In Marcin Sendecki’s book Opisy przyrody (Descriptions of Nature), published in 2002, there is a minimalistic poem called “Czynności” (Activities). The two-line poem is dedicated to “Świe” (do we dare decode this as short for Świetlicki?) and runs as follows: “Jaki świetny świat. (...)
– a concept imported from cinematography into literary life – a short film promoting a book. It is composed of dynamically edited images, with information about the author and the book itself, and often arrayed with advertising slogans. (...)
– the word was invented by the American poet and art critic Gelett Burgess (1866-1951), though the practice to which it refers existed much earlier. Burgess wrote chiefly humoristic and nonsense verse; his works included the popular “Purple Cow” (translated into Polish by Stanisław Barańczak). (...)
Stefan Szymutko, as can be judged from declarative statements found in some of his writings, never wanted to be a “literary theoretician,” understood (very selectively and unfairly) as someone who in Heideggerian terms “talks away” the work of literature, keeping its truth from being voiced. (...)
Intersemiotic translation, alongside intra- and interlingual translation, was one of the three types differentiated by Roman Jakobson in his famous article “On Linguistic Aspects of Translation,” and was meant to encompass a translation situation in which a transfer takes place between two different semiotic systems – natural and machine language, literary text and image, image and sound, etc. (...)
The Poetics of the e-Novel
The bold, world-creating ideas of Jacek Dukaj and their bravura execution have made readers of his prose (most prominently, Lód [Ice]) begin to ask themselves more or less the following questions: “What will he think of next?” or “How far is he going to go?” These questions concern his work purely in terms of their literary qualities: the way he shifts the boundaries of what is imaginable, and shifts human language toward the boundary of the Other. (...)
A funny thing happened when I was flipping through my PDF of Genette’s Paratexts. I was scrolling through the “pages” when suddenly, around page 160, the PDF stopped displaying text. The next three hundred pages were blank. (...)
Practices of addition? Perhaps better the reverse: practices of subtraction? What happens when Różewicz adds on? Does that addition add a sum susceptible to calculation, or does it rather engender differences? And how do those differences work? (...)
It is a truism to state that film culture, from the very earliest stages of its development, intersected with literary culture on many levels. The latter often functioned as an educator in this scheme (suggesting, among other things, storytelling conventions, narrative strategies, and dramaturgic devices), or supplied history (a gigantic realm of adaptation issues), but also worked as a mirror in many areas exceeding the bounds of the work of art itself (one example among many could be reflection on the audience for literature and film). (...)
