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My autumn, the sore legs of my mother, the public houses of my Lublin friends. Eugeniusz Tkaczyszyn-Dycki and imitating nothing The article – which is an abridged version of a paper presented on a conference devoted to new views on the category of realism – has two aims. Firstly, to think over the traditional way of formulating the effect of reality as something that is placed inside a literary work of art. Starting from theoretical identifications of a broadly understood poetics of reception, the author tires to show that it is the reader who is responsible for creating this effect, also because he possess the extratextual knowledge about the text, which it cannot be eliminated from the act of interpretation. In the analytical part – and this is the second aim of the article – the author undertakes an attempt of checking his theoretical intuitions in confrontation with poetry by Eugeniusz Tkaczyszyn-Dycki from the tome A song about dependencies and independencies (Piosenka o zależnościach i niezależnościach) which is exceptionally strongly marked with both autobiographical context and figurization aimed at blurring it.

An unfaithful phrase. Semantics of the enjambment in Mieczysław Jasturn’s translations of Das Buch der Bilder by Rainer Maria Rilke The article discusses a broadly understood relation between the translation of a poetic text and versification. Assuming that reading a poem (as well as its translation) is always an interpretation that heavily depends on the reader’s activity, his choices and intentions, and assuming that the prosodic shape is an important sensemaking factor, the author of the article tries to show how the title “unfaithfulness of a phrase” – translator’s incorrect reading of the source text’s prosody (in Bloom’s understanding) – might influence the shape of the reader’s perception of the text and thus become an important factor of the poetic semantics. Assuming the asymmetric paradigm of the theory of a poem, the author does not focus on the metrical size nor the poetic rhyme (as it is frequently done in older papers) but on those aspects of a poem (like enjambment or the graphical shape of the text) that used to be marginalized, and which – if viewed from the perspective of the reader – are easier to notice than intertextual qualities of the meter that require familiarity with versification rules.