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An article devoted to the categories of lack, deficiency, disruption and deformation in The Broken Little Man by Roland and Nicolas Topor in the context of neo-avant-garde activities and the theory of surrealism. The problems of visual poem collages and their spatial values, unfinishedness as a formula organizing the existence of the text, as well as distortions as defense mechanisms are discussed. [ABSTRACT FROM AUTHOR]

Sobieraj focuses on the figure of Edmund Miller, a forgotten writer and poet of the interwar period (1920s-1939), presenting his creative life in relation to his cooperation with Polish constructivist artists. Miller’s poetry, though scarcely preserved, is read in the context of artistic trends such as Futurism, Constructivism and Dadaism. Sobieraj draws attention to the poems’ experimental form, their graphic innovation and connection to visual poetry. [ABSTRACT FROM AUTHOR]

Autor przedstawia w zarysie zagadnienie wizualności poezji polskiej w okresie międzywojennym. Omawia przemiany awangardowe w kulturze europejskiej początku XX wieku ze szczególnym uwzględnieniem narodzin poezji wizualnej w kręgu futuryzmu i dadaizmu. Dokonuje klasyfikacji utworów lirycznych w zakresie podjętej problematyki, wskazując na ich związki ze sztukami plastycznymi. Do najważniejszych typów poezji wizualnej zalicza wiersze: figuratywne, werbalno-ikoniczne z elementami graficznymi jako intekstami i typograficzne. Na przykładzie tekstów Tytusa Czyżewskiego, Stanisława Młodożeńca, Anatola Sterna i innych przedstawia różnorodne sposoby wizualizacji wiersza w praktyce twórców awangardowych.

The article explores the connection between Julian Tuwim's oeuvre and the concept of liberature. Coined by Zenon Fajfer in the 1990s, the term liberature accentuates the visual and spatial aspects of a literary text and highlights the fact that the meaning of a text depends on its material form. The author reconstructs Tuwim's approach to formal experimentation related to the spatial and visual aspects of a text. To this aim, he analyses Pegaz dęba (written before 1939, first published in 1950, and republished in 2008), whose manuscript survived the war in a suitcase buried close to Tuwim's house. The book is a collection and study of various genres and other forms of artistic expression which showed liberary features long before the term was coined. Ranocchi argues that although Tuwim treated what is now called liberature as an insignificant and marginal curiosity, he nevertheless defined it as an area of interest for both literary historians and writers. Thus, Pegaz dęba can be seen as the first Polish attempt to systematize the literary works that have more recently been labelled as liberature and as such won critical acclaim. [ABSTRACT FROM AUTHOR]

The paper focuses on the methodological approach to the problem of translating experimental poetry. The presented analysis is based on three texts: Julian Kornhauser's Przekład jako objaśnienie (O tłumaczeniu poezji konkretnej) from 1983, Jerzy Jarniewicz's Tłumacze na urlop! and Leszek Engelking's Konkretne decyzje tłumacza, both from 2006. Each of these three articles includes a translative strategy towards the concrete poetry. The term, in narrow meaning, can be used to describe the worldwide movement founded simultaneously in Switzerland/ Germany (by Eugen Gomringer), Sweden (by Őyvind Fahlstrőm) and in Brazil (by the Noigandres group - Haroldo and Augusto de Campos and Décio Pignatari) in the early 1950s. The movement itself represents a form consisting of both verbal and visual elements and, in consequence, unites the distinctive marks of poetry and painting. With a vague status of a hybrid, as well as the experimental character, this specifi c genre is situated beyond the traditional categories of analysis and interpretation. Despite the confusion in terminology, though, there is fundamental requirement which the various kinds of concrete poetry meet: concentration upon the physical material from which the poem or text is made. Considered as an object, the concrete poem causes a fundamental problem in the frames of the translatology. The concrete poetry interpreters and researchers are disunited on the question of its translatabilty. Julian Kornhauser distinguishes the two major kinds of the concrete poem - a "poster-poem" and the "non-poster" one, the latter allowing or even requiring a translator's intervention. The "poster-poem", owing the complicated visual structure, cannot be translated. Jerzy Jarniewicz defi nes the entire concrete poetry as untranslatable, classifying it in the terms of the visual arts. Leszek Engleking presents a contrary view, which considers a translator as an interpret who promotes the experimental forms of poetry in the new literary context. The author of this paper attempts to put these methodological concepts into translation practice, examining the concrete poems of Eugen Gomringer, Friedrich Achleitner, Gerhard Rühm, Hansjörg Mayr and Jiří Kolář among others. While the most signifi cant component of the concrete poem is language itself, treated predominantly as a graphic structure, the translation strategies can differ signifi - cantly. The analysis evokes its internal status, which appears to be miscellaneous from different perspectives, as it initiated an interdisciplinary genre by searching for new artistic horizons. [ABSTRACT FROM AUTHOR]