(expected in June 2020:) "Des Lettres de la religieuse portugaise aux Nouvelles Lettres portugaises : la conquête de la solitude à l'aube de l'âge moderne et son palimpseste féministe" ["From the Letters of a Portuguese Nun to New Portuguese Letters: the conquest of solitude at the dawn of the modern age and its feminist palimpsest"], Colloquia Comparativa Litterarum, vol. 6/2020. ISSN 2367-7716
Intertextual relation between the Letters of a Portuguese Nun attributed to Guilleragues and New Portuguese Letters written by Maria Isabel Barreno, Maria Velho da Costa and Maria Teresa Horta is analysed as an adaptation to the changing cultural conditions of the epoch. In the 17th-century version, the female figure goes through a process of egotistic revitalisation. The disaster of a love relationship, just like a shipwreck in the essay of Hans Blumenberg, leads to radical individualisation and a conquest of solitude, a process that characterises the dawn of the modern age. To the contrary, the adaptation of the same literary figure by the Portuguese feminist writers appears as a reaction against the female solitude at the end of modernity. It is rather a “we” that is revitalised as a new experience of a couple or a community inhabiting a Utopian “house of females”.
“Une traduction qui fait un manifeste. Art poétique de Verlaine et Sztuka poetycka de Miriam” [“A translation that makes a manifesto. Art poétique by Verlaine et Sztuka poetycka by Miriam”], Romanica Silesiana, no 12/2017, p. 270-277. ISSN 1898-2433 (print); 2353-9887 (electronic).
The Polish translation of Verlaine's Art poétique marks an important step in the process of acquisition of the symbolism as a new paradigm of poetic creation. The analysis presented in this paper puts in the limelight the problem of positioning the translated text in the receptive literary system. The analytic proposal implies the employment of the term “embeddedness” originally introduced by the historian Karl Polanyi to render the implication of the non-economic factors in the process of production. Analogically, the production of the literary texts is conditioned by factors situated at the frontier of literature. Those wishing to adopt a foreign aesthetics must vanquish the resistance of the local, traditionalist context. As the result, the translation is “embedded” as a manifesto, even if Verlaine's Art poétique is a parody of the genre and an expression of the poet's creative doubts rather than a truly prescriptive text. The auto-parodic dimension of the original poem disappears in the Polish translation by Miriam that becomes a rigorous ars poetica.
“Le ruban de Möbius. Pour un modèle topologique de la continuité créatrice dans le monde méditerranéen” [“The Möbius strip. Towards a topological model of creative continuity in the Mediterranean world”], Prace Komisji Neofilologicznej Polskiej Akademii Umiejętności, vol. XIV, 2016, p. 71-81. ISSN 1731-8491
The article deals with the problem of creative continuity in the Mediterranean region, often seen rather as the discontinuous space of the Huntingtonian “clash of civilizations”. As counter-examples of such a vision, numerous writers who deliberately sought for a double, oscillating identity are mentioned: Driss Chraïbi, Edmond Amran El Maleh, Jean-Marie Gustave Le Clézio, Juan Goytisolo, Abdelwahab Meddeb. The main aim of this essay is to propose a “geometrical” way of conceptualizing the paradoxical character of the Mediterranean continuity, using the topological model of the Möbius strip, previously brought into the domain of humanities by Slavoj Žižek, together with other tools created in the context of post-modern philosophy and cultural criticism, such as the Derridean notion of khōra.