In the field of the literary studies in France structuralism was strongly connected with the assumption that literature doesn’t describe reality, i.e. that it is “irreferential”. For some time the words “reality”, “history” and the question “what literature is for?” have more and more often appeared in the titles of the PhD theses, conferences, and essays on literature. Such titles demonstrate that the researchers are strongly interested in such problems as the correlations between literature, history and social sciences, or between literature and ethics. These tendencies, of course, are not confined to France and French-language areas. In France, however, they have a specific nuance: an assumption that literature has something in common with a real world seems impossible without preliminary confrontation with structuralism and its characteristic axiom of “intransitiveness” of literature. The article offers a review of the most significant positions in the debate held since the end of last century.

The map of the Polish interdisciplinary music-literary research has been enriched during the last years with significant theoretical and analytic-interpretative publications. Researchers from various disciplines attempt to specify the types of relations that can interconnect the literary text and music – focusing not only on the problem of interference between two systems using different signs but also more and more emphasizing the cultural meaning of the phenomena of this kind. The article comments on the horizons of the Polish research devoted to these issues. It situates in this context the book by Małgorzata Sułek Stanisław Moniuszko and other composers and poetry by Adam Mickiewicz, published in 2016. This study offers also a methodological proposal, organizing the reflections on certain aspects of comparative studies (in the introductory treatise). In the second part it collects the rich analytical material. The musical arrangements of poetry by Mickiewicz, created during 19th to 21th centuries, allow to systematically know a non-obvious aspect of the reception of the heritage of the most famous Polish romantic, various ways of approaching his works and interpreting them – with the use of music.

The purpose of the article is to present the late works of Julia Hartwig in the context of the philosophic problems of repetition as approached by Friedrich Nietzsche, Gilles Deleuze, and Jacques Derrida. In the essay an attempt was made to confront the previous readings of the Hartwig’s poetry – which placed it usually within the classicizing and modernistic trends – with the alternative lecture, i.e. using the insights of the theorists of postmodernity and contemporary humanities. The ambivalence, reflected in the title, of the poet’s attitude towards the very repeatedness in the field of literature has been derived not from the philosophic systems, or contemporary concepts of anthropology and literary studies, but directly from the poetics and the ideational layer of the two last books of Hartwig – Zapisane and Spojrzenie – in which it is the iterability that becomes the idiom both of the human existence, perception, or the mechanisms of memory, andthe writing poetry as such.