in the target culture. The correspondence between Dedecius und Herbert shows that such translational attitude from the poet's point of view does not necessarily have to be disadvantageous, but under certain circumstances can lead to tensions between the poet and the translator.