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This article proposes a reading of Tokarczuk's 1998 House of Day, House of Night as a feminist text and critiques the English translation, published in 2002 as House of Day, House of Night, for omitting most of Tokarczuk play with gendered language and her challenges to the patriarchal structures of Polish. Reading Dom dzienny, dom nocny through the lens of feminist theory brings to surface the central goal of Tokarczuk's text-her aim is to break the hegemony of patriarchy by deconstructing its language. As a feminist text, Dom dzienny, dom nocny questions the conventional patriarchal categories and creates a linguistic space in which it becomes possible to tell the story of the Other. While the article acknowledges that the transmission of gender-specific linguistic concepts from the source to the target language is necessarily difficult, it argues that such a transfer can be possible for an English translation of Tokarczuk's text because both Polish and English are part of the Western tradition, clearly reflecting gender prejudice. Tokarczuk's play with language can be \"rewritten\" in English-although English lacks pervasive grammatical gender, it does not lack corresponding cultural and patriarchal constructions. The feminist theory of translation, which provides a model for the transfer of gender differences from one language to another, can provide a framework for such a \"rewriting\"-Tokarczuk's text could be successfully translated from the source to the target language only by employing analogies of patriarchal linguistic structures in English.

This article reconstructs Czesław Miłosz's multiple translations into English, done between 1983 and 2002, of the Polish author Anna Świrszczyńska's poetry as a case study contrasting the ideological underpinnings of his translations prior to the fall of Communism in 1989 with those he presented after, when literature could cross more freely between the two cultures. Because Miłosz's translations of Świrszczyńska's poetry appeared in three different versions, two books for the American audience and one book for the Polish audience, it is possible to track a process of travel at work behind his translations. The three books demonstrate how translated texts often circulate in our globalized literary culture, first when a work of literature crosses from one language to another (from source to target culture), then when knowledge of the translation recrosses back to the original culture. This process of travel shows that translation from a \"minor\" language such as Polish to a \"major\" language such as English is often used in an attempt to preserve, broaden, and canonize the source literature, regardless of the translation's effects in the target culture.

The adaptation of literature not originally written for the stage into plays is extremely popular in present-day Polish theatre, and has evolved from roots in the Great Theatre Reform of the early twentieth century into a more avant-garde form than is typically seen in Anglophone theatre. The Great Reform notion of the director as auteur of a theatrical production is connected with theatrical adaptation, and was popularized in Poland by Leon Schiller, the founder of the directing department at the state theatre academy. In the early postwar era, Mieczysław Kotlarczyk's influential Rhapsodic Theatre also produced adaptations of many classic works of prose and epic poetry. Starting in the 1960s, student theatres as well developed their own special variety of adaptation, and Grotowski and Kantor also freely adapted literary works in avant-garde productions that served their own directorial visions. By 1989, both mainstream and alternative theatres had developed adaptation into a tool that was often used to mount productions that criticized the Communist regime. After 1989, Krystian Lupa and his students have continued to adapt literary works less for political reasons than to make personal or artistic statements. Modernist fiction and postmodern mash-ups now fuel the post-dramatic stage adaptations that flourish on the Polish stage today.

At a time when the exclusionist rhetoric of the nation continues to be dressed up as patriotic conviction, this article advocates a return to the archive to investigate the controversial issue of patriotism. It might be surprising to find, for example, that The Patriot's Calendar, published in London in the 1790s, contained both Magna Carta and the Marseillaise. Accordingly, the connections between patriotism and liberty and patriotism and citizens' rights invite closer scrutiny. To give my theoretical considerations a more inductive grounding, I focus on Joseph Addison's Cato (1713) and Anna Bojarska's Lekcja polskiego [The Polish Lesson, 1988], along with their theatrical enactments during the American War of Independence (1775-1783) and the Polish Revolution (1980-1989), respectively.