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The article aims at investigating the gynocentric reinvention of Slavic paganism in Polish fantasy fiction by women authors. Such a phenomenon derives from the intersection of two trends that have taken place in Poland during the last decades: the femininization of fantasy fiction and the revival of Slavic myths as a source of literary inspiration. The historical fantasy subgenre, in which fictitious versions of the Middle Ages are combined with folkloric elements, is particularly productive. Writers such as Małgorzata Saramonowicz, Joanna Żamejć and Elżbieta Cherezińska describe the clash between the advent of Christianity and an imagined Slavic paganism, in which women are able to control nature and magic. The analysis of their works shows how women authors rewrite national history to incorporate new visions of femininity into commercial and genre fiction.

Studies on the specific features of fantasy literature that can influence translation strategies are becoming more and more widespread among scholars, as a consequence of increasing interest in the rendition of cultural items and the legitimation of fantasy literature as a field of research. Focusing on the Italian version of The Witcher series by Andrzej Sapkowski, published in 2010–2016, the article investigates the problems posed by the creation of imaginary worlds and the form of literary cycles as distinctive traits of fantasy literature, as suggested by Guttfeld (2012). The author shows how they can affect cultural and lexical consistency in the translation of anthroponyms, toponyms, units of measurement, culinary terms, and fantastic creatures. Whereas in Polish translations of fantasy texts a foreignizing strategy prevails, due to the domination of anglophone writers and the imbalance of cultural systems, the Italian translation of Sapkowski’s works appears significantly more domesticated.

The article aims at investigating the gynocentric reinvention of Slavic paganism in Polish fantasy fiction by women authors. Such a phenomenon derives from the intersection of two trends that have taken place in Poland during the last decades: the femininization of fantasy fiction and the revival of Slavic myths as a source of literary inspiration. The historical fantasy subgenre, in which fictitious versions of the Middle Ages are combined with folkloric elements, is particularly productive. Writers such as Malgorzata Saramonowicz, Joanna Zamejc and Elzbieta Cherezinska describe the clash between the advent of Christianity and an imagined Slavic paganism, in which women are able to control nature and magic. The analysis of their works shows how women authors rewrite national history to incorporate new visions of femininity into commercial and genre fiction. Keywords Fantasy Fiction; Feminism; Saramonowicz; Zamejc; Cherezinska.

Rewriting mythological characters, tales and motifs is a popular strategy used in feminist literature from the late 20th century. Deconstructing sexist cultural canons, challenging gender normative narratives, subverting patriarchal values and offering new female perspectives are the main purposes. Within such a framework, the article analyzes the reinterpretation of the Sumerian myth of the goddess Inanna made by one of Poland's most prominent writers. Olga Tokarczuk's Anna In in the Tombs of the World employs such strategies as the modernization of the story, now set in a dystopian, high-tech and futuristic world; the introduction of a few, but significant, changes in the narrative structure, like the modification of the plot and the insertion of the figure of the Mother Goddess; the syncretic fusion of themes and topics belonging to different eras and cultures (Sumerian, Assyro-Babylonian, Classical Antiquity) and the redefinition of the psychological meanings underlying the descent of the goddess into the underworld. Ultimately, the writer carries out a deep resemantization and refunctionalization of the original Sumerian myth based on a feminist and Jungian approach. Published in the mid-2000s, the novel should be read as a critical voice in the context of the antifeminist backlash that took shape at that time in Polish politics and jeopardized feminist conquests gained to date. Keywords Olga Tokarczuk; feminism; mythology; Jung; rewriting; Inanna.

The article aims at investigating the gynocentric reinvention of Slavic paganism in Polish fantasy fiction by women authors. Such a phenomenon derives from the intersection of two trends that have taken place in Poland during the last decades: the femininization of fantasy fiction and the revival of Slavic myths as a source of literary inspiration. The historical fantasy subgenre, in which fictitious versions of the Middle Ages are combined with folkloric elements, is particularly productive. Writers such as Małgorzata Saramonowicz, Joanna Żamejć and Elżbieta Cherezińska describe the clash between the advent of Christianity and an imagined Slavic paganism, in which women are able to control nature and magic. The analysis of their works shows how women authors rewrite national history to incorporate new visions of femininity into commercial and genre fiction.

Rewriting mythological characters, tales and motifs is a popular strategy used in feminist literature from the late 20th century. Deconstructing sexist cultural canons, challenging gender normative narratives, subverting patriarchal values and offering new female perspectives are the main purposes. Within such a framework, the article analyzes the reinterpretation of the Sumerian myth of the goddess Inanna made by one of Poland's most prominent writers. Olga Tokarczuk's Anna In in the Tombs of the World employs such strategies as the modernization of the story, now set in a dystopian, high-tech and futuristic world; the introduction of a few, but significant, changes in the narrative structure, like the modification of the plot and the insertion of the figure of the Mother Goddess; the syncretic fusion of themes and topics belonging to different eras and cultures (Sumerian, Assyro-Babylonian, Classical Antiquity) and the redefinition of the psychological meanings underlying the descent of the goddess into the underworld. Ultimately, the writer carries out a deep resemantization and refunctionalization of the original Sumerian myth based on a feminist and Jungian approach. Published in the mid-2000s, the novel should be read as a critical voice in the context of the antifeminist backlash that took shape at that time in Polish politics and jeopardized feminist conquests gained to date.

Nonostante il titolo lasci pensare che si tratti della versione italiana di Demon ruchu, solo sette dei dieci racconti provengono dall'omonima raccolta (cinque dalla prima edizione del 1919 e due dalla seconda del 1922); gli altri sono tratti da Niesamowita opowiesc (1922) e Nami§tnosc (1930), mentre l'ultimo è apparso sulla rivista \"Polonia\" nel 1926. Il volume è corredato di un interessante apparato criticodivulgativo: una prefazione, un profilo biografico e un suggestivo saggio a opera della curatrice, Il demone del moto e la talpa di galleria: il ritorno della magia organicista attraverso l'universo meccanico ferroviario, sul quale torneremo più avanti e che propone nuove chiavi di lettura dell'opera di Grabinski. La narrazione, che segue uno schema fabulare sostanzialmente invariato, ci mostra spesso un protagonista introverso, solitario e stravagante che viene a contatto con inaspettate manifestazioni di una realtà \"altra\", che riesce a cogliere grazie alla sua innata ipersensibilità, a una maggiore apertura mentale (ed emotiva) verso fenomeni che si situano fuori dall'ordinario. Ma esiste, quella strana ragione - esiste di sicuro\" (pp. 18-19).

Carcere e istituzioni totali nella letteratura polacca, Aracne, Roma 2014, pp. 312. Obiettivo dell'autrice è definire il canone di questa narrativa in Polonia, individuandone gli esordi (che coincidono con la nascita del genere del reportage), tracciandone l'evoluzione (con particolare attenzione al continuo intrecciarsi e dialogare di due tradizioni principali, quella romantico-martirologica e quella dell'inchiesta giornalistica) e mostrandone le diverse tipologie in rapporto al contesto storico, sociale e politico. Chiude il volume la figura di Andrzej Stasiuk, nei cui scritti, in particolare in Mury Hebronu (I muri di Hebron, 1992), il carcere è un simbolo del rifiuto dell'ordine costituito e una forma di rivolta anarchica nei confronti dello Stato, contrassegnando un atteggiamento da outsider comune a diversi scrittori polacchi nell'epoca delle trasformazioni epocali che segnano il passaggio dalla Polonia Popolare alla democrazia della Terza Repubblica.