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https://doi.org/10.4467/20843941YC.19.001.13227Yearbook of Conrad Studies, Vol. 14, 2019, s. 35 - 59
https://doi.org/10.4467/20843941YC.19.002.13228Yearbook of Conrad Studies, Vol. 14, 2019, s. 61 - 81
https://doi.org/10.4467/20843941YC.19.003.13229Yearbook of Conrad Studies, Vol. 14, 2019, s. 83 - 92
https://doi.org/10.4467/20843941YC.19.004.13230Yearbook of Conrad Studies, Vol. 14, 2019, s. 93 - 107
https://doi.org/10.4467/20843941YC.19.005.13231Yearbook of Conrad Studies, Vol. 14, 2019, s. 109 - 122
https://doi.org/10.4467/20843941YC.19.006.13232Yearbook of Conrad Studies, Vol. 14, 2019, s. 123 - 124
https://doi.org/10.4467/20843941YC.19.007.13233Słowa kluczowe: Joseph Conrad, “A Smile of Fortune", denegation, intertextuality, comparison, incest, Joseph Conrad, Heart of Darkness, Valeria Valcheva, performing arts, theatrical reception, theatrical translation, experimental theatre, betrayal trauma, dissociation, violence, The Secret Agent, Conrad, Joseph Conrad, Sunless Sea, digital games, cRPG, sea, sailor, Conrad, film adaptation, semantic dominant, “The Secret Sharer, ” Apocalypse Now, love, idolatry, modern masochism
