Trzynasty tom „Przekładów Literatur Słowiańskich” stanowi kontynuację tematu badawczego realizowanego w tomie jedenastym – Modernizm w przekładzie. Zajmowała się nim grupa niemal trzydziestu badaczy z kilku krajów (Bułgarii, Chorwacji, Czech, Polski, Rosji, Serbii i Słowenii) w ramach programu Ministerstwa Nauki i Edukacji pod nazwą „Doskonała nauka” (moduł: Wsparcie konferencji naukowych). Wspólnie z Tamarą Brzostowską-Tereszkiewicz, wybitną polską przekładoznawczynią i znawczynią modernizmu, autorką koncepcji tematu konferencji, dokonaliśmy rozeznania w środowisku naukowym w poszukiwaniu osób, które zajmują się zarówno przekładami z literatur słowiańskich, jak i szeroko rozumianym modernizmem – postanowiliśmy bowiem dać badaczom wywodzącym się przecież z różnych środowisk, kultur i tradycji swobodę w rozumieniu i definiowaniu tego niejednoznacznego terminu. Niestety wybuchła epidemia. Środków, które miały nam ułatwić realizację badań, a które miały być przeznaczone na przygotowanie konferencji, nie byliśmy w stanie wykorzystać. Część naukowców, która początkowo, przed epidemią, deklarowała udział w badaniach, złożyła rezygnację. Planowaną konferencję dwukrotnie odwoływaliśmy z powodu ograniczeń pandemicznych i udało się ją zorganizować dosłownie w ostatniej chwili, we wrześniu 2022 roku, w ostatnim miesiącu trwania programu (2020–2022). Łącznie z deklarowanych trzydziestu tekstów udało się opublikować dwadzieścia trzy artykuły. Refleksja objęła kilka kulturowych i językowych kontekstów, które wymienię w porządku alfabetycznym: amerykański, bułgarski, chorwacki, czeski, irlandzki, litewski, niemiecki, polski, rosyjski, serbski, słowacki, słoweński, serbski oraz ukraiński. Ponadto dotyczyła wszystkich trzech rodzajów przekładu wyróżnionych przez Romana Jakobsona, a mianowicie przekładu wewnątrzjęzykowego, międzyjęzykowego i intersemiotycznego.

This article addresses the category of time as one of defining features of modernist literary translation. Against the background of Western European high modernist theories of translation, the temporality of an intercultural and interlingual encounter is viewed predominantly in terms of historical poetics and interstylistics. Drawing from Central and Eastern European conceptualisations of literary translation as a shift in spatialized time, the article considers the translators’ intertextual operations as important means to travel through historical literary traditions.

Bezludnaya ballada (2006) is a comprehensive collection of Russian translations of the major Polish modernist author Bolesław Leśmian. The book is equipped with graphic works by important Polish artists who were Leśmian’s contemporaries. However, the potential connected to such a double cultural transfer is underplayed by the editor and publisher, Andrei Bazilevsky. The aim of the article is thus to examine whether the volume is indeed composed as a meaningful bi-semiotic complex, among other things, whether particular illustrative choices are felicitous, and to what extent the recipients have a chance to taste the Polish modernism in a double dose.

On March, 11, 1937 the Polish Radio broadcasted the radio play based on Aeschylus’s tragedy titled Prometheus bound. Stefan Srebrny, the professor at the Stefan Batory University in Vilnius at the time, was responsible for this radio play. He was a well-known academic and translator. While preparing for the radio play he used the translation given by Jan Kasprowicz, one of the greatest Polish poet at the turn of the 20th century. The recording did not survive the World War II, but we still have the translation by Kasprowicz on which Srebrny made notes while preparing the radio play which gives us at least some insight both on the radio play itself and the work of an academic and translator who had to struggle with the legend of the one of the greatest poets.

The article addresses the controversies that accompanied the Bulgarian editions of Stanisław Przybyszewski’s oeuvre, mainly in 1910s and 1920s. The first part looks at the disputes around quality and fidelity of the translations of his works, with particular emphasis on the Homo sapiens trilogy and the essay On the Paths of the Polish Soul. The second part examines a mysterious issue of one-act play, Around the woman question, signed as a “bulgarized translation” of Przybyszewski’s drama, made by Alexander Simeonov.

The paper raises the question of the role of Biblical tradition in the transfer and adaptation of modern ideas in cultures rooted in Eastern-Orthodox tradition. The subject of reflection is the narrative about St. Clement of Ohrid, the most famous disciple of SS. Cyril and Methodius, and its various literary paraphrases during the interwar period in Bulgaria, in the context of modernist reading of the Bible, as well as the ambivalent experience of secularization among the local intellectual elites.

Sad Sam Lucky is a solo performance by the choreographer and performer Matija Ferlin, conceived as part of his ongoing non-dance-like and non-theatrelike conceptual project Sad Sam, which started in January 2004 in Amsterdam, where the first part of this pseudo-durational piece was premiered. Ferlin’s performance Sad Sam Lucky is somewhat specific in the author’s oeuvre, mainly because it assays to become a physical response to the work of the Slovenian avant-garde poet Srečko Kosovel (1904—1926), translating it and transposing it at the same time, in-between languages and dialects (Slovenian, Croatian, Istrian, and/or English), and in-between performative regimes (embodied response and a pseudo-recital). Kosovel’s confessional poetry, i.e. profound, contemporary, tense in its stylistic imagery, and, at the same time, almost revolutionary in its ideas, is therefore being performed as a live matter of language, driven by Ferlin’s
main idea — not to do theatre, not to do dance, not to translate, but to trans-body Kosovel’s verses, and his melancholic prophecy, thus creating a form of a highly physical, turbulent and emotional homage to this very unique avant-garde author.

Among many contacts and similarities between Croatian and Polish cinematic and literary modernism, it is quite interesting to note that Zrinko Ogresta adapted the writings of Marek Hłasko in his feature film Washed Out (Isprani). The comparison of Ogresta’s film to the literary source, The Eighth Day of the Week (Ósmy dzień
tygodnia), before any extensive discussions of wider context, should ascertain the answer to a more elementary question — how close is the story of Ogresta’s film to its Polish literary inspiration?

DB Indoš and Tanja Vrvilo — House of Extreme Music Theater work with material from the Croatian historical avant-garde scene in all their performances of exhausting, physical theater, which they approached through the Zagreb circle of zenithists, “through Kamov and Čerina as predecessors of the Futurists (but not the Marinettists), and their influence on the literary-revolutionary circle of rebellious youth. Some of them
included August Cesarec, Đuka Cvijić, Zora Ruklić and members of their ‘Republic of Stenjevac’, members of the Zagreb group Zenit, the lyrics of a visionary film through the books of Ivan Martinac, concrete poetry by Josip Stošić and the silent art that we ‘shachtophonize’ for our parallel performance canon” (Vrvilo 2020). Their systematic work on the performance and reactualization of the neo/avant-garde can be defined, by using Roman Jakobson’s definition, by intersemiotic translations (cf. Munday, Ramos Pinto, Blakesley 2022: 9) into musical theater which, in their example, is based on manipulating sound objects/installations/sculptures with the cut-up technique of original texts into schachtophone scores (moving away from music notation to graphic notation) for schachtophone music, all through the vision of the performance of exhausting (physical) theater with Indoš’s constant dedication to Artaud’s theater of cruelty, the alchemical theater of pre-logic and pre-rationality, a theater that, as a magical ritual, can lead to the healing of society.

In my article I will mainly focus on the influence of publishing policy on the reception of Russian prose of the 2000’s (проза “нулевых”) in Poland. How much, how and why did the reception of the literature change during that period? The choice of the first decade of the century is not accidental. According to various experts (cultural, economic, political, etc.), this was a small era of a kind of peaceful coexistence between Russia and the outside world, a kind of restart, zeroing, an interval of detente between political tensions, a period of emerging from Russia’s isolation and a desire to fit into the Western context. However, the interest was mutual. Many countries, including Poland, wanted through literature, which at that time was perceived as a “documentary”, to get acquainted with a complex multi-structured country again.

The article presents the strategies for describing the phenomenon of translation in the post-Yugoslav literature of exile, referring to the concept of born translated literature by R.L. Walkowitz and perception of the role of translation in contemporary culture by B. Bachmann-Medick and Mieczysław Dąbrowski. The author presents selected translation strategies of post-Yugoslav writers who play the role of their own translators and describe the experience of otherness, exile and translation.

This paper deals with the contribution of Dušan Karpatský (1935—2017) to the reception of Croatian literature in the Czech Republic, and Czech literature in Croatia since the 1960s until the present day. In his numerous translations, Karpatský worked tirelessly to introduce Czech readers to the achievements of Croatian (and
Yugoslav) literature, and vice versa. By selecting texts for his translations that were as current as possible, and by meeting high aesthetic criteria, made him influential in both cultural milieus where he played the role of an intermediary. His work in lexicography, bibliography, history of literature and non-fiction is also of great importance. His research has made Croatian culture permanently indebted to him because he discovered
and translated into Croatian the Prague Papers, written in Czech by the Croatian politician Stjepan Radić, and because he discovered a seven-language dictionary written by the Prague Benedictine monk Peter Loderecker, which was based on a five-language dictionary written by Faust Vrančić. Owing to all of the above, and much more, Karpatský is considered a key figure in literary and cultural communication between Croatia and the Czech Republic in the last six decades.