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Celem artykułu Artystyczna i tożsamościowa wspólnota dzieła H. Michaux i B. Fondane’a jest porównanie twórczości poetów, których biografia intelektualna i artystyczna posiada wiele punktów stycznych. Obaj pochodzą z peryferii „światowej republiki literatury” (w ujęciu Pascale Casanovy) i obaj wpisali się w międzynarodowy kapitał literacki dzięki decyzji o emigracji do Paryża (Michaux przyjechał z Belgii, Fondane - z Rumunii). Obaj sięgają po podobne modernistyczne strategie literackie, wykorzystują w swojej twórczości potencjał rozwijającej się w latach dwudziestych XX wieku sztuki filmowej, a inspirację wiodącą indywidualnej ścieżki artystycznej zarówno w przypadku Michaux, jak i u Fondane’a można interpretować w kategoriach "poetyki doświadczenia". The article "Exploring the Artistic Identities of H. Michaux and B. Fondane - a comparative study" aims to investigate the similarities between the artistic trajectories of the two poets. Both emigrated to Paris at the same time (Michaux from Belgium, Fondane - from Romania) and both assimilated the values of this great literary center denying their difference, struggling with their status as writers coming from the "small" literary worlds, hardly, or not at all, recognized in "The World Republic of Letters" (Pascale Casanova). Furthermore, the purpose of the paper is to signal that Michaux’s and Fondane’s literary work uses the same big modernist themes (e.g. the traveler figure, existential anxiety, importance of language) and can be understood in the context of a larger concept of the poetics of experience.

The main purpose of this paper is to present the challenges and difficulties which appeared during the process of translation from Romanian into Polish of the novel Soldații. Poveste din Ferentari [Soldiers. Story from Ferentari] written in 2013 by Adrian Schiop. The article discusses mostly some practical solutions of translation problems and also some strategies used by the translator. It finds its theoretical basis in the beginnings of the cultural turn in translation studies – when the act of translation became a complex process of intercultural negotiation and stopped being considered as a simple interlingual relationship of equivalences. Thus, special attention is given to the cultural and social context of the translated novel (the phenomenon of the controversial musical genre “manele”) and to the strategies of cultural adaptation – the translator is perceived here as a cultural mediator. Studiul de față își propune prezentarea celor mai mari provocări și dificultăți întâlnite pe parcursul traducerii în limba polonă a romanului Soldații. Povestea din Ferentari al lui Adrian Schiop, examinând cele mai reprezentative strategii de traducere și de adaptare culturală folosite în textul-țintă. Articolul aduce în prim plan importanța contextului sociocultural al romanului (condiția socială a manelelor și a manelismului, puterea imaginară a cartierului Ferentari) și subliniază rolul traducătorului ca mediator cultural și rolul traducerii ca formă a transferului cultural.

The article presents the socio-political and cultural context of Greater Romania from the perspective of a minority group, excluded from the main discourse both from the aesthetic and national point of view – the avant-garde artists, mostly of Jewish origin. Their articles, which were published in the most prominent Romanian avant-garde journal “Contimporanul” at the very beginning of its appearance, in the period of its militant artistic activism (1922-1923), were opposing the national-centric ideologies and growing anti-Semitic tendencies and were also trying to underline the important role that Jews played in the building of the Romanian culture. Moreover, the article proposes a general overview of Romania's cultural context after World War I, dominated by national-centric thinking and the need to find “national-specificity”. Such an atmosphere undoubtedly influenced young artists' attitude and the whole avant-garde movement in Romania, developed in the specific conditions of Romanian modernity, where the aesthetic and ethnic categories are often combined.

The main objective of the article is to answer the following questions: why did Apollinaire choose for the main character of his most famous pornographic novel a Romanian prince, what is the imaginary potential of the space evoked in this work and by what means and methods of writing this controversial text becomes a common platform for poetic creativity and the Apollinarian modernist subversion. Following the spatial and topographic turn in literary studies, the article focuses on the importance of imaginary space and of spatial imagination in Apollinaire’s text, pointing out the presence of 19th century Romania as one of the most significant vectors for the fictional world created in the novel.

The article "B. Fundoianu and the Imitative Spirit in Romanian Culture: between Self-Colonization and Literary Autonomization" aims to present the position of B. Fundoianu (1898-1944; originally Benjamin Wechsler), a Romanian Ashkenazi Jewish poet, publicist, critic, essay writer, philosopher, playwright, theatre director and avant-garde filmmaker, in a very important debate on imitation in Romania in the early 20th century. The famous dispute had begun already in the 19th century with Titu Maiorescu’s theory of "forms without substance" and continued in the 20th century with Eugen Lovinescu’s polemical theory of synchronism. It concerned two ways of approaching the modernization processes in the newly formed Romanian state: the first one claimed the ‘organic’ development of Romanian culture and the second one aimed to ‘synchronize’ as soon as possible Romanian civilization with the European one, by importing Western models into the local context of cultural and political institutions. As we claim, the participation in the discussion of a young, inexperienced writer with a Jewish background, which in a way doubly excluded him from the dominant discourse at that time, allows him to have a very valuable external point of view. Fundoianu performs a very severe critique and points out some controversial arguments: inter alia, he calls Romania a cultural "French colony" and considers that the whole cultural and political history of Romania was built on the illusion of the Roman origin of Romanians and, inspired by the French philosopher Jules Gaultier, he calls this phenomenon an act of bovarism. Thus, his perspective can also be very interesting for a contemporary reader - especially because the Romanian cultural and national identitary discourse is nowadays still widely debated. Furthermore, the analysis of Fundoianu’s essays (in particular the Preface to his Images and Books from France and Critical Spirit in Romanian Culture I and II) represents the starting point for a broader discussion about the self-colonizing character of Romanian culture (explained on the basis of Alexander Kiossev’s concept). The article shows not only how Kiossev’s theory is working in the context of the whole Romanian discourse of identity, but it also deconstructs Fundoianu’s involvement in the phenomenon and explains how the author himself embraces a self-colonial point of view. The last paragraphs discuss the importance of the texts analyzed in the article for the literary identity of the author. Hence, it shows how the perspective presented in his early essays announces the main ideas of Fondane’s future work and that his attitude against mindless imitation is in its essence very close to his vision of literature developed in his mature texts.

The main objective of the article is to propose a methodology of teaching contemporary Romanian literature at Polish faculty. The presented method is inspired by the concept of "communal modernisms" in teaching literature and culture in the twenty-first-century classroom, which underlines the need of abandoning the hegemonic narrative in favour of the particular one. It also introduces the notion of ‘textualities’ which encourages us to get ‘over’ literature and teach all texts of culture which are widely applicable in understanding our reality. The study also presents the editorial market of Romanian works translated into Polish and is provided with an annexe with all translations of contemporary (namely published after 2000) Romanian literature and contemporary Romanian essays published in Poland in the last ten years.