In this article, the author attempts to rethink the concept of interdisciplinarity within the modern university, assuming that researchers always remain part of a larger epistemic infrastructure or culture. The author sees the central problem of the contemporary knowledge production system as the ongoing process of knowledge commodification, with its multiple indicators – parameterisation, standardisation, rapid verification of hypotheses, the primacy of experiment over theory, alleged fact over concept, etc. The author distrusts the currently postulated “easy” idea of interdisciplinarity, understood as the free transfer of knowledge from one field to another, viewing it as a symptom of the contemporary “culture of speed”. Consequently, he seeks positive models of interdisciplinarity that are based not on analogies but on material confrontation with real-world problems and respect for the multiplicity of research practices. Finally, the author raises the question of tl possibility of a university that would be a place to bring together people from dif- ferent disciplines united by the recognition of a similar research problem, rather than by a program or grant. The author calls the new pattern of interdisciplinarity the “critical theory of liminality” or the “critical genealogy of knowledge”.

Above all things, the author focusses on the interdisciplinary approach in philosophy. The author points out that philosophy develops through revolutionising its approaches, and such revolutions can happen precisely thanks to expeditions to the boundaries of other disciplines. The author then highlights borderlands of this type, writing on how philosophically momentous the exploration of the boundaries of socio-political sciences, theology, literature and psychoanalysis can be. In this way, the article aims to justify its eponymous thesis, whereby the truth lies on the border.

In the discussion on interdisciplinarity, the author introduces two notions: “interdisciplinary gesture” and interdisciplinarity as method. It demonstrates that, while “interdisciplinary gesture”, a somewhat ostensible action, is fairly common nowa- days, interdisciplinarity as a method is something extraordinarily difficult, both due to the theoretical character of contemporary academic studies (especially in the field of the humanities) and its practical constraints. The author concludes that the issue of interdisciplinarity as method (the relationship of various disciplines of knowledge with one another) has long been looked at in the field of philosophy.

Place names tell us a lot about history. They can testify to the past of a given locality. What is of even more interest to me, as someone who is interested in the recent times, is that they often become something of an alphabet for expressing thought. They are often a way of speaking about reality that is past, surrounding, or being created. From this angle, the act of giving a place a name, or of its removing, is more interesting than its constancy.

A change of name is carried out especially in case of a given community gaining control (which is explained in different ways) over an area. One wants to emphasise who a given area belongs to. This could be inhabiting an area which was more or less ‘virgin’ originally. It could also be the taking-over of already inhabited land by foreign forces, or the reclaiming of it by previous stewards. Another interesting case is colonial expansion, and the later emancipation of colonies, as well as acknowledgement of the rights of indigenous communities by the dominating groups, and thus acknowledgment of some indigenous place names.

In ethnically diverse lands, changes to place names can stem from the evolution of nationality politics. Often, political transformations, including revolutions, result in changes of place names. They can also be a reflection of the changes in the way of thinking of the communities on numerous issues.

In the first part of the article, the author discusses cases of utilising names as information on the range of influence of certain countries, ethnic groups or cultures on the field of research. The conclusions emerging from these kinds of sources often modify the knowledge gained through official documents, as well as modifying ethnocentric views of professional and amateur historians. The second part of the work explores the dynamics of the shaping of urban names related to Warsaw, from the final quarter of the eighteenth century to the years immediately following the end of World War II. The conclusion of these discussions ascertains that the interest in urban names of the authorities, scholars and the public culminates in watershed periods and is non-continuous – as well as the fact that history never leaves the gates of the city.

The reflection on the toponyms of the Warsaw district of Muranów encompasses four historical periods: the period up until the end of the nineteenth century, the interwar years, the times of the Ghetto and the post-war period. The etymology of two selected streets is explored: Smocza street and Nalewki street. Etymological hypotheses and their influence on the cultural heritage of these places are presented. In the interwar period, the names of Muranów streets gain a pejorative meaning in the press, literature or guidebooks to Warsaw, becoming synonymous with destitution, squalor and chaos, all of which is underpinned by anti-Semitic stereotypes. The peculiar topography of the Ghetto, degrading to the human being, the oppressive space of a closed district, create, in the experience of its inhabitants, a singular map, whose streets and their names undergo a certain metamorphosis, reveal their horror and manifest a new, Ghetto hierarchy of prestige. The final part of the article discusses the radical change to the network of streets, the disappearance of some and appearance of others, the preserved pre-war names, as well as new ones.

The article is devoted to the analysis of style of Daniel Naborowski. As a critical edition of the poet’s works has not yet been created, the author selects a set of texts that do not raise any doubt for scholars (especially the pieces within the manuscript Wirydarz poetycki (The poetry cloister]). Naborowski’s art of versification is analysed (metre, rhymes), and so is his poetic rhetoric. The author states that the poet is a continuator of the Kochanowski tradition, which he transforms in a Mannerist spirit, albeit never departing far from Renaissance Classicism. The author recognises the carefully edited phonic layer (the richness of instrumentation of phones of various nature) as a distinguishing element of Naborowski’s poetry. The studies conducted also lead to the conclusion that attributing translations of Petrarch or Du Bartas to Naborowski is a very uncertain hypothesis.

The article explores the theoretical context of the poem Impreza: Calando, poggiando, to na dól, to do góry [‘Impreza: Calando, poggiando, up again, down again’] by Daniel Naborowski, analysed from the perspective of the sources of the impresa and emblem that may have been known to the poet. Works by Calvinist authors were noted (T. de Bèze, A. La Faye, J.J. Boissard, G. de Montenay), and those by the German-language (c.g. N. Reusner, J. Sambucus) and Paduan circles (G. Belloni, G.B. Arrigoni), as well as the evidence of using impresa in the Polish-Lithuanian Commonwealth. Source analysis demonstrates that Naborowski’s idea of’emblema’ was presumably closer to the tradition of epigram than the structure of ’emblema triplex’, as noted in critical editions. It was agreed that the poem analysed falls within the tradition of the impresa genre. A comment on ‘Canzoniere’ by Francis Petrarch, attributed to Aldus Manutius, was noted as a hypothetical source of the motto. The Polonised genre name of “impreza’ and the pseudo-translation of the Italian motto in the title formula was deemed as derivative.

The author analyses Daniel Naborowski’s Dafnis świętojański (1611) in the context of bucolic, panegyric, and mycological traditions. She invokes the motif of transformation derived from Ovid’s Metamorphoses, a theme of great importance for Baroque culture, and demonstrates that Naborowski draws creatively on this tradition while simultaneously reshaping it: the transformation of the unhappily enamoured Amintas does not result in the emergence of a “lofty” element of nature but that of a toadstool – a lesser kind of mushroom, an aphrodisiac. In this light, the hero’s metamorphosis may be read as a subversive fulfilment of love, sexuality and fertility, which he could not experience as a human being. The transformation performed by the nymphs takes place on St. John’s Eve – a time of sensuality, erotic practices, and human exposure to magical forces. The author also challenges the interpretation of the poem as a panegyric dedicated to Janusz Radziwill.

The article concludes that Dafnis swiętojański is a multi-layered work requiring knowledge of humanist tradition, mythology, and the customs of the era; it combines erudition with irony and redefines the meaning of metamorphosis within the pastoral tradition.

This article discusses a recently discovered letter written by Daniel Naborowski and addressed to Thomas Murray, a diplomat at the Stuart court. The letter’s tone and form provide insight into Naborowski’s attitude towards his diplomatic colleagues and shed light on his contacts with England, Scotland and France. As well as reporting on current events in Poland, Naborowski offers an intriguing observation on the recently established Militia Christiana, a monastic-military organisation founded by Adolf von Althann and Gonzaga. Criticising the design of the order’s medallion, he creates his own emblem of ‘knights-errant’ (chevaliers errants). This is probably the earliest reference to Miguel de Cervantes’ Don Quixote in Poland.

For centuries, writers have been engaging with the theme of the passage of time, but it took on special significance in the Baroque period, when reflections on the inevitable death became not so much commonplace as necessary for moralistic reasons. This was the case with Francisco de Quevedo, the leading representative of Counter-Reformation moral poetry. On the other side were the Protestants, who also wanted to answer the ultimate questions troubling humanity. A representative of this line of thought is Daniel Naborowski, a Polish Calvinist poet. In their legacy, we can find two poems dedicated to this issue – Krótkość żywota [‘The brevity of a life] by Daniel Naborowski and Represéntase la brevedad de lo que se vive y cuán nada parece lo que se vivió by Francisco de Quevedo – a comparison of which creates a dialogue between a Calvinist and a Catholic agreeing, despite their differences, on the human experience of the passing of time. This article compares both works, drawing out their common poetic images.

The text is a presentation of the digital project “Atlas of Holocaust Literature” – Warsaw/Lodi (https://nplp.pl/kolekcja/atlas-zaglady/) – a digital collection on the New Panorama of Polish Literature platform, created and developed at the Institute of Literary Research by the Digital Editions and Monographs Laboratory, the Holocaust Literature Research Team led by Professor Jacek Leociak, and researchers from the Centre for Jewish Studies at the University of Lódź. It discusses the most important methodological assumptions of the “Atlas”, its structure and the activities carried out as part of the work.

The article discusses the aspects of studies of contemporary dramaturgy that are often a challenge for editors, while simultaneously constituting a potential impulse for the development of digital editing. The author raises the issue of the existence of parallel versions of contemporary dramas, created by playwrights with staging in mind, either on the theatrical stage, in a radio or television studio, and for publication. The author demonstrates the usefulness of marking versions when encoding the text, and highlights the need to establish international standards in this field. The text also touches on the issue of intermediality of drama, understood as its ability to absorb the signs and aesthetics of those media that are the potential spaces for its staging (theatre, radio, television). The author shows the ways in which digital editing can support such an outlook on drama, as well as pointing to the benefits and challenges of preparing multifaceted, complex digital editions.

Beginning with an acknowledgement that scholarly edited literary texts can be published on the Internet in a myriad of ways (from uploading a simple PDF file to incredibly extensive master-editions), the article first discusses the resources needed to create Digital Scholarly Editions (such as infrastructure, people, time, financial and logistical means), and then moves on to describing the next levels of placing such editions on the Internet, emphasising primarily the editions created and published by the Department of Digital Editions and Monographs of the Institute of Literary Research of the Polish Academy of Sciences on the TEI Panorama platform.

The author examines the development of trans literature and trans studies in Poland, using metaphors of a meteorological observatory and a lighthouse to do so. She presents five varieties of transgender texts (based on book of Anna Kujawska-Kot, Body Texts. Literary and Film Representations of Transgender, Cracow 2024). She uses these various texts as a starting point for a case study analysis of the most recent (2023 and 2024) transhistories: by Maja Heban, Piotr Jacon, Julia Durzyńska, J. Szpilka. The author recognises that all the texts examined in the article break the dominant variation in the presentation of the transgender person, the theme of transition. Then she proposes the concept of sustainable development of trans studies in Poland, the key issues of which are (according to the researcher): comparativism, transdisciplinarity, considering the relationality of texts of different ontic, epistemic and semiotic status, confronting different discourses.