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Section Editors:Ines Aščerić-Todd, Clinton Bennett, Luis F. Bernabé Pons, Jaco Beyers, Emanuele Colombo, Lejla Demiri, Martha T. Frederiks, David D. Grafton, Stanisław Grodź, Alan M. Guenther, Vincenzo Lavenia, Arely Medina, Diego Melo Carrasco, Alain Messaoudi, Gordon Nickel, Claire Norton, Reza Pourjavady, Douglas Pratt, Charles Ramsey, Peter Riddell, Umar Ryad, Cornelia Soldat, Charles Tieszen, Carsten Walbiner, Catherina Wenzel.
Section Editors:Ines Aščerić-Todd, Clinton Bennett, Luis F. Bernabé Pons, Jaco Beyers, Emanuele Colombo, Lejla Demiri, Martha T. Frederiks, David D. Grafton, Stanisław Grodź, Alan M. Guenther, Vincenzo Lavenia, Arely Medina, Diego Melo Carrasco, Alain Messaoudi, Gordon Nickel, Claire Norton, Reza Pourjavady, Douglas Pratt, Charles Ramsey, Peter Riddell, Umar Ryad, Cornelia Soldat, Charles Tieszen, Carsten Walbiner, Catherina Wenzel.
This is the first monographic study of the reception of Herman Hugo's emblematic book "Pia desideria" (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors (a little space is also devoted to the painting reception of the engravings). The author examines too the reasons for the phenomenon of the volume's popularity, proving that it was determined by the interest of women who did not know Latin, who constituted the most important target group for these numerous and varied Polish adaptations.
This is the first monographic study of the reception of Herman Hugo's emblematic book "Pia desideria" (1624) in the Polish-Lithuanian Commonwealth. It discusses ten different translations and adaptations, showing how the engravings, elegies and exegetical extracts of the original volume were used by Polish-speaking authors (a little space is also devoted to the painting reception of the engravings). The author examines too the reasons for the phenomenon of the volume's popularity, proving that it was determined by the interest of women who did not know Latin, who constituted the most important target group for these numerous and varied Polish adaptations.
On the one hand, this collection sheds new light on the modernist contribution to posthumanism, providing a valuable reference point for future studies on the topic. On the other, it offers a new take on the transnational dimension of modernism, highlighting unexplored convergences between modernist authors from several different national contexts.