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In this article, I use my experiences in writing about the transnational history of Sesame Street to point toward ways forward for researchers interested in investigating entangled European broadcasting histories. I will point to places where I found European interconnections in journals, committees, and festivals and consider what the availability of these published and unpublished sources has meant for my inquiries. I will also explain how I used a specific content-management software (Tropy) to 'hack' and go beyond the national boundaries encoded in the archival collections I used. Finally, I suggest that perhaps it is not audiovisual material broadcasting archives first and foremost need to make available in digital formats if we want to further boundary-crossing television history; instead, I believe that the possibility of sharing selfdigitized printed material should be a particular focus in the future. [ABSTRACT FROM AUTHOR]

The story of Princess Antonomasia is one of the relatively autonomous tales interpolated into the string of adventures centered round the title character of Don Quixote. The fact that the Princess is named after the rhetorical device of antonomasia (pronominatio), well known from ancient and early modern textbooks (Cicero, Quintilian, Erasmus, Juan Luis Vives, Cypriano de Soarez), is also one of the many signals alerting the reader to the multilevel significance of names and naming in Cervantes' fictional world. So, in this case, Antonomasia functions as a regular proper name and, once its figurative potential is factored in, as an alias, hiding or replacing the Princess's real name. In Don Quixote Cervantes uses antonomasia, i.e. the trope of calling a person by a descriptive tag different from his or her given name, not only to multiply new, straightforwardly appropriate epithets, but also to open to metaphor, metonymy, synecdoche, allegory, irony or paradox. [ABSTRACT FROM AUTHOR]

Stemming from philosophical standpoints, which locate ‘passion’ in the realm of thought (Marcus Eremita, René Descartes, Hannah Arendt), this article endeavours to prove that passionate thinking was the basis of Stefan Żeromski’s creation of his own textual space of intimacy, namely journals. Because he made the phenomenon of passion the subject of this thinking (he learned the characteristics of this passion mostly from his own intimate experiences with women, and he verbalised it), the article exposes the understanding of this phenomenon by the writer, through an analysis of stylistic tropes in his journal entries. It becomes apparent that a verbal visualisation of passion brought with it an evolution of tropes he particularly favoured in creating an image of passion: similes and metaphors. These have been semantically deepened by the construction of certain enclaves of stylistic devices, which not only brought together their differing types, but most importantly accumulated them. The end result of this mechanism are suggestive images, through which Żeromski managed to verbally illustrate passion. [ABSTRACT FROM AUTHOR]

The author proposes a new critical model of translation analysis: the method is based on translation tropics - an idea by Douglas Robinson presented in his book Translator's Turn - but it has been vastly modified and extended. Five tropes (irony, metonymy, synecdoche, hyperbole and metalepsis) describe five types of translators and their affective motivations for translational decision making: translator's affects toward the Other of the source text and culture. The article offers deeper insight into one of the tropes, i.e. metonymy. The analytical part presenting a practical gain from this theoretical tool is based on alphabetical translations of Charles Bernstein's work made by Peter Waterhouse and his VERSATORIUM group. [ABSTRACT FROM AUTHOR]