The anonymous poem Proteus was published in 1564 as the first literary response to Jan Kochanowski’s Satyr albo Dziki mąż (Satyr, or the Wild Man). In this article, authorship of Proteus is attributed on the basis of literary network analysis, the confessional sympathies that are present in the text (the influences of anti-trinitarianism), and the connections to the court of Mikołaj Radziwiłł the Black. The author of Proteus is Cyprian Bazylik, a poet, musician, printer, and translator who in the 1560s was associated with Radziwiłł’s court and was a follower of anti-trinitarianism.

This paper is an attempt at redefining selected plays written by Tadeusz Rittner in the modernist and symbolist convention. In the 1950s, they were evaluated by Zbigniew Raszewski as among the playwright’s lesser achievements. I have analysed three texts: the one-act plays Sąsiadka (“The Neighbour”) and Odwiedziny o zmroku (“A Visit at Dusk”) as well as the play Don Juan. There is no doubt that the author did not avoid stylistic exaggeration in his modernist works, but one can also find some distance from the conventions of the Young Poland period as well as the use of the grotesque, theatrical sham, and the poetics of intimate drama in these plays. Rittner’s Viennese character is an alibi for his aesthetic choices and the manner of staging emotions. The evaluation of these plays, which were written in the symbolist and modernist convention, was affected by the theatrical reception, the artists’ superficial reading of the instructions included in the stage directions, and the pigeonholing of the works as realism with a hint of Romantic mood.

This paper, which is devoted to the poetic unveiling of Jadwiga Gamska-Lempicka,a forgotten female poet, translator, and editor of the interwar period, aims to evoke the character of her poetry. It is also an attempt at presenting her various texts. Closely influenced by the Young Poland movement, she was in constant dialogue with concepts taken from the Skamander Group or avant-garde poetics. However, since she used the prerogatives her education had given her, Gamska should be treated not only as a Young Poland epigone: as a doctor of letters, she was strongly aware that her poetry was a successful collage of poetic conceptions that were often starkly different from one other and tailored to her individual expression, discreetly but visibly breaking with concepts that had been taken from the poetry of Leopold Staff or Maryla Wolska. A closer look at the three volumes of Gamska’s poetry is also a significant attempt at filling one of the many gaps in the study of women’s lyrics published before the Second World War.

Lucy Maud Montgomery’s Anne of Green Gables has always been very popular in Poland. Since its first publication in 1908, there have been more than a dozen Polish renderings of this novel, which can therefore be regarded as a translation series. This paper compares two opposite links in the series: Rozalia Bernstein’s canonical and Paweł Beręsewicz’s polemical translations. This paper also includes an analysis of those passages which reflect some characteristics of the juxtaposed renderings, especially the different roles that the translators can play in the reception of a foreign language text as well as the translation strategies they use.

The aim of this article is to demonstrate how contemporary Polish reporters describe the areas of former labor camps located in the Russian Federation, especially near the Kolyma River and on the Solovetsky Islands. The interest of Polish visitors is aroused by the “landscapes of death” associated with the Gulag in their geographical, natural, cultural, and mental aspects. The essence of the traveler’s interest lies in the Russian attitude towards the victims and perpetrators of Soviet terror as well as the daily life of the inhabitants of these sites. The source materials include, among others, the works of Ryszard Kapuściński, Mariusz Wilk, Jacek Hugo-Bader, and Michał Milczarek.

The aim of this study is to characterise the way that literary accounts of court trials shape the space for philosophical considerations. In the first part of the text, Marshall McLuhan’s concept of the medium is introduced and interpreted within the context of Martin Heidegger’s notion of technology. The second part of the paper, meanwhile, concerns the opposition between language and reality, which is crucial for the philosophical implications of courtroom space. This study includes also the “law and literature” perspective. The theoretical reflection is based on an analysis of The Stranger by Albert Camus, The Brothers Karamazov by Fyodor Dostoevsky, and Plato’s The Apology. Finally, the third part deals with the literary composition of the court trial account.

In Storytelling in the Modern Board Game: Narrative Trends from the Late 1960s to Today, Marco Arnaudo describes how board games can create narratives by using the tools that ludology and postclassical narratology provide. The way narratives emerge from tabletop games is extremely unique and interactive: they are created through the synergy of the game rules, material components, and actions undertaken by players. Board games, treated as transmedial narrative systems in which the text is entangled in various relations with images, sounds, or the ludic aspects of games, can become an area of research in literary studies. The aim of this paper is to demonstrate that a scholar can effectively use knowledge of hypertext novels or ergodic literature to study narrative-oriented board games.