The concept of free verse is extremely difficult to define. Therefore, its modernist variety is very ambiguous. The feature that characterizes all, not just futuristic variants of free verse, is the great influence of the semantics on the form of line. The structure of the verse is  determined by emotional reasons, not rigid metrical framework. Futuristic free verse in this respect constitutes the rich research material  and is a particularly good example confirming what has been said above. In this paper we will analize such variants of futuristic vers libre as free verse built according to the principle of cubist forms assembly, free sentence verse (non-numeric syntax) and polymetric line. The selected works of representatives of the Russian and Ukrainian Futurism – Velimir Khlebnikov and Mykhayl Semenko, will serve as an example of these metric patterns.
 

The studies and monographs published over the years leave no doubt as to the great significance of Shakespeare’s works for Arabic drama and theatre. The Lebanese writer Michail Nuayma went so far as to say “Shakespeare remains a Ka’ba to which we make pilgrimages, and a Qibla to which we turn in prayer.” No doubt the words of one of the leading writers of Syrian-American school cause huge surprise and even consternation. At the same time they encourage us to reflect on the ways of reading and interpreting Shakespearean drama in the Arab world.
This article aims to show the reception of William Shakespeare’s plays in Arab theatre starting from first attempts of staging his works until their contemporary interpretations and attempts to formulate a response to the question of what has made Shakespeare remain continuously one of the closest Western playwrights to the Arab culture for more than a century.

 

The first Polish translation of the successful Victorian classic Jane Eyre by Charlotte Brontë was published thirty four years after the original. The novel translated as Janina by Emilia Dobrzańska was attached in instalments to a weekly periodical “Tydzień” based in Piotrków Trybunalski. Although the subtitle claimed the story was translated from English, the text of the translation inter alia demonstrates a curious preference for French phrases and calques. A close analysis of some features of the translation in comparison to the French translation by Noëmi Lesbazeilles Souvestre dating back to 1854 reveals a striking similarity between the two texts, which can be traced in a variety of contexts explored in this paper. As a result, one may draw the conclusion that the Polish translation was as a matter of fact translated not directly from English, but relayed from French instead. The paper explores the underresearched topic of relay translation, along with mostly negative scholarly attitudes towards this controversial translation method. The aim is to capture some reasons for its occasional use or even a preference for this translation technique in certain circumstances.
 

This article examines the semantic ambiguity in the texts of Adam Mickiewicz’s lectures at the Collège de France in Paris, 1840–1844. Polyphony and multilingualism shape the texts, which were not written by Mickiewicz himself, but created from notes taken by his audience. The first publication was a Polish translation of the French talks, followed by a German translation. The texts mould the understanding of the content as it is shown by the analysis of the notion of Messianism in the Parisian lectures. Using a comparative approach combined with historical semantics the study aims to show how multilingualism and polyphony lead to an ambiguous understanding of the texts. The article argues that every analysis that deals with the texts has to take these conditions into account. Thus the result of any examination of the text cannot be reduced to one clear definition, but contains diverse aspects of meaning in the texts. The article gives a new perspective on the way meaning is created in the texts of Adam Mickiewicz’s lectures.
 

The paper sets out to examine the dialectical concept of memory as forgetting presented in Bloom’s Poetry and Repression. In his speculative investigations, Bloom draws heavily on two of his predecessors: Freud and Kierkegaard. He borrows the notions of trauma and repression from the former and develops them into the concept of the Scene of Instruction, which is a story of the initiation into the realm of poetry. From the latter, he borrows the concept of crop rotation, which deals with the art of remembering through forgetting, and vice versa. Bloom misreads both these concepts to create a theoretical construct of his own. Bloom follows Freud in that he shows how the poetic ego emerges through a reaction to the traumatic event of the Scene of Instruction. However, while Freud claims that it is by recollection that people can work through their traumas and return to sanity, Bloom says that both recollection and sanity are detrimental to human creative capabilities and that it is only through repression that a poet as poet can misread his predecessors and create poetry of his own. Bloom follows Kierkegaard in that he says that repression involves a dialectic of remembering and forgetting that, when put together, create an active faculty that shapes one’s individual experience. While Kierkegaard uses his concept to create an aesthetic or contemplative existence that is always new and devoid of any excessive pleasure or pain, Bloom claims that conflict is an inherent part of human existence and that this very conflict is in fact a chance for a poet to individuate from tradition understood as the eternal return of the same.
 

The aim of the paper is to analyse Jacqueline Harpman’s Orlanda in the light of feminist linguistics and narratology. The narrator of this novel, although explicitly identified as a woman, uses linguistic and narrative strategies culturally defined as both feminine and masculine. The result is an androgynous narration that matches very well the novel’s subject of a cross-gender spirit migration.