Sociopragmatics vs. Translation Studies: Interactional Pragmatic Operators as Translation Problem
This paper focuses on the challenges posed by the translation of Spanish interactional pragmatic operators (hombre, mujer, vamos, venga, mira, oye, …), who cannot be perceived exclusively as the so-called discursive support. After some theoretical considerations concerning the theory of communicational ethos and its impact on Sociopragmatics and Translation Studies, there is a reference to the solutions adopted by selected Polish translators. The functional analysis indicates that the interactional pragmatics operators are in many cases an empathic sign of involvement in the verbal interaction and at the same time a stimulating routine which perfectly fits the model of the ethos of closeness and solidarity among interlocutors.

Does the European Portuguese Risk Becoming a Peripheral Language?
The question put in the title comes from polemics and discussions going on in Portugal on the subject of the recent Portuguese writing reform (1990). Its long legislation process has only finished in the last years. A concise history of the Portuguese language’s orthography and changes introduced by the reform, purposing an unification of the European and Brazilian Portuguese writing, are presented in the paper. Afterwards, based on Portuguese and global press extracts from 2004–2009, comes an analysis and a critique of the arguments adduced by partisans of the reform, explaining its legitimacy and advantages, as well as by its opponents, much more numerous in Portugal. The last ones prophesy a forthcoming marginalization of their version of the Portuguese language in comparison to
Brazilian version’s approaching hegemony.

A Persistent Vitality of the “fala”.
A Rough Sketch of the Theoriacl Frame from the Perspective of Social Sciences This article is an introduction to an alternative, interdisciplinary view over the problem of the vitality of the so-called a fala – a geolect used in the Xálima valley (Cáceres province, Spain), by the Portuguese border, quite well-known in the Iberian studies.
The existent literature concerning the problem is based mainly on the historical material and is not capable of fully explaining its maintenance mechanism in the today’s world. In the author’s opinion, it is necessary to take into consideration, on the one hand, the role played by a fala in the society and, on the other hand, the geolect’s specific, phonetic properties, which – as it is supposed – are sufficiently salient from the perceptual point of view so as to activate the Xálima inhabitants’ different identity processes (hypothetical non-belonging features) and, in consequence, protect the geolect from the standardization.
The article outlines the most promising research direction and presents some useful theoretical tools associated with the problem’s social facet explaining the way of its application to the nonbelonging features (the holistic vision of the self and its identity included in G. Breakwell’s Identity Process Theory and in the Stets and Burke’s general theory of the self).
 

Dante and the Function of Water for an Investigation of the Self. Psychosymbolic Cosmology in the Divine Comedy
The famous Epistle to Cangrande written by Dante encourages us to identify the Divine Comedy as an emblematic representation of a psychotherapeutic itinerary. The principal aim of his work is in fact creating a shocking poetic impression for freeing everyone from anxiety and pain, bringing us back to the origin of that eternal joy, which was lost through the Edenic sin, by creating the jail of egoism and the consequential abandon of a global and satisfactory perception of life. Associating itself with the feminine side of the soul and the mystery of the generation of life, the water symbolism in Dante’s poem acquires various meanings and is mainly connected with the malignant or positive rivers, which directly or indirectly indicate the right orientation for going back to the splendid sea of joy: the sea of divine intellect. This last is heaven, and corresponds to a psychic state where we can live together with the vivid memories of all the best we have experienced, learned and discovered during our mortal existence. Hell is a symbol of anguish and despair; here, a psychic emblem of a potential positive transformation is constituted by a little, apparently unimportant brook, which is studied in depth for the first time in this article, revealing the fundamental importance of this emblem, capable of guaranteeing a possible defeat of evil or, more specifically, the transformation of its destructive energy into a positive magic power, which can lead us to the stars. The whole journey of the Divine Comedy appears now more clearly as a symbolic example of ante litteram psychoanalysis.

Inne morze Claudia Magrisa. Na granicy między twórczością dzienną i nocną
W niniejszym artykule postawiono sobie za cel zilutrowanie szczególnej pozycji, jaką w twórczości triesteńczyka Claudia Magrisa zajmuje jego krótka powieść Inne morze z 1991 roku. Niezwykle pomocny w analizie okazuje się motyw granicy, znany i charakterystyczny dla całej twórczości pisarza, w Innym morzu obecny szczególnie wyraźnie i pełniący funkcję dominującą. Dokonana w powieści próba rekonstrukcji losów Enrica Mreule, bohatera dążącego do osiągnięcia stanu Michelsaedterowskiej perswazji, jest w istocie biografią człowieka żyjącego „na granicy”; tam, gdzie zaciera się różnica między życiem a śmiercią, klęską a spełnieniem, a także – również tutaj – między Magrisowską utopią a odczarowaniem. Inną istotną cechą powieści jest jej swoista hybrydyczność widziana najlepiej z perspektywy całej twórczości literackiej autora. Wyróżniane przez Magrisa (i odnajdywane przez krytykę w poszczególnych dziełach) dzienny i nocny nurt pisarstwa splatają się w Innym morzu, a ich zręczne kontrapunktowanie się czyni z utworu romanzo del confine, powieść graniczną par excellence.
 

An Eastern Paradise, a Western Paradise: a Reading of George Sand’s Garden (Laura, or a Journey into the Crystal)
The paper proposes a reading of the depiction of a garden in Laura, or a Journey into the Crystal in the contexts of The Tales of One Hundred and One Nights, of the hypotexts of the Bible as well as of the Epic of Gilgamesh, of the Persian miniature and of Bachelard’s concept of material imagination. The symbolic dimension of mineral paradise in Sand’s vision is the focus of reflection. The vision stems partly from the romantic anti-materialistic concepts, and partly seems to be the expression of the preoccupations with the material and the oriental both of the epoch and of the author of Laura... herself.

Nut Terrorizing the Cities. The Liberation of the Object in Gellu Naum’s Vasco da Gama

The paper analyses one of the Gellu Naum’s poetic masterpieces, Vasco da Gama. The main aim is to reconstruct Naum’s aesthetic premises that lead him to transform the images to reveal the real nature of the poetic objects. The theoretical background for Naum is created by the André Breton’s essay Crise l’objet (1936). The article presents the crucial imperative in the Romanian Surrealism leader’s Nuca terorizează orasele. Eliberarea obiectului suprarealist în Vasco da Gama de Gellu Naum 219 appeal, the object to be stripped of cretinizing uniforms and liberated by removing from the quotidian context. Rather than an inert object engulfed by the perceiving consciousness, the liberated thing becomes active and devours its observer. The language of permanent and fluid transformations accompanies a promiscuous, perpetual orgy of devouring. The concept of “liberation” is claimed as both “emancipation” and “release”. Disfunctional objects gain a new identity, being anthropomorfized or animated. Vasco da Gama propose a special type of sensibility reclined on an unruly imagination and encourages the reader to discover new relations between the object and the word.

Le roi, la conscience et l’Autre Monstrueux dans la comédie Amor, honor y poder (Amour, Honneur et Pouvoir) de Calderón

Dans sa première comédie Amor, honor y poder (Amour, Honneur et Pouvoir) qui est la réincarnation
littéraire de la légende de la Comtesse de Salisbury, Calderón dépeint la résistance à la tyrannie par
une sujette du roi, pour laquelle les sacrements et la conscience prévalent sur l’obéissance d’un vassal
à son suzerain. Quoique d’abord le roi, Edouard, n’ait pas réussi à séduire la fille du comte de Salveric
(Salisbury), à la fin il contraint sa sujette vertueuse à l’épouser. Ce dénouement apparemment
heureux de la pièce provoque un effet troublant qui sape l’idéologie officielle de l’absolutisme royal
en Espagne de la première moitié du XVIIe siècle.