The following review concerns the volume Corps et traduction, corps en traduction [Body and Translation, Body in Translation] edited by Solange Hibbs, Adriana Şerban and Nathalie Vincent-Arnaud, published in 2018 by Lambert-Lucas Publishing House in Limoges, France.

[full article in Polish, abstract in English and Polish] The article deals with the problem of spelling common names functioning as proper names of literary characters. In general, single word names pose no problems as they are written in capital letters, e.g. Sędzia, Wojski, Asesor, Podkomorzy, Woźny, Hrabia (characters from “Pan Tadeusz”); Cześnik, Rejent (characters from “Zemsta”); Pustelnik (figures from “Dziady”). Definitely less clear is the usage and rule in terms of spelling that applies to names composed of two and more words, such as KRÓLOWA ŚNIEGU, MAŁY KSIĄŻĘ, ŚPIĄCA KRÓLEWNA, KRÓLEWNA ŚNIEŻKA, KOT W BUTACH, STAROSTA GADULSKI, PAN KLEKS. There are three versions of spelling as far as usage is concerned: 1) both words in capital letters, 2) the first word in capital letters, the second word in lower case, 3) both words in lower case. Much depends on the form in which the expression appears in the literary text and in its possible translation into Polish. Proper names in literary works are the result of the author’s choice, and this does not contribute to the unification of their spelling form (the same name of a character may be written differently in different works). If the author’s intentions are not known, we should recommend that all words (except for conjunctions and prepositions) be spelt in capital letters, especially as the other components of these expressions may appear in their own context: Książę, Śnieżka, Królewna.

[full article and abstract in Lithuanian; abstract in English] The article analyses a dialogue of poetry with art in five Alfonsas Nyka-Niliūnas’ poems. It has been selected to apply an intermedial analysis, which provides analytical tools assisting in studying the parameters of a dialogue with art. The most important thing is the conception of ekphrasis predicting the gesture of media change – expressing visual work in words. It has been based on the typology of Laura M. Sager Eidt’s ekphrases, which allows seeing that the studied poems of Nyka-Niliūnas are dominated by a dramatic ekphrasis, the essential feature of which is an intensive autoreflection. The article studies in deep the particularity of an intermedial dialogue: it is considered on which basis the poetry of Nyka-Niliūnas is associated with artworks, how this dialogue is given prominence and what meaning growth is seen. It is analysed how art intertexts in the poems establish new meanings, and the aspect of linguistic visualisation is discussed. It has been seen that the strategy of intermedial reading is mostly formed in the titles of poems, which are introduced to the dialogue with the situation of visual media. The art quotations in the analysed texts perform different functions – activate the subjects of representation problems and representation variability, help in creating tension between visualisation and acoustics and strengthen the ideas of philosophy of existence.

[full article and abstract in Lithuanian; abstract in English] Algirdas Landsbergis (1924–2004) was one of the few critics whose erudition, creative intentions, comparative education, language proficiency and international competence and activities, provided opportunities to transcend the boundaries of the Lithuanian literature, avoiding the “provinciality” of literature. The article analyses the critique of Landsbergis literature and theatre-related to Polish culture. The chosen research of this part of the criticism texts is innovative because it has not been studied in more detail. The critic’s mission – to evaluate the Polish and Lithuanian literature in the context of Central-Eastern Europe – is highlighted in the criticism articles, reviews and annotations published in 1969–1998. The analysis of criticism texts allowed to highlight the dialogue between Lithuanian and Polish literature and cultures. In criticism relating to Polish culture, here viewed the latest works by Polish-speaking writers, mostly their translations, in order to evaluate the aesthetic value, structure, style of the work, to describe the writer’s growth, the place of his work in the context of peer-reviewed author’s creative works or in Polish literature (the basis of comparison is the Lithuanian literature or literature of other Middle East European countries). In this way, the critic performed an educational mission – introducing the addressee (a Lithuanian emigrant and Lithuanian behind the Iron Curtain) to the situation of the Middle East European region or the world culture, and literature; encouraged to resist the Soviet regime.

[full article and abstract in Lithuanian; abstract in English]
 Autonomy of art understood as the independence of the art creation, dissemination and funding organizations from political institutions is one of the most important principles of cultural politics in democratic countries. The idea of artistic autonomy is the basis of the ‘arm’s length’ cultural policy model that works in the United Kingdom and Scandinavian states and which had been ecommended by European Council experts to Lithuania and other Eastern European countries while reforming their cultural policy after the collapse of the Soviet Union. Lithuania finished the transition to the model in 2012-2013 when the Lithuanian Film Centre and the Council for Culture had been established. However, the reaction of Lithuanian political authorities to some of the recent cultural events in Lithuania show that the autonomy of art as an idea and norm of cultural policy has not been working in Lithuania. The aim of this article is to describe the idea of the autonomy of art in cultural policy and to analyse several actual issues of Lithuanian cultural politics in the aspect of the relationship between the autonomy of art and democracy. The article is based on the analysis of scientific literature, press articles, and political documents.

The article presents an attempt at solving chosen problems related to the preparation to conduct a scientific research of a language norm. Until now, linguists have not attempted at describing the language norm according to its definition. It should be viewed as a social phenomenon. Its research ought to be conducted by the means of mixed methods, including methods inherent to linguistics and social sciences. A proper representative group of contemporary users of the Polish language should be chosen according to the rules applied to regular opinion polls. The questionnaire tools, allowing the creation of situations similar to the natural reaction to correct and incorrect forms, are necessary. In order to evaluate the level of the norm (e.g. model forms, correct forms, acceptable forms), it is necessary to determine the way of interpretation of the obtained results (e.g. more than 85% of positive results qualifies the variant to the model forms, less than 65% – to forms outside the norm). In this way, a reliable image of contemporary language norm would be obtained and a rational basis for the development of the codified norm would be created. There is a high social demand for a reliable source of the way in which Polish should be written and spoken. The constant updating of the normative publications is also necessary, hence the requirement to make them available online. The monitoring of changes of the habit and noting them are equally important.

The aim of the article is to present the utility of the social representation theory as a theoretical and methodological basis of the public discourse research. The theory, enunciated by the French psychologist Serge Moscovici, offers a new approach to the research of the way in which the media and communities / social groups construct the understanding of the issues which are important to them. The analysis of public discourse conducted within the framework of this theory is based on the observation of linguistic media with which the processes of anchoring (naming, emotional anchoring, thematic anchoring, anchoring by metaphors, anchoring in antinomies) and objectification (emotional objectification, personification) are conducted. They constitute the basic communicative mechanisms which produce social representations. The role of language as a medium of social representation will be emphasised. The article will also discuss the extralinguistic media of social representations which determine the overall image of discursive social reality. Social representations may be perceived as a tool for description and understanding of reality.

The article discusses the peculiarities, development and prevalence of the audio description methodology of theatrical performances in different countries. Special attention is paid to the review and analysis of emerging traditions of the methodology of audio description of theatrical performances in Lithuania, since any scientific articles discussing this subject in detail have not yet been published in our country. The article examines the audio introduction (AI) text of Panevėžys Juozas Miltinis Drama Theatre performance Vyšnia šokolade (directed by Linas Marijus Zaikauskas). The AI text is based on the AI guidelines defined in foreign countries and drawn by the 3rd year Bachelor’s Degree students of Audiovisual Translation (Vilnius University Kaunas Faculty of Humanities) under the supervision of lecturer Dr. Laura Niedzviegienė.The issues of the preparation of the AI text are discussed and possible solutions are proposed. Furthermore, the author of the article provides general guidance on preparing the audio introductions of theatrical performances for visually impaired people living in Lithuania.

ANDREJEV, L., 2016. Judas Iskarijotas. Šėtono dienoraštis. Iš rusų kalbos vertė Aidas Jurašius. Vilnius: Lietuvos rašytojų sąjungos leidykla. 273 p.