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Translation as the experience of the foreign is understood either as the relation of what is domestic to the foreign or as an experience for the foreign itself. According to a thesis of Anton Popovič, the readers expect and want the translation to be a foreign product when viewed against the native works. On the ground of theoretical reflections of Popovič and Bergmann an attempt was made to show the propriety of occurrences of the foreign elements in Polish and Russian fantasy literature, and above all, the fulfillment of the intentions of the authors of original works in translation. Words and phrases that are connected with the occultism and folklore were analyzed, as well as elements of local dialects that contributed to specific vocabulary that create the flavor of characters. These are the elements of the presented world: names of nations, phenomena and objects, monsters and mythical beings. The mentioned elements were extracted from both the original and translated texts and examined for maintenance of the tone of the original. Afterwards a division was made into the elements preserved, dropped or changed in translation. The final conclusions relate to the intertextual tradition of the fantasy literature.
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The famous poetic work by Bulgarian artist Christo Botev – the romantic ballad Hadzhi Dimitar is full of foreign cultural elements that are recognized by Polish readers. This poem is an important center in the Bulgarian national discourse, inspired by southslavic folklore, strongly influenced by the hajduk‑legend, it mythologizes important Bulgarian historical event (the death of Hadzhi Dimitar and Stefan Karadzha on Mount Buzludzha). The analysis and interpretation of the original text and two polish translations by Z. Wolnikówna and W. Broniewski, allow to answer the following questions: if translators are intermediaries and interpreters of the elements of a foreign culture? Which strategies are used by translators to effective communication between the Bulgarian and Polish cultures? Do translations give a fair and accurate representation of the original poem?
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The artistic verbal expression of the native inhabitants of the pre‑H ispanic Mesoamerica presented great variety of forms, among which there could be distinguished, for example, solemn speeches, ritual songs and even very complex performances, that could be compared to some forms of the European theatre. Most of these pieces were destroyed with the conquest and colonization of America. Some of them, however, survived, mainly thanks to the effort that some missionaries and their indigenous students made to register parts of the native oral tradition in the alphabetic writing. The present article presents chosen problems related with the translation of this kind of texts, one of the most important difficulties being a huge distance in time and space that separates the source and the target cultures.
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The translation of the Japanese poetry is an extraordinary challenge for a translator. The specificity of this language comes not only from the diversity of morphological, inflexive or word formation differences. First of all, it is a language embedded in a completely different culture. The important element is a writing system based on the three sub‑characters: kanji ideograms and two kana syllabaries. For this reason the poetry comprises two layers: the verbal and the graphic layer. The translator maintaining concised utterances, essential feature of Japanese poetry, must express in the translation all the wealth of meanings, contained in both, verbal and graphic layers of the original. In Japanese poetry, besides those two mentioned earlier layers, there are also many rhetorical figures, which develop in a reader’s eyes many images‑associations overlaping the content of a poem by adding them “between the lines”.
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Translation of dialect is a long‑standing translatorial issue in translation studies. Theorists suggested a number of methods and procedures to deal with this problem. The aim of this article is to outline the major theoretical stances as far as translation of dialect, idolect and lapsolect is concerned. In the end an excerpt of Lord Jim will be analysed and its Polish versions will be discussed from the perspective of dialect translation.
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The paper constitutes a review of translation techniques and strategies used by Jan Gondowicz in his translation of Exercises in Style by Raymond Queneau. Methodology of organising diversified content of the original is based on classification of metaboles developed by Groupe μ. Analyses have shown that the translative dominant is situated at the discourse level: the translator very skilfully plays with potential of the language and conventional text forms. Not only does he comply with organisation constraints or isotopies of the vast majority of Exercises, but at times goes deeper into a style imposed by a given formal constraints.
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Stylistic reminiscence in translation The article addresses the difficulty of classifying Adam Pomorski’s translations of Velimir Khlebnikov’s poetry as a mere stylization after Boleslav Lesmian’s poetry. The Polish translations of the neological poetic experiments of the Russian Cubo‑Futurist provide a point of departure to discuss theoretical and interpretive implications of stylistic reminiscence as a unique type of intertextual dialogue between the literature of the original and the receiving literature.
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The article concerns the problem of translation of idiolect. The analysis was based on M. Bulgakov’s play Zoya’s apartment and its Polish translation. The author of the article came to the conclusion that the repetition of the effect, that is the identity of the functions carried out by the idiolect, is more important than the repetition of the same means of expression. Hence the translator’s desire to maintain the author’s idiolect, not to reproduce the original stylistic treatments. Such targeting of the translation allowed to derive from the wealth of both the source language and the language of translation. However, when reproducing the author’s of the given text idiolect, translation possibilities are limited to the characteristics typical of his style.
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The author attempts at showing the impact which style has on the process of translation. The theoretical angle presenting the role of style in a literary text is followed by an examination of the style adopted in Cloud Atlas by David Mitchell, which is a novel consisting of six stylistically independent stories with subtle connections established between them. The analysis of the text’s stylization to make it resemble a diary, a host of letters, a journalistic thriller, a memoir, an SF interview and a spoken tale allows to depict the strategies used in the translation of the novel and characterize the factors which determine style, such as genre, historical time, characters and others.
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The paper presents selected translations of Don Giovanni’s libretto originally written by Lorenzo da Ponte (translations by: K. Konopacka/L. René, G. Janiak, A. Księżopolska‑Makuracka, S. Barańczak) and discusses various types of stylization present in them.
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Sophocles’ Antigone is one of the most famous ancient tragedy in Polish culture and it is also most often translated one into Polish. In 1939/1940 Juliusz Osterwa, famous actor, director and leader of the Reduta theatre, translated Sophocles’ Antigone into Polish. The outbreak of the II World War, that moved Osterwa very deeply, and his ideas of the Christian roots of European culture as well as the ideas of the crisis of spirituality in modern culture, that crystallized at that time, caused that he filled his translation of Greek tragedy, on its every possible level, with as many elements connected with Christian religion as possible. It makes Osterwa’s Antigone one of the units in the long translation chain, in which Greek Antigone becomes Polish Antigone. But most of all it makes Osterwa’s Antigone very significant and characteristic witness of its own time.
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Recourse to „oralité” in written texts, which is specific to the Francophone communities in Canada, poses a challenge to a translator who needs to reinvent the idiolects in the target language. The aim of this paper is to present translation methods proposed and applied by the translator so as to reproduce in Polish the contrasts present in the original discourse. As stylization is the main strategy used by the Polish translator of Georges Bugnet’s La Défaite, different types of stylization, its methods, purposes as well as the risks of the particular choice of stylization, especially in a context of drama translation, are to be determined and described.
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The article focuses on Polish translation of Gavino Ledda’s novel Padre padrone in the context of translations into other languages (English, German, Catalan). The main translational issue is the element of bilingualism inherently inscribed in the original text by introducing in brackets dialectal forms of some of Italian expressions. It is argued, by description of multiple functions of such an operation, that this element is a part of a wider structure of the novel and cannot be eliminated without losing some important features, of both the plot and the characters. Elimination or retention of this constructional element results, to some extent, from general tendencies of the target culture.
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The paper examines some issues relating to translation of diminutive forms from Spanish into Polish. Translator can use techniques such as: translation, paraphrasing, creating a neologism, catachresis, leaving the source form, omission of the idea of dim, omission of the whole word, substitution, and compensation; after the analysis of the oral and the written form, the structure, the meaning and the purpose of the diminutive in the context given in the source text, translator should apply the most adequate technics. In spite of a great equivalency between Spanish and Polish as far as the formation, the function and the richness of dims are concerned, they can create problems in translations. Examples of such problems and their solutions are discussed from the point of view of a translation scholar, translator and reader.
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A studied literary work is novel „Похороните меня за плинтусом” [Bury me under the floor] (P. Sanajew, 2010) and its Polish translation „Pochowajcie mnie pod podłogą” (I. Korybut‑Dashkievich, 2009). The author investigates the mazy family relations which are reflected in the language and primarily found in everyday dialogues. The elaborate pejorative nominations as nouns, adjective‑noun collocations, including vulgarity and, to a lesser extent, positively‑marked lexis are conspicuous. The translator selects different counterparts to achieve the same wording of the original text, depending on the recipient and the context of expression. She uses a variety of synonymous means of the target language. To translate expressive forms of address and other nominations denoting humans can be a real challenge as bilingual dictionaries hardly reflect colloquial and vulgar vocabulary so bilingual parallel corpora can be useful then.
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The article is devoted to the translation of Mistrz Twardowski by J.I. Kraszewski. The translator rendering the text into another linguistic environment should adjust appropriate modes of expression in order to achieve adequacy. It happens that he gets lost searching for transparency. The analyzed translation abounds with linguistic mistakes that are not a result of the relation between a target language and a translation language. On the stylistic grounds incompatibility and non‑parallelism prevail at all levels. Presumably the frequency of the mistakes will not affect significantly the reader’s perception of the text. The translation is deprived of stylization aimed at the early language and the mistakes do not compensate for the absence of the early language elements that the reader is unaware of.
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The aim of the present article is to analyse the translation of The Pearl written by John Steinbeck. The translator of the novel Juliusz Kydryński made significant linguistic changes that distort the original message (sense) of this literary work. While translating the novel, he made the text stylistically similar to his own works, to some extent, ignoring the intentions of Steinbeck. The analysis is based on the theoretical tenets of cognitive linguistics.
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The present article aims towards analysing three versions of a comic book Portugal by Cyril Pedrosa – original French and its translations into portuguese and polish – having in mind translation problems related with form (comic book) as well as with content. The analysis uses classic text deformative categories formulated by Antoine Berman. In course of analysis and interpretation of the translators’ choices we were able to show all the changes forced by specific language situation subsequent from the author’s creation of the plot situation.
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