Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.08
Maria Maślanka-Soro
: Dante’s Inferno presents an essentially non-tragic view of reality based on the Christian concept of Man in his historical and eschatological aspect. Nonetheless, some of Dante’s episodes, like the one of Farinata degli Uberti, appear to contain a certain element of tragedy because of the virtues marking the characters involved, which endow them with a certain nobility, giving rise to an air of tragedy. To examine the nature of this “tragic” quality, I shall invoke Erich Auerbach’s concept of figural realism as applied to Dante’s masterpiece. A character’s life on earth is a prefiguration of his life after death, the fulfilment of his earthly existence concluding his earthly deeds. The soul’s fate post mortem bespeaks the quintessence of its life, the tangible sign of which is its contrappasso. The chief conflict takes place between the character and his fulfilment, but it also generates further conflicts: between the soul’s past on earth and its current condition in Hell; between the qualities that marked it in the past that could objectively be considered virtuous, and its current status amongst the damned, and others. Only in the eyes of sinners are these conflicts seen as tragic, but not from the point of view of Dante the Author, who discredits these conflicts with a variety of rhetorical and stylistic devices. I endeavour to explain the seemingly tragic quality in Farinata degli Uberti, one of the “magnanimous” spirits confined in Hell. At first glance he may seem reminiscent of the heroes of Greek tragedy, but on closer scrutiny his “magnanimity” takes on a sinister quality, and this is how Dante wants his readers to see the connection between Farinata’s perverse political commitment verging on fanaticism, and his sin of heresy, to which Farinata seems to turn a blind eye.
但丁的《地狱篇》呈现了一种本质上非悲剧性的现实性观点，这种观点是基于基督教的历史观和末世论观。尽管如此，但丁的一些章节，比如法里娜塔·德格里·乌伯提，似乎包含了某种悲剧的元素，因为这些人物的美德赋予了他们某种高贵，产生了一种悲剧的气氛。为了研究这种“悲剧”性质的本质，我将引用埃里希·奥尔巴赫的形象现实主义概念，将其应用于但丁的杰作。一个人物在世的生活是他死后生活的预示，是他现世存在的完成，是他现世行为的总结。灵魂死后的命运反映了其生命的精髓，其有形的标志是它的对位。主要的冲突发生在人物和他的成就之间，但它也产生了进一步的冲突:灵魂在地球上的过去和它在地狱里的现状;在过去被客观认为是美德的特质之间，和它现在被诅咒的状态之间，等等。只有在罪人的眼中，这些冲突才被视为悲剧，但不是从作者但丁的角度来看，他用各种修辞和文体手段来诋毁这些冲突。我试图解释Farinata degli Uberti身上看似悲剧性的特质，Farinata degli Uberti是被囚禁在地狱里的“宽宏大量”的灵魂之一。乍一看，他似乎让人想起希腊悲剧中的英雄，但仔细一看，他的“宽宏大量”带有一种邪恶的品质，这就是但丁想让读者看到法里纳塔近乎狂热的反常政治承诺与他的异端罪之间的联系，法里纳塔似乎对此视而不见。
{"title":"Il “tragico” disdegno di Farinata degli Uberti nel canto X dell’Inferno di Dante","authors":"Maria Maślanka-Soro","doi":"10.15804/iw.2021.12.2.08","DOIUrl":"https://doi.org/10.15804/iw.2021.12.2.08","url":null,"abstract":": Dante’s Inferno presents an essentially non-tragic view of reality based on the Christian concept of Man in his historical and eschatological aspect. Nonetheless, some of Dante’s episodes, like the one of Farinata degli Uberti, appear to contain a certain element of tragedy because of the virtues marking the characters involved, which endow them with a certain nobility, giving rise to an air of tragedy. To examine the nature of this “tragic” quality, I shall invoke Erich Auerbach’s concept of figural realism as applied to Dante’s masterpiece. A character’s life on earth is a prefiguration of his life after death, the fulfilment of his earthly existence concluding his earthly deeds. The soul’s fate post mortem bespeaks the quintessence of its life, the tangible sign of which is its contrappasso. The chief conflict takes place between the character and his fulfilment, but it also generates further conflicts: between the soul’s past on earth and its current condition in Hell; between the qualities that marked it in the past that could objectively be considered virtuous, and its current status amongst the damned, and others. Only in the eyes of sinners are these conflicts seen as tragic, but not from the point of view of Dante the Author, who discredits these conflicts with a variety of rhetorical and stylistic devices. I endeavour to explain the seemingly tragic quality in Farinata degli Uberti, one of the “magnanimous” spirits confined in Hell. At first glance he may seem reminiscent of the heroes of Greek tragedy, but on closer scrutiny his “magnanimity” takes on a sinister quality, and this is how Dante wants his readers to see the connection between Farinata’s perverse political commitment verging on fanaticism, and his sin of heresy, to which Farinata seems to turn a blind eye.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133705765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.04
M. Kowalczyk
{"title":"Le lettere di Tomasz Kajetan Węgierski scritte durante il viaggio del 1779 attraverso il Veneto","authors":"M. Kowalczyk","doi":"10.15804/iw.2021.12.2.04","DOIUrl":"https://doi.org/10.15804/iw.2021.12.2.04","url":null,"abstract":"","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121023233","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.05
Jakub Zarzycki
: In the article, four illustrations by Aleksander Gierymski are described. These illustrations were completed for the illustrated press during Gierymski’s sojourn in Italy from 1885 to 1886. These illustrations were typical of the “Polish traces in Italy,” relating to Padua in this case, and were published in the magazines Wędrowiec and Kłosy . These illustrations show the tombs of exceptional Poles who were buried in Padua; commemorative plaques dedicated to them (in honour of Copernicus); or the monuments of Prato della Valle (Sobieski and Batory). However, in the article, based on the illustrations and the accompanying texts, and based on the artist’s correspondences (with the likes of Józef Ignacy Kraszewski, Michał Wiszniewski, Stanisław Dunin-Borkowski, and Władysław Bełza) and his diaries relating his time in Italy, the following issues, amongst others, will be addressed: Gierymski’s work method; the discourse (including the visual discourse) of “Polish traces in Italy” in Padua; Gierymski’s illustrations as an interpretation of the Polish lieux de mémoire in Italy. The article encourages an adoption, in the future, of a wider perspective that includes the illustrations of the “Polish traces in Italy” of other Polish artists from that period.
在这篇文章中，描述了Aleksander Gierymski的四幅插图。这些插图是Gierymski于1885年至1886年在意大利逗留期间为插图出版社完成的。这些插图是典型的“波兰在意大利的痕迹”，与帕多瓦有关，并发表在Wędrowiec和Kłosy杂志上。这些插图展示了埋葬在帕多瓦的杰出波兰人的坟墓;他们的纪念牌(为了纪念哥白尼);或者山谷广场(Sobieski和Batory)的纪念碑。然而，在文章中，基于插图和随附文本，并基于艺术家的通信(与Józef Ignacy Kraszewski, michaowwiszniewski, Stanisław Dunin-Borkowski和Władysław Bełza等人的通信)以及他在意大利的日记，将讨论以下问题:Gierymski的工作方法;帕多瓦“意大利的波兰痕迹”的话语(包括视觉话语);Gierymski的插图解释了波兰在意大利的lieux de msammoire。这篇文章鼓励在未来采用更广泛的视角，包括那个时期其他波兰艺术家的“波兰在意大利的痕迹”插图。
{"title":"L’artista e i “luoghi della memoria”. Padova nelle illustrazioni di Aleksander Gierymski pubblicate sulla stampa","authors":"Jakub Zarzycki","doi":"10.15804/iw.2021.12.2.05","DOIUrl":"https://doi.org/10.15804/iw.2021.12.2.05","url":null,"abstract":": In the article, four illustrations by Aleksander Gierymski are described. These illustrations were completed for the illustrated press during Gierymski’s sojourn in Italy from 1885 to 1886. These illustrations were typical of the “Polish traces in Italy,” relating to Padua in this case, and were published in the magazines Wędrowiec and Kłosy . These illustrations show the tombs of exceptional Poles who were buried in Padua; commemorative plaques dedicated to them (in honour of Copernicus); or the monuments of Prato della Valle (Sobieski and Batory). However, in the article, based on the illustrations and the accompanying texts, and based on the artist’s correspondences (with the likes of Józef Ignacy Kraszewski, Michał Wiszniewski, Stanisław Dunin-Borkowski, and Władysław Bełza) and his diaries relating his time in Italy, the following issues, amongst others, will be addressed: Gierymski’s work method; the discourse (including the visual discourse) of “Polish traces in Italy” in Padua; Gierymski’s illustrations as an interpretation of the Polish lieux de mémoire in Italy. The article encourages an adoption, in the future, of a wider perspective that includes the illustrations of the “Polish traces in Italy” of other Polish artists from that period.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123517572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.02
M. Piacentini
{"title":"Una traccia padovano-veneziana nella Cracovia degli inizi del XVI secolo","authors":"M. Piacentini","doi":"10.15804/iw.2021.12.2.02","DOIUrl":"https://doi.org/10.15804/iw.2021.12.2.02","url":null,"abstract":"","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130513048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.06
Daria Kowalczyk-Cantoro
: The present article aims to analyse the 20 th -century Polish translations of Pietro Bembo’s work. Although Bembo was one of the main representatives of the Italian Renaissance and a prolific writer, of all his lyric poetry, only six songs from the collection Rime , a short poem from the dialogue Gli Asolani , and recently the Stanze have been fully translated. We owe most of the earlier translations to Julia Dickstein-Wieleżyńska, an important populariser of Italian culture in the interwar period. Two poems were translated by Maria Grossekowa, a poet, publicist, and feminist of the early 20 th century. The small fragments of Bembo’s sonnets translated by Edward Porębowicz are also worthy of mention. The article focuses on the metric-formal and semantic-lexical analysis of Dickstein-Wieleżyńska’s versions and examines the techniques used by the translator. Dickstein-Wieleżyńska’s translations are quite equivalent semantically, and although she introduces some reduction or amplification, she does so without upsetting the semantic dominant. Moreover, it has been noted that, in her translations, Dickstein-Wieleżyńska often uses terms that refer to an idea of brightness, which also characterises her own poetic writing. Since Bembo is considered the pioneer of Petrarchism, the analysis of the Polish translations of Bembo’s poems is deepened through comparisons with some versions of Petrarch’s poems translated by Felicjan Faleński and published in 1881.
{"title":"Le prime traduzioni polacche delle poesie italiane di Pietro Bembo","authors":"Daria Kowalczyk-Cantoro","doi":"10.15804/iw.2021.12.2.06","DOIUrl":"https://doi.org/10.15804/iw.2021.12.2.06","url":null,"abstract":": The present article aims to analyse the 20 th -century Polish translations of Pietro Bembo’s work. Although Bembo was one of the main representatives of the Italian Renaissance and a prolific writer, of all his lyric poetry, only six songs from the collection Rime , a short poem from the dialogue Gli Asolani , and recently the Stanze have been fully translated. We owe most of the earlier translations to Julia Dickstein-Wieleżyńska, an important populariser of Italian culture in the interwar period. Two poems were translated by Maria Grossekowa, a poet, publicist, and feminist of the early 20 th century. The small fragments of Bembo’s sonnets translated by Edward Porębowicz are also worthy of mention. The article focuses on the metric-formal and semantic-lexical analysis of Dickstein-Wieleżyńska’s versions and examines the techniques used by the translator. Dickstein-Wieleżyńska’s translations are quite equivalent semantically, and although she introduces some reduction or amplification, she does so without upsetting the semantic dominant. Moreover, it has been noted that, in her translations, Dickstein-Wieleżyńska often uses terms that refer to an idea of brightness, which also characterises her own poetic writing. Since Bembo is considered the pioneer of Petrarchism, the analysis of the Polish translations of Bembo’s poems is deepened through comparisons with some versions of Petrarch’s poems translated by Felicjan Faleński and published in 1881.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124380502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.01
Mirosław Lenart
{"title":"Un messaggio per i posteri. La tomba di Stanisław Miński nella Basilica di Sant’Antonio a Padova","authors":"Mirosław Lenart","doi":"10.15804/iw.2021.12.2.01","DOIUrl":"https://doi.org/10.15804/iw.2021.12.2.01","url":null,"abstract":"","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126726956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.10
Katarzyna Biernacka-Licznar
The paper outlines the publishing history of Henryk Sienkiewicz’s Quo Vadis in Italian editions for children and young adults in the 20th century. The research conducted so far has shown that Sienkiewicz’s novel was part of Italian publications for a young readership as early as at the beginning of the 20th century, and that the book was frequently republished and reedited by numerous publishing houses over the following decades. The paper aims to present the strategies applied by Italian publishers as they recast Sienkiewicz’s work into versions specifically targeting young readers. Sienkiewicz’s Roman narrative proved a source of easy revenue for many publishing houses. Discreditable translatory practices were, at least at the beginning of the 20th century, mainly the domain of Milanese publishers whose efforts also focused on reworkings of Quo Vadis for children and young adults after the Second World War. The paper discusses examples that vividly illustrate the commercialisation of literature and publishers’ responses to the changes of the Italian publishing market in the second half of the 20th century. The findings of a study that used quantitative methods to analyse the corpus of 18 Italian editions of Quo Vadis are presented as well.
{"title":"Quo vadis di Henryk Sienkiewicz nell’offerta delle case editrici italiane per l’infanzia e l’adolescenza","authors":"Katarzyna Biernacka-Licznar","doi":"10.15804/iw.2021.12.2.10","DOIUrl":"https://doi.org/10.15804/iw.2021.12.2.10","url":null,"abstract":"The paper outlines the publishing history of Henryk Sienkiewicz’s Quo Vadis in Italian editions for children and young adults in the 20th century. The research conducted so far has shown that Sienkiewicz’s novel was part of Italian publications for a young readership as early as at the beginning of the 20th century, and that the book was frequently republished and reedited by numerous publishing houses over the following decades. The paper aims to present the strategies applied by Italian publishers as they recast Sienkiewicz’s work into versions specifically targeting young readers. Sienkiewicz’s Roman narrative proved a source of easy revenue for many publishing houses. Discreditable translatory practices were, at least at the beginning of the 20th century, mainly the domain of Milanese publishers whose efforts also focused on reworkings of Quo Vadis for children and young adults after the Second World War. The paper discusses examples that vividly illustrate the commercialisation of literature and publishers’ responses to the changes of the Italian publishing market in the second half of the 20th century. The findings of a study that used quantitative methods to analyse the corpus of 18 Italian editions of Quo Vadis are presented as well.","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122756009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.09
Anna Pifko-Wadowska
: This study focuses on Michał Wiszniewski’s interest in Dante. Wiszniewski was a professor of history and literature at the Jagiellonian University of Krakow and was fond of Italy. This work aims to outline Wiszniewski’s contribution to the Polish reception of Dante in the first decades of the 19 th century. The study recalls Wiszniewski’s three Italian trips and his book, Podróż do Włoch, Sycylii i Malty (A Journey to Italy, Sicily and Malta), which contains numerous mentions of Alighieri. The main part of the study is dedicated to the analysis of his manuscript Dante Alighieri , kept in the Jagiellonian Library (ms. 948 fasc. 7), which has not been carefully examined until now. This manuscript features an outline of a portion of a literature course taught by Wiszniewski in the 1830s, a lesson concerning the life and work of Dante (particularly the Commedia ). The professor describes the two faces of Dante: the scholastic one (in prose) and the poetic one (in verse); explains the poem’s title and the structure of the afterlife; admires the extraordinary plasticity of Dante’s images; and translates into Polish a passage from the Convivio and three episodes from the Inferno . The content of his lesson is compared with other earlier and contemporary Polish studies (of very limited number) on the Poet, as well as with the general trends of Dante criticism of that time and with the Dante scholarship of the Polish Romantic poets. The analysis carried out shows that Wiszniewski’s contribution to Dante studies is, in principle, close to Romantic criticism, but it also follows some Neoclassical trends. In the present study, we do not analyse the article Studia nad Dantem (1847) because of its uncertain attribution (as we try to show).
本研究聚焦于米夏沃维兹涅夫斯基对但丁的兴趣。维兹涅夫斯基是克拉科夫雅盖隆大学的历史和文学教授，非常喜欢意大利。这部作品旨在概述维兹涅夫斯基在19世纪头几十年对波兰接受但丁的贡献。这项研究回顾了维茨涅夫斯基的三次意大利之旅和他的书Podróż do Włoch, Sycylii i Malty(意大利、西西里岛和马耳他之旅)，其中多次提到了阿利吉耶里。研究的主要部分是分析他的手稿《但丁·阿利吉耶里》，该手稿保存在雅盖隆图书馆。7)，直到现在还没有仔细研究过。这份手稿的特点是19世纪30年代维兹涅夫斯基教授的一门文学课程的一部分大纲，这门课是关于但丁的生活和工作的(尤其是《喜剧》)。教授描述了但丁的两面:学术的一面(用散文)和诗意的一面(用韵文);解释这首诗的标题和来世的结构;欣赏但丁形象的非凡可塑性;并将《和解》中的一段和《地狱》中的三章翻译成波兰语。他的课程内容与其他早期和当代波兰对诗人的研究(数量非常有限)，以及当时但丁批评的总体趋势以及波兰浪漫主义诗人的但丁奖学金进行了比较。分析表明，维兹涅夫斯基对但丁研究的贡献在原则上接近于浪漫主义批评，但也遵循了一些新古典主义的趋势。在本研究中，我们不分析文章Studia and Dantem(1847)，因为它的归属不确定(我们试图表明)。
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Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.03
Gościwit Malinowski
: Stanisław Niegoszewski (1565–post-1600) was a prime example of a Renaissance man: he was a student at the universities of Krakow and Padua; a poet-improviser; an alchemist; a courtier of King Sigismund Vasa III; a diplomat; a devout follower of the Counter-Reformation; and a businessman. He divided his life between Poland and Italy, and his biography is known to us so fragmentarily that some scholars reconstruct his life based on instinct, assumptions, personal preference, or unfounded hypotheses. Henryk Barycz, the eminent scholar and author of entries in the Polish Biographical Dictionary, had divided the deeds and works of one Stanisław Niegoszewski into two different persons: “Stanisław Niegoszewski (Niegoszowski), coat of arms of Jastrzębiec (circa 1560–5 – circa 1588–90),” a student at the universities of Krakow and Padua and a poet-improviser, and “Stanisław Niegoszewski (Niegoszowski), coat of arms of Jastrzębiec (circa 1565–70 – after 1607),” an alchemist, courtier of King Sigismund Vasa III, diplomat, devout follower of the Counter-Reformation, and poet as well. Although Władysław Magnuszewski proved wrong Barycz’s theory about the existence of two Niegoszewskis nearly a half-century ago, the outdated theory is repeated by new generations of scholars again and again. This paper attempts to prove that all three sojourns in Padua of a certain Niegoszewski—as a student in 1582–1583, as an alchemist in 1585, and as a royal diplomat in 1594—belong to the same person. Based on new sources found in Italian archives and libraries in 2013, the biography of a single Stanisław Niegoszewski could be reconstructed with much more detail than before.
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Pub Date : 2021-12-31DOI: 10.15804/iw.2021.12.2.12
J. Łukaszewicz
{"title":"Tradurre un libro sulla traduzione Umberto Eco (2021). Prawie to samo. O doświadczeniu przekładu, trad. Jadwiga Miszalska, Monika Surma-Gawłowska. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, pp. 353","authors":"J. Łukaszewicz","doi":"10.15804/iw.2021.12.2.12","DOIUrl":"https://doi.org/10.15804/iw.2021.12.2.12","url":null,"abstract":"","PeriodicalId":424702,"journal":{"name":"Italica Wratislaviensia","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134423488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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