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O artigo consiste na análise da receção da prosa de Olga Tokarczuk em Portugal e no Brasil, bem como na análise comparativa do romance Prowadź swój pług przez kości umarłych nas traduções para o português no padrão europeu e no brasileiro, efetuadas por Teresa Fernandes Świątkiewicz e Olga Bagińska-Shinzato.

Copyright of Perspectives on Culture / Perspektywy Kultury is the property of Jesuit University Ignatianum in Krakow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Iberystyczne is the property of Ksiegarnia Akademicka Sp. zo.o and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the last twenty years, the publication of original novels broadly categorized as "ecofiction" signals the emergence of a new sensibility in many cultures. The fil rouge running through these catastrophic scenarios seems to be the annihilation of men persecuted by unexpected predators: women and nature. This paper aims to investigate the trend reflected by these rebellious heroines allied with natural elements that occur systematically in numerous works of the Polish writer Olga Tokarczuk. Considering as examples some of the Polish author's novels, like Primeval and Other Times (1996), Drive Your Plow Over the Bones of the Dead (2009), and stories such as The Ugliest Woman in the World (2001) and Transfugium (2018), this article seeks to analyze these transgressive female characters through the theoretical approaches of ecocriticism, ecofeminism, and Monster Studies and highlight their challenge to the anthropocentric and androcentric viewpoints, aimed at liberating all minorities from oppression. [ABSTRACT FROM AUTHOR]

Artykuł dotyczy refleksji nad przekazywaniem zwierzęcego doświadczenia w tekstach literackich. Skupia się na „czułości” jako kategorii metodologiczno-literackiej wprowadzonej przez Olgę Tokarczuk i analizuje jej funkcjonowanie w powieści Prowadź swój pług przez kości umarłych. Takie próby poszukiwania języka Innego kierują ludzki podmiot w stronę międzygatunkowego współbycia i współodczuwania, a gest narracyjnego otwierania się na doświadczenie zwierzęcia staje się majeutyczną metodą przekazywania tego, co zwierzęce i nieświadomie. Podjęta zostanie również próba refleksji nad tym czy narrator oddający głos zwierzęciu nie uzurpuje sobie prawa do przekazywania zwierzęcego doświadczenia.

The article asks whether the concept of tenderness as understood by Olga Tokarczuk has dogmatic-legal and heuristic potential, and whether, therefore, it allows for an in-depth characterization of the world of legal obligations. The argument carried out includes four steps. In the first of Tokarczuk’s Nobel speech, the theoretical, literary and philosophical foundation is recreated, enabling the implementation of the concept of tenderness in jurisprudence. In the second step, on the basis of narrative theory and phenomenologically oriented hermeneutics, analogies of the concept of care as understood by Ricoeur and tenderness as understood by Tokarczuk are explored. The similarities and differences shown are intended to clarify the perspective of application of the discussed concept, among others: in the theory of contract law, both from the perspective of reciprocity and the unilateral “logic of gift”. The third step involves the identification of further branches of law in which the legal language could be enriched by the introduction of the dogmatic concept of tenderness, with particular emphasis on general clauses and vague phrases such as “due tenderness” (parental, marital) or “gross callousness”. In the fourth step, the concept of tenderness and a tendernarrator as understood by Tokarczuk is transferred to the field of legislative theory. Therefore, analyzes of the characteristics of a tender legislator developing the “grand narrative of law” are undertaken. The figure of an omnipotent legislator creating abstract and general legal norms, generating a community of responsibility, sets the broadest horizon of the considerations carried out, revealing further possible associations of the discussed concept in the philosophy of law. [ABSTRACT FROM AUTHOR]

Celem artykułu jest zbadanie recepcji Biegunów Olgi Tokarczuk w hiszpańskojęzycznym kręgu kulturowym w oparciu o teksty dziennikarskie opublikowane na przełomie 2019 i 2020 roku. Zbadano łącznie 29 tekstów o różnym charakterze, głównie recenzji. Teksty poddano analizie pod względem zawartości i słów kluczy. W omawianych artykułach zaobserwowano dwie tendencje w sposobie odczytywania powieści: lekturę biograficzną i uniwersalną. Wykazano, że Tokarczuk została dostrzeżona w Hiszpanii dopiero po otrzymaniu Nagrody Nobla i zaczęła być traktowana jako odkrycie i nowy głos kobiety w literaturze europejskiej.

This article analyses the influence of Franz Kafka on contemporary writers who engage with the climate emergency, focusing in particular on the Australian writer Richard Flanagan and the Polish author Olga Tokarczuk. This transnational corpus is warranted not only by the scale of the crisis, but also by Kafka's status as a writer whose work refuses to sit neatly within the borders of a nation or 'Nationalsprache'. The article details both writers' direct allusions to Kafka, and — under the rubrics of 'bounds', 'scales' and 'parables' — identifies aesthetic techniques they adopt and adapt from his work. These include a disruption of the inside and outside of texts, the rendering of complexity in pithy or parabolic form, and a concern with the mechanisms of denial. The extent of this engagement with Kafka, I argue, suggests that his literary models are uniquely useful in the struggle to give form to the 'Anthropocene'. [ABSTRACT FROM AUTHOR]

This article draws on the refined techniques of literary interpretation brought to the Cervantes studies by John J. Allen's Don Quixote: Hero or Fool (1969), but refocuses its attention from the problem of Quixote's character to 'bizarreness' - an aesthetic category that can be found at the root of the confused, incongruous perception of reality in the fictions of Cervantes and the contemporary Polish author Olga Tokarczuk. In Chapter 18 of Part Two of Don Quixote Don Lorenzo calls the knight errant 'loco bizarro'. The translations of this phrase reveal a striking polyvalence of the Spanish adjective bizarro when compared to bizzarro (in Italian) and bizarre (in both French and English). A close analysis of the following chapter shows that the author contextualizes the preceding events within a narrative perspective marked by empathy and understanding rather than authoritative categorization, i.e. a type of narration discussed by Olga Tokarczuk in her 2019 Nobel Lecture "The Tender Narrator" and identified as 'bizarreness' in her Opowiadania bizarne [Bizarre Stories]. [ABSTRACT FROM AUTHOR]

“Love and mercy are concepts that in great philosophical, worldview, and religious systems have been functioning in the world for two thousand years. In some sense, tenderness is tiny in comparison” – with these words Piotr Gliński the former Polish Minister of Culture and National Heritage reacted toOlga Tokarczuk’s Nobel Speech. Gliński’s charge against Tokarczuk stems from amisunderstanding of her intentions. It was precisely the lack of rooting in the history of philosophy, the impossibility of embedding tenderness in a specific religious system, and freedom from ascribed meanings and associations that made Tokarczuk choose tenderness. Understanding tenderness as empathy and recognizing fellow sufferers in oneself reflects how Tokarczuk makes literary use of Eastern philosophy. [ABSTRACT FROM AUTHOR]

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Olga Tokarczuk’s texts became eagerly translated even before she was honoured with the Nobel Prize. As a result, many literary translators have dealt and continue to deal with her texts. This paper will be an attempt to investigate reasons for co-working between translators, to analyse how these relations are oriented and what the benefits of such relations are. The research is based on the outcomes of Sharon O’Brien and Marcel Thelen concerning collaboration and cooperation between translators and on research material recorded at conference: Translating the Future Finale: A Flight of Tokarczuk Translators. O’Brien’s and Thelen’s conclusions are expanded with subcategories which gives a better perspective on the motivation for collaboration and cooperation between Tokarczuk’s translators. Co-working gives translators a sense of support, which is reflected in the quality of the translated text.

Copyright of Miedzy Oryginalem a Przekladem is the property of Ksiegarnia Akademicka Sp. zo.o and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gender theory concerns most areas of woman‘s existence in a society and an artistic text is one of many subject manifestations, which may and is likely to influence public opinions. After the period of literature dominated by heroines fighting for the rights, the woman­‑provocateurs came to set free not only their bodies, but also their souls. Apart from the male–female relations (gender theory), Olga Tokarczuk’s short story Najbrzydsza kobieta świata (tr. The Ugliest Woman of World) reveals various aspects of women’s writing, in particular – the aesthetics of ugliness. Within this milieu, the ugliness is locked in two stands: 1. the direct characteristics of the ugliest woman in the world and 2. the shocking element of the suffering aesthetics, namely, the exposure of woman by the others.

The paper discusses the connection between Olga Tokarczuk’s novel Drive Your Plow over the Bones of the Dead and the poetry of William Blake. Blake’s ideology was to show how mankind had come to the end because of its misdeeds, using the animal imagery, which links him to the topic presented by Tokarczuk, criticizing the cruelty of the authorities towards animals. She quoted Blake at the beginning of every chapter and created a character skilled in translating Blake. Since not much of Blake’s oeuvre has been translated in Macedonian, the translator of this novel had to deal with translating Blake too. Consequently, this text also focuses on the translation problems which she had to solve.

The paper discusses the connection between Olga Tokarczuk's novel Drive Your Plow over the Bones of the Dead and the poetry of William Blake. Blake's ideology was to show how mankind had come to the end because of its misdeeds, using the animal imagery, which links him to the topic presented by Tokarczuk, criticizing the cruelty of the authorities towards animals. She quoted Blake at the beginning of every chapter and created a character skilled in translating Blake. Since not much of Blake's oeuvre has been translated in Macedonian, the translator of this novel had to deal with translating Blake too. Consequently, this text also focuses on the translation problems which she had to solve. [ABSTRACT FROM AUTHOR]

Olga Tokarczuk's writings are preoccupied with the entropy-ridden world. Tokarczuk renders this world in polyphonic images, and her protagonists seek to establish their identities by redefining their relation to it. In Flights, a prominent place on this world's map is ascribed to Holland, whose image, when studied through the lens of imagology, turns out to be a space of knowledge and cognitive receptivity. Organised within the framework of selective attention, the representation of Holland is focused on perception of the narrator and of the protagonists, which conveys the attitude to the world identified with the text. Examination of the literary vision of the Netherlands and Dutch culture reveals Tokarczuk's strategy of foregrounding selected enclosed spaces (interiors) which serve as the loci of knowledge (Verheyen's study, De Waag and Ruysch's home). Such a portrayal of Holland is underpinned by self-images exemplified in ideas developed by philosophers linked to this country (Descartes and Spinoza) and in art, with which the writer engages in dialogue. Explored in imagological terms, the representation of the Netherlands is a non-stereotypical vision constructed through references to an array of cultural expressions produced by the Dutch, in which the past co-generates a palimpsestic picture of the present. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)