The article is focused on the score-poems – experimental poetic texts which use a musical score as the interpretant (in M. Riffaterre’s understanding of the notion), whether as the idea or in one of its historically developed forms. The first section of the article situates the avant-garde and post-avant- garde specimens of such texts against the backdrop of the avant-garde dialectics of tradition and experiment. In the second and more substantial part, having observed the low representation of score-poems in the Polish poetry of the interwar period, the author attempts to introduce an ordered perspective into the field of Polish post-1945 score-poems with regard to their authors’ relation to the tradition of avant-garde experiment they came in contact with. The proposed typology of interpretative styles within this tradition identifies five approaches, or models: research (M. Białoszewski, M. Grześczak, S. Czycz), continuation (S. Themerson, J. Bujnowski), access (W. Wirpsza), critique (A. Partum) and selection (R. Nowakowski, A. Sosnowski). 

Polish original: (2017) Transkrypcje. Tradycja i eksperyment w polskich powojennych wierszach partyturach. Wielogłos 2(32), pp. 1–27.

The article is an attempt to analyse both artwork and prose of Ewa Kuryluk, focusing on the question of the representation of the Holocaust and its boundaries. This analysis refers to “the generation of postmemory” which is struggling to work through a heritage of the Holocaust. The author uses the notion of collage concerning Kuryluk’s works to describe not only a technique of an art and literary production, but also an aesthetic process of reconstruction a family biography and seeking own identity as a member of traumatic experience.

Polish original: (2015) Kolaż jako akt profanacji? O twórczości Ewy Kuryluk. Wielogłos 1(23), pp. 43–55.

The article discusses Andrzej Busza’s poetry from a bilingual and bicultural perspective. Such a rare mode of artistic writing grew out of the poet’s political exile and his professional involvement with English culture and literature. Two linguistic periods in Busza’s poetical biography are distinguished and the parallel use of two literary traditions is underscored in the article to describe Busza’s poetry as an original contemporary example of cultural universalism.

 Polish original: (2016) Światy równoległe. O dwujęzyczności i polifonii kulturowej w twórczości Andrzeja Buszy. Wielogłos 2(28), pp. 63–79.

The main question discussed in the article is: why was it the Lithuanian emigration environment in USA that found Miłosz’s poetry a testimony of the era (de facto – their own experience) during the first decade after the WWII. To answer the question mainly two publications are interpreted: the first one is Miłosz’s poetry volume translated into Lithuanian, entitled Epochos sąmoningumo poezija (Poetry of the Era’s Self-Awareness) with introduction (by Miłosz) and afterword (by a poet Alfonsas Nyka-Niliūnas); the second one is a Lithuanian literary magazine „Literatūros lankai” („Literary sheets”) where Czesław Miłosz published, and where some interpretations of Miłosz’s works, written by Lithuanian writers and philosophers, were published as well.

Polish original: (2014) Czesław Miłosz i litewscy „Kolumbowie”. Przyczynek do jeszcze jednej biografii równoległej. Wielogłos 2(20), pp. 65–80.

The article presents a synthetic outlook on the phenomena of the Polish-Hebrew literary bilingualism, based on the examples from the Polish language environment in Israel. Many of the Polish-Israeli writers wrote exclusively in Polish, using this language as a tool in their literary work, whereas others wrote in two languages. This latter group is characterized by a twofold tendency in their multilingual literary endeavours: after the initial period of working in Polish, they then created in Hebrew, only to return to Polish again and to remain firmly intertwined with the tradition of Polish literature. The second, less frequent option was to abandon Polish after a brief writing period and switch into Hebrew, thus transcending the borders of extra-territoriality and merging with the literary tradition of the acquired language. There were numerous reasons that made the writers choose a particular language as the means of their work – from the feeling of being incompetent in a given language to the sense that the language was not supple enough as an ideological, psychological or artistic medium.

Polish original: (2016) „Bejn polanit le’iwrit”. O polsko-hebrajskim bilingwizmie literackim w Izraelu. (Rekonesans). Wielogłos 2(28), pp. 99–123.

The main issue of the article are the forms and functions of multilingualism (or textual hybridization) in contemporary Czech and Polish novel. The multilingualism of Drach by Szczepan Twardoch and Obyčejné věci by Jan Vrak is interpreted in terms of the former multiculturalism of Central and Eastern Europe. Finally, the problem of translation of multilingual texts is discussed.

Polish original: (2016) Tekstowa wielojęzyczność jako zapisywanie miejsca. Regionalizm, polikulturowość i wielojęzyczność nowej literatury z Europy Środkowej. Wielogłos 2(28), pp. 81–98.

The article presents the place of children’s literature in literary systems across time, regarding its position in the context of two key categories of the present-day discourse: the world literature and the global literature. Since in 1932 Paul Hazard proclaimed “the universal republic of childhood” in his Books, Children and Men, scholars such as Zohar Shavit or Emer O’Sullivan have discussed the changes concerning children’s literature itself as well as ways of approaching it.

Polish original: (2016) Literatura dziecięca – pomiędzy literaturą światową i globalną. Wielogłos 1(27), pp. 1–15.