Every text is essentially a palimpsest, and no work of art could be created without the great number of those that precede it. However, the attitude towards this truth has changed quite radically in the history of art. Even if one considers that postmodernism has already lost its position as the dominant cultural trend, there is no doubt that the phenomenon of the “saturation” of culture with various texts referring to each other – a the “symbiosis” (or “parasitism”) of texts – still exists and even is becoming more and more common. References, intertextuality, cryptic quotations, playing with the original (the so-called fanfics – from fan fiction – created by recipients on blogs and Internet forums of stories from a given universe of novels, films or games) or new interpretations constantly appear in the field of the written word as well as its translation into other media (e.g. the phenomenon of so-called retelling in film adaptations). We would also like to emphasize that in “remakes” we can clearly observe the remodelling of value systems and aesthetic codes that have been in force over the centuries (the problem of commercialization of art, abuse or plagiarism).

This issue would be devoted not only to literary records and paraliterary documents concerning war experiences, but also to internal conflicts in societies (such as, for example, the strong socio-political conflict in our country in recent times), would address the subject of man as an internally conflicted being (“Fragile, unseeing, split in the self…” – perhaps it is worth recalling this diagnosis by Mikołaj Sęp Szarzyński in times of the still dominating anthropocentrism?) and would include reflections on the philosophy of conflict as such (from Heraclitus to Hegel, Marx, Freud and Karl Schmitt, but also in the light of religious thought: from St Augustine to the “philosophy of dialogue” of Emmanuel Levinas, Martin Buber or Father Joseph Tischner). The authors – as intended by the editors–- would undertake their reflection on the material of all literary and paraliterary documents, or those recorded in audiovisual form (so-called “testimonies of memory”).