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Journal articles on the topic 'Jacek Kaczmarski'

Author: Grafiati

Published: 24 April 2022

Last updated: 18 July 2025

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Janiszewski, Andrzej. "Programy Jacka Kaczmarskiego – genologia, charakterystyka, tendencje, media." Konteksty Kultury 20, no. 2 (2023): 128–44. http://dx.doi.org/10.4467/23531991kk.23.014.18354.

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Programmes of Jacek Kaczmarski – Genealogy, Characteristics, Tendencies, Media The article aims at describing the notion of “programme” in the Jacek Kaczmarski’s oeuvre as accurately as possible. The conclusions of Krzysztof Nowak and the category of cyclicality were mentioned in the introduction. Then the author describes forms similar to a programme – amongst others, album and song cycle. Moreover, the author points to the clear distinctiveness of the “programme” in its strict literary sense from the cycles created by the artist. In the next part of the article, the characteristics of said form, such as presence of atypical paratexts or the form fluidity depending on the medium, were characterised. The aforementioned description becomes the starting point for formulating a definition of a literary-musical programme in its narrow meaning and looking closely at the changes that happen in the next cycles of Kaczmarski, as well as the tendencies that accompany them. The observed regularities and the knowledge of the creation contexts of each cycle allow the author to divide the programmes into three groups. The main conclusions resulting from the article are concisely presented in the summary

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Krzysztofik, Małgorzata. "Motyw walki Jakuba z aniołem w piosence Jacka Kaczmarskiego wobec tradycji żydowskiej i chrześcijańskiej." Poznańskie Studia Teologiczne, no. 32 (August 5, 2019): 229–44. http://dx.doi.org/10.14746/pst.2018.32.14.

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The purpose of this publication is the interpretation of the song of Jacek Kaczmarski titledJacob wrestling with the angel which shows the speci city of the poet’s view of the biblical theme. In the rst part of the article, I discuss the gure of the Patriarch Jacob in the Bible and culture. Then I present the patriarch’s wrestling with an unknown opponent as it is shown in Jewish and Christian commentaries. In the interpretation of Kaczmarski’s song, I draw attention to the di eren- ces and similarities with the Scriptures and with Jewish and Christian interpretations. Kaczmarski creatively reinterprets the biblical theme. The song does not follow Jewish interpretations which see the unknown opponent as a guardian angel of Esau, archangel Michael or Satan. Nor does it follow Christian interpretations (psychological, allegorical, spiritual, mystical). The poem is close to these comments (Jewish and Christian), which in the wrestling opponent see God in the form of an angel and a shepherd. Kaczmarski’s interpretation is unique, for in his poem the main purpose of the struggle is freedom – an overriding value in human life. The winner turns out to be a crippled Jacob. The weak man wins with God because he dared to ght for freedom.

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Gajak-Toczek, Małgorzata. "Jacek Kaczmarski i Gert Hofmann przed Ślepcami Pietera Bruegla." Acta Universitatis Lodziensis. Folia Litteraria Polonica 22, no. 4 (2013): 139–55. http://dx.doi.org/10.18778/1505-9057.22.10.

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Kępka, Izabela. "Gdy królewską godność zachowały tylko kamienne lwy…, czyli o językowej kreacji lwa w piosenkach Jacka Kaczmarskiego." Poznańskie Studia Polonistyczne. Seria Językoznawcza 24, no. 2 (2018): 59–72. http://dx.doi.org/10.14746/pspsj.2017.24.2.4.

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The main goal of the article is showing the language creation of a lion in songs by Jacek Kaczmarski. The theme of the lion, helps to show the situation of the people enslaved in a communist country. The lion, the symbol of power and bravery, in Kaczmarski’s poetry is mainly shown as an attraction in circus. It is weak, disoriented and frightened. This stereotypical proud animal, became a weak creature, which is laughed at by the spectators.Only fake lions made out of stone along with the Zodiac Leo and people named Lion, didn’t lose their proudness and bravery. Those can remind us about the characteristics of a true lion, but are also guardian of true, wise and honest authority. Kaczmarski’s lions symbolize an enslaved, weak nation that, on the other hand, have the awareness of their power and wait for the fall of the regime.

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Mazur, Elżbieta. "Piosenka literacka i hymny pokoleniowe drugiej połowy XX wieku… na lekcjach języka polskiego w szkole średniej. Estetyka – tematy – wartości." Annales Universitatis Paedagogicae Cracoviensis. Studia ad Didacticam Litterarum Polonarum et Linguae Polonae Pertinentia 12, no. 330 (2021): 259–71. http://dx.doi.org/10.24917/20820909.12.17.

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The article concerns the post-war literary song in Polish language education in secondary schools, i.e. the place of authors and texts representing poetic songs, poems set to music, author’s song and the opinion of a generation at the Polish language classes. Besides such authors as Ewa Demarczyk, Agnieszka Osiecka, Wojciech Młynarski, Jacek Kaczmarski (perceived not through the prism of intertextual measures: painting or biblical one, but as a bard of “Solidarity”, i.e. the author of “The Walls”), Grzegorz Ciechowski’s work ‘Do not ask about Poland ‘ was considered. On the example of the poems by Kamil Baczyński which were sung by Demarczyk, texts written by Kaczmarski and Ciechowski, they were discussed the artistry, the topics and evaluation of poetic song from the perspective of educational axiology.

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Nowicki, Joanna. "Jacek Kaczmarski : la poésie chantée comme révolte pendant la guerre froide." Hermès 86, no. 1 (2020): 142. http://dx.doi.org/10.3917/herm.086.0142.

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Janiszkiewicz, Marcin. "Wymiar intertekstualny w twórczości bardów na przykładzie piosenek Pawła Wójcika." Białostockie Studia Literaturoznawcze, no. 21 (2022): 155–74. http://dx.doi.org/10.15290/bsl.2022.21.09.

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The article discusses representative examples of intertextuality in the works of Paweł Wójcik, a contemporary Polish bard. The analysis demonstrates that the author draws, among other things, upon songs thatbelong to the tradition of balladry. Apart from references to the songs of Andrzej Garczarek or Jacek Kaczmarski, there are also references to the poetry of Władysław Broniewski, Zbigniew Herbert or Sergiusz Jesienin. The diversity of intertextual forms begins with quotations and allusions and ends with realisations of self-intertextuality in several variants.

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Borowski, Paweł, and Henry Stead. "“Ovid’s Old Age”." Clotho 2, no. 2 (2020): 5–38. http://dx.doi.org/10.4312/clotho.2.2.5-38.

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“Ovid’s Old Age” is a sung poem written by the Polish poet and musician Jacek Kaczmarski (1957–2004) which engages with the myth of Ovid’s exile. Kaczmarski’s works were heavily influenced both by classical culture and his experience of political emigration during the communist era. He was famed as an unofficial bard of the opposition movement, but is as yet little known to classical reception scholars. This paper presents Kaczmarski’s creative engagement with Ovid as both a deeply personal reflection on the nature of exile and at the same time a universal commentary on poetry under authoritarian regimes. Our interpretation is based on a thematic analysis of the poem, including landscape, imperialism, displacement, “national” poets in exile, nostalgia, and the force of poetry. We set the reception in its social, political, and biographical context, with reference to several mediating receptions of the Ovidian exile. In Kaczmarski’s poem, the Ovidian voice helps the poet to express the trials of emigration and reveals their effect on his art. It shows how engagements with classical culture may flourish, even while the formal discipline of Classics has been undernourished. We provide a bilingual translation of “Ovid’s Old Age” to foster the understanding of migratory experiences in contemporary poetry and enrich international scholarship on the reception of Ovid with a response from communist Poland.

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Kępka, Izabela. "The linguistic creation of a dog and its functions in the poetry of Jacek Kaczmarski." Studia Językoznawcze : synchroniczne i diachroniczne aspekty badań polszczyzny 16 (2017): 135–48. http://dx.doi.org/10.18276/sj.2017.16-08.

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Kępka, Izabela. ""The wolf is free!" – The wolf as a symbol of freedom in the poetry of Jacek Kaczmarski." Studia Językoznawcze : synchroniczne i diachroniczne aspekty badań polszczyzny 17 (2018): 177–89. http://dx.doi.org/10.18276/sj.2018.17-11.

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Połowniak-Wawrzonek, Dorota. "Wyrażenie młode wilki we współczesnym języku polskim." Poradnik Językowy, no. 4/2022(793) (April 20, 2022): 103–8. http://dx.doi.org/10.33896/porj.2022.4.7.

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The idiom młode wilki (young wolves), with an additional meaning ‘young, entrepreneurial, go-getting people, who climb the career ladder fast, are extremely successful in a given fi eld’ exists in the contemporary Polish language. The meaning of this expression reveals the following semes that are signifi cant for the stereotype of wolf: ‘predacious’, ‘aggressive’, ‘hostile’, ‘distrustful’, ‘wild’, ‘dangerous for a human being’. Such a meaning of this idiom has been established under the infl uence of a fi lm directed by J. Żamojda and the song titled Obława (Hunt) by Jacek Kaczmarski although the impact of the fi lm seems to be predominant here. In the contemporary Polish texts, the expression młode wilki can be found in both standard and modifi ed forms: these are usually innovations with additions, cf. e.g. młode wilki polskiego kina (young wolves of the Polish cinematography), młode wilki obozu władzy (young wolves of the ruling camp), and młode wilki biznesu (young wolves of business).

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Gozdecka, Renata. "Trzy wiersze Jacka Kaczmarskiego inspirowane malarstwem polskim. Z muzyką Zbigniewa Łapińskiego i Przemysława Gintrowskiego." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 1 (2017): 121. http://dx.doi.org/10.17951/l.2017.15.1.121.

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Tekst jest opracowaniem interdyscyplinarnym. Traktuje o związkach malarstwa, poezji i muzyki. Trzy obrazy polskich malarzy (Jacek Malczewski, Wigilia na Syberii, Bronisław Wojciech Linke, Kanibalizm, Jerzy Krawczyk, Birkenau) stały się inspiracją dla poezji Jacka Kaczmarskiego, jego zaś wiersze (odpowiednio: Wigilia na Syberii, Kanapka z człowiekiem, Birkenau) zostały umuzycznione przez Zbigniewa Łapińskiego i Przemysława Gintrowskiego. Artykuł – mający charakter analityczny – odsłania drogę przekazu artystycznego od obrazu, poprzez słowo poetyckie, do ujęcia muzycznego.SUMMARYThe article is an interdisciplinary study, which discusses interrelations between painting, poetry and music. Three pictures by Polish painters – Wigilia na Syberii [Christmas Eve in Siberia] by Jacek Malczewski (1854-1929), Kanibalizm [Cannibalism] by Bronisław Wojciech Linke (1906-1962), and Birkenau by Jerzy Krawczyk (1921-1969) – became the inspiration for Jacek Kaczmarski’s (1957-2004) poetry; his poems in turn, as poetic reactions to the foregoing paintings, Wigilia na Syberii (1980), Kanapka z człowiekiem [Sandwich with a Man] (1980) and Birkenau (1981) respectively – were musicalized by Zbigniew Łapiński (b. 1947) and Przemysław Gintrowski (1951-2012), and performed by the trio of Kaczmarski, Łapiński, and Gintrowski (Wigilia na Syberii in 1981) and by Przemysław Gintrowski alone (Kanapka z człowiekiem in 2009, Birkenau in 1991). The three-part, analytical article reveals the process of artistic communication: from a picture, to the poetic word, to a songster’s interpretation.

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Kwapień, Joanna. "Etnomuzykologia Solidarności. Wokół "Musical Solidarities: Political Action and Music in Late Twentieth-Century Poland" Andrei F. Bohlman." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 161–67. http://dx.doi.org/10.14746/rfn.2021.22.12.

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The article discusses the book Musical Solidarities by Andrea F. Bohlman. In her monograph she describes the history of Solidarity, placing sound at the centre of her analysis. The methods she uses allow her to examine historical facts holistically: she reaches for fieldwork as well as voice analysis, specific music motifs, and the influence of Polish musicians and composers on social attittudes in the 1980s. She offers an interesting analysis of the songs that acompanied the protests and the phenomenon of Stefan Bratkowski’s “Gazeta Dźwiękowa” [Sound Gazette] and its influence on the listeners. She draws attention to the icons of the Solidarity period such as Father Jerzy Popiełuszko, Lech Wałęsa, Krzysztof Penderecki and their voices, understood both literally and metaphorically. She also analyses contemporary reinterpretations of songs from that period, using Jacek Kaczmarski’s Mury [Walls] and Janek Wiśniewski padł [Janek Wiśniewski fell]. The author rejects the chronological approach to research, analysing the historical period through problematization of selected issues.

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Dynkowska, Julia. "Od narcystycznej identyfikacji do zdystansowanej uważności: refokalizacja w apokryficznych ekfrazach i ekfrastycznych apokryfach Rembrandtowskiej Lekcji anatomii doktora Tulpa." Białostockie Studia Literaturoznawcze, no. 16 (2020): 127–59. http://dx.doi.org/10.15290/bsl.2020.16.07.

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The paper presents the strategy of refocalization in apocryphal ekphrases and ekphrastic apocrypha, and more specifically, the shift from the perspective that dominates the original painting into the perspective and narrative that are valid in the literary text(s) inspired by this painting. The precise subject of this study are works related to Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp – Jacek Dehnel’s Po wyjściu malarza, Jacek Kaczmarski’s Lekcja anatomii (według Rembrandta), Nina Siegal’s Anatomy Lesson and a fragment of W.G. Seblad’s novel The Rings of Saturn.

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Wilk, Michał. "Faith, Religion and God in the Context of freedom in Jacek Kaczmarski’s Poetic Texts." Irydion. Literatura - Teatr - Kultura 3, no. 2 (2017): 127–44. http://dx.doi.org/10.16926/i.2017.03.25.

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Nowak, Aleksandra. "Jacek Kaczmarski’s Vision of the World and Man (Based on the Song “The Fight between Carnival and Lent”)." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 8 (November 1, 2023): 127–42. http://dx.doi.org/10.17951/en.2023.8.127-142.

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Grodecka, Aneta. "Poetyka intersemiotyczna a dydaktyka literatury." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 5 (May 14, 2018): 48–61. http://dx.doi.org/10.24917/23534583.5.4.

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Intersemiotic poetics and teaching literature The article is devoted to intersemiotic poetics derived from the theory of translation, that is the principle of translation described by Roman Jakobson (the interpretation of linguistic signs by means of non-verbal signs). From the reconstruction of research stances, changes in the concepts of the mind, and a new understanding of the processes of perception and metaphor, the Author relates the mechanisms of intersemiotic translation to borderline forms (ekphrasis and audio description) and the principles of teaching. By analyzing selected examples (Jacek Kaczmarski’s ekphrasis and editorial notes to Wisława Szymborska’s poem Utopia), she proves that after rejecting the principles of equivalence and similarity, while simultaneously maintaining the principle of causality, one may look for affinities in deeper semantic layers (amplification, addition) or engage in teaching literature, where intellectual precision is related to the shaping of emotions and skills involved in the multisensual reading of cultural texts.

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Zając, Karolina. "Jacek Kaczmarski – bard (?) i antynomie." Facta Ficta. Journal of Theory, Narrative & Media 2 (14) 2024 (December 18, 2024). https://doi.org/10.5281/zenodo.14516946.

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Jacek Kaczmarski – the bard (?) and the antinomies Jacek Kaczmarski’s work is filled with antinomies, the presence of which fosters problems of interpretation and misreadings. The dualism of attitudes can be observed in many of the poet’s works.In this article, I will examine the worldview contradictions expressed in selected poems by Kaczmarski. The individual parts of the publication will be determined by the following questions: poet or singer? Bard or non-bard? Pole-patriot or anti-Pole? Jew or Catholic? The aim of considering these questions is to gain insight into the ideology of the singer and to treat it holistically, without making selective simplifications.It is important to understand the change in Kaczmarski’s understanding of himself as an artist over the years. Initially, he considered himself a singer. However, it was only as a mature artist that he began to consider himself a poet. Nevertheless, his creative status remains a matter of contention among scholars, with most describing him as either a poet or a singer.The answer to the second question appears to be relatively straightforward, as Kaczmarski repeatedly attempted to subvert the monument to the bard of Solidarity erected to him by particular audiences. However, he never cut himself off from his anti-communist activities. The myth of the bard caused the entire output of the author of Mury to be misinterpreted, and patriotic motifs were often sought, which, however, did not appear in many songs. Consequently, it was not uncommon to omit poems that referred critically to Polish culture and stereotypes, despite these forming a significant part of the oeuvre. The final issue raised concerns about Kaczmarski’s religiousness. His lifelong search for faith and God, which took place at the intersection of Catholicism and Judaism, has been described as an &bdquo;eternal quest”.Jacek Kaczmarski was a poet who was misread, non-conformist and expressed antinomian attitudes. It is challenging to provide a definitive account of Kaczmarski’s identity and character. Consequently, the reception of his poetry is complex. However, it is essential to consider the antinomies that characterise his work holistically and to examine all of his output, including his diverse subject matter.

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Gajak-Toczek, Małgorzata. "Jacek Kaczmarski przed sybirskimi obrazami Jacka Malczewskiego." Litteraria Copernicana 41, no. 1 (2022). http://dx.doi.org/10.12775/lc.2022.010.

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Celem artykułu Jacek Kaczmarski przed sybirskimi obrazami Jacka Malczewskiego jest ukazanie intertekstualnego dialogu toczonego pomiędzy współczesnym bardem a młodopolskim malarzem. Do prezentacji wybrano cztery słowno-muzyczno-wokalne opowieści: Zesłanie studentów, Wigilia na Syberii, Zatruta studnia, Powrót z Syberii z cyklu Muzeum (1981), których porównanie i interpretacja służy uwypukleniu dwugłosowości tekstów Kaczmarskiego: podkreślone zostają elementy właściwe dla ekfrazy (rekonstrukcja scenariusza malarskiego pierwowzoru: świata przedstawionego, układu kompozycyjnego, kolorystyki), jak też odczytane sensy naddane, które pozwalają poecie na ogląd wydarzeń teraźniejszych poprzez pryzmat przeszłości. Pieśniarz mówi o samotności, cierpieniu, uwikłaniu w machinę Wielkiej Historii, bezbronności wobec dyktowanych przez nią wyroków. Na podstawie tych rozważań można wnioskować, że Kaczmarski narratywizując obrazy, twórczo dekontekstualizuje sensy z nich wyczytane, udziela głosu zapomnianym, tym, których Historia go pozbawiła, a mitologizując historię, czyni z dawnych zdarzeń zbiór przypowieści o człowieku i zbiorowości.

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Ługowska, Urszula. "Estamos enamorados de nosotros mismos Y no queremos conocernos. Literatura e identidad polacas en el espejo de la obra de Jacek Kaczmarski." Inter Litteras, no. 4 (August 22, 2022). http://dx.doi.org/10.34096/interlitteras.n4.11711.

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En el artículo se presentan los poemas-canciones del gran cantautor polaco Jacek Kaczmarski –que para muchos compatriotas y críticos literarios personificó la identidad polaca en la época de la gloria del sindicato Solidaridad– poniendo énfasis en su evolución desde la postura que elogia el típico romanticismo polaco hasta la desilusión con los mitos nacionales.

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Puchalska, Iwona. "Don Kichot i Sancho Pansa w piosence poetyckiej: Jacek Kaczmarski i Francesco Guccini." Ruch Literacki, May 4, 2023. http://dx.doi.org/10.24425/rl.2022.143006.

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Gajda, Krzysztof. "Profanity in songs. Seeking the limits of freedom of speech, and the reproduction and sanctioning of contemporary linguistic tendencies." Acta Universitatis Lodziensis. Folia Litteraria Polonica 45, no. 7 (2017). http://dx.doi.org/10.18778/1505-9057.45.14.

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The article is showing the presence of vulgar expressions in song lyrics. This is a clear testimony to the changes in the customs and language of culture of recent decades. The paradox is that the development of negative phenomena can contribute to events naturally valued positively, such as expanding the sphere of freedom together with the birth of “Solidarity” or the abolition of the censorship institution with the transformation after 1989. Vulgarism today, after more than a quarter of a century since the release of language from the “care” of censorship, is intensively present in songs that many Poles find important. This stylistic device helps to express and shapes the expressed emotions, describe reality, and it is a manifestation of the generational fear of the sublime. The text discusses the songs of authors such as: Andrzej Garczarek, Jacek Kaczmarski, Kazik Staszewski, Krzysztof Grabowski (Grabaż), Marcin Świetlicki, Hubert Dobaczewski (Spięty), Paweł Sołtys (Pablopavo).

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Mini, Riccardo. "Ploščad’ Peremen, Minsk: arte e canzone come forme di resistenza." Altre Modernità, September 30, 2022, 32–47. http://dx.doi.org/10.54103/2035-7680/18682.

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Il presente articolo si propone di illustrare il sorgere e lo sviluppo della realtà di Ploščad’ Peremen a Minsk nel contesto delle proteste bielorusse, iniziate nell’agosto 2020. Ploščad’ Peremen è spazio di resistenza, luogo di aggregazione e di protesta alternativa. Situato in un cortile di ulica Červjakova, sorge in seguito al gesto sovversivo dei dj Kirill Galanov e Vladislav Sokolovskij, che in occasione di un concerto governativo suonano Peremen dei Kino, inno al cambiamento, venendo poi arrestati. In Ploščad’ Peremen la protesta si esprime attraverso serate danzanti, spettacoli teatrali, dipinti, murales e soprattutto concerti. Si vuole analizzare il valore e il significato di quattro canzoni ricorrenti: Peremen dei Kino, scritta da Viktor Coj nel 1989, Steny ruchnut, versione russa dell’inno della Solidarność, composto da Jacek Kaczmarski nel 1980, Vychodi guljat’ del gruppo hip hop russo Kasta, uscita a gennaio 2020, e infine My ne narodec del gruppo rock bielorusso Tor Band, rilasciata nel giugno di quest’anno. Si evidenzia il significato originario delle canzoni sopracitate, e come e perché le stesse abbiano acquisito importanza e valore all’interno del movimento di protesta bielorusso. Accanto all’analisi delle canzoni verrà evidenziato il ruolo di Telegram come nuovo canale di comunicazione e organizzazione delle proteste.

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Michał, Łukowicz. "Zaangażowanie, bierność i skandal. "Piosenkowe strategie" w konfliktach międzypokoleniowych." December 21, 2021. https://doi.org/10.5281/zenodo.5795741.

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Commitment, passivity and scandal. &bdquo;Song strategies" in intergenerational conflicts The article aims to present the analysis of three Polish songs that are treated in the social space as important statements by &bdquo;voices of their generation”. Jacek Kaczmarski in Our Class [Nasza klasa], Zygmunt &bdquo;Muniek” Staszczyk in the song This nurture [To wychowanie] and Michał &bdquo;Mata” Matczak in Pathointeligency [Patointeligencja], expressing the problems of their peers, occupy a specific place towards the older generation, which is symbolized by the educational system. Using a different music genre and functioning in different socio-political realities, each of the artists also proposes a different strategy of &bdquo;fighting” in a generational conflict, which ranges from (apparent) passivity, through commitment, to rebellion. The interpretation of the aforementioned cultural texts (the song is understood as a multi-code message with a solid performative potential) considers their verbal and musical content and the historical and performance context, and the dynamically changing reception. The analysis of the differences and common points of the mentioned texts is intended to capture the phenomenon of popularity of these three completely different songs, which confirm that the most fortuitous statements of specificity and generational distinctiveness in the art use the mechanism of dispute.

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Kloch, Zbigniew. "Przekład intersemiotyczny. Przypadek znaku drogowego, ekfrazy i adaptacji filmowej." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 35, no. 44 (2023). http://dx.doi.org/10.14746/i.2023.35.44.9.

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   The article is an attempt to clarify and refine the ways of understanding two basic types of translation: from one language into another ethnic language (translation proper) – i.e. following the principles of translating homo- geneous systems of signs – and from one system of signs to another, e.g. verbal to iconic, or vice versa, which is sometimes called transmutation. Therefore, the starting point for the discussion is Roman Jakobson’s well-known typology of translation, which also took into account cases of intralingual translation within the same language, called rewording. However, the article mainly focuses on various cases of intersemiotic translation and thus transmutation, meaning situations where a text expressed in one system of signs is translated into a system of a different nature. The primary research question concerns what is actually being translated in such a situation and how this type of translation differs from a typical language-to-language translation. The article is chiefly theoretical, and the examples concern the cases of translating verbal signs into iconic ones, such as the rules governing traffic into a road sign, the translation of an image (a painting, photography) into a literary text (ekphrasis and its varieties), and a film adaptation. The equivalence of codes secures the adequacy of a linguistic translation. In the case of ekphrasis, the image is usually replaced by a verbal narrative, and in a film adaptation, the type and sequence of iconic signs must simply be invented because these sign systems are not directly equivalent, as Benveniste and Lotman believe. Examples that illustrate the main theses of the article are Jacek Kaczmarski’s art-inspired songs, several film adaptations of Shakespeare’s Macbeth (Polański, Kurosawa), and Agnieszka Holland’s film adaptation (Pokot [Spoor]) of one of Olga Tokarczuk’s novels.  

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