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The review of: Ante Križić, Tomislav Majić, Milan Pranjić: Duvanjski pojmovnik, Naša ognjišta, Tomislavgrad, 2018.
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The review of: Ante Križić, Tomislav Majić, Milan Pranjić: Duvanjski pojmovnik, Naša ognjišta, Tomislavgrad, 2018.
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Можда нигдје толико правописног нереда и произвольности не срећемо колико у уобличавању туђих властитих имена. И то никако ниje ограничено на подручја далеких и код нас слабо познатих језика, од чије материје полазим настојећи да у свом реферату помогаем разјашњавању неких начелних недоумица, иако je проблематика у великој мјери заједничка и за даље и за ближе језике.
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Pored individualnog govora i pored jezika, tj. zbira riječi i oblikâ koji pripada datome kolektivu, osnovna je komponenta govora i odnos toga kolektiva prema vlastitom jeziku. Prema tome, pitanja jezičke kulture jesu značajan odjel opšte lingvistike. U kompleksu ovih pitanja problem purizma je najpoučniji. Istorijat češkoga čistunstva zbilja zaslužuje da se iscrpno obradi i lingvistički protumači. Međutim, moj zadatak je skromniji: ja ću se zadržati na. današnjem češkom purizmu, i to uglavnom na časopisu »Naše reč«, iz čije je čistunske prakse lani iskrsla zanimljiva »filološka začkoljica«, da upotrijebim Šaldin izraz.
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The article discusses Aleksander Barszczewski’s contribution in studies on national ouvre. Aleksander Barszczewski – professor of the University of Warsaw, Doctor of Philology is both a poet and a scholar, and many of his works are devoted to the study of the way figurative means and stylistic devices of folk art are used in fiction. He appreciates Romanticism as a trend in literature and art. Aleksander Barszczewski proves that national fantasy is of peasant and gentry origin. Moreover, he translates national tales into Polish. The researcher also focuses on poetry in Belarusian national rituals.
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In The Crowd: a “Study of the Popular Mind” (1895), Gustavele Bon wrote: “It is only the uniformity of the environment that creates the apparent uniformity of characters. I have shown elsewhere that all mental constitutions contain possibilities of character which may be manifested in consequence of a sudden change of environment”. The present paper understands the concept of “literary space” not only as “setting” or “territory.” A three-dimensional reality cannot convincingly delineate the entire universe of a narrative. At the beginning of the 20thcentury, Albert Einstein introduced a new variable into the equation – time. Thus, “literary space” or, if we are to use le Bon`s terminology, “environment”, in our understanding, also encompasses the concept of time. Both novels that we analyse are set during the Second World War. Regarding the proxemics, however, they diverge fundamentally. While in “The Book Thief” (Markus Zusak), the nine-year-old Liesel Meminger shapes the space, in “Between the Shades of Gray” (Ruta Sepetys), the fifteen-year-old LinaVilkasis shaped by the space. What does it take for a character to subdue the space-time, and how does the reader perceive the connection a character has with the space he/she occupies? Both characters being children, an analogy between the way they occupy/ let themselves being occupied by space proves to be relevant and insightful. They both step outside the comfort zone forcibly and have to handle the fundamental threat the war poses, i.e. losing humanity. They both find refuge in writing or reading. While Liesel Meminger designes a space of tranquillity, subjected to her own will and desire (a basement where she shelters Max), Lina Vilkas`s private space is shrinking by the day. It seems like a minor detail, but, for what it is worth, it might be a significant twist in the narrative.
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In De generatione Animalium Aristotle proposes a theory of embryogenesis and indicates its causes. An account of embryo’s animation plays an important role in this theory. From the moment of conception fetus is generated as a living and animated being, and its actual soul appears as a principle of its development and growth. However, unless embryo comes to perfection its soul is also incomplete. The animation of the embryo is a process which consists of successive actualization of its soul’s parts and powers. Parts of the soul are both the causes of generation and the actuality of yet non-perfected embryo. In this paper Aristotle’s conception of embryogenesis will be considered in the context of his doctrine of soul-parts and organic composition.
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Ancient Greek tragedies of the 5th century BC are considered as double texts (texts for scenic incarnation and texts for reading) that ensured the development of school institutions and mentoring apprenticeship and reflected the pedagogical positions of playwrights on these institutions. Texts of tragedies as texts for scenic incarnation were aimed at adult students – townspeople, who continued their education in the theater as a special educational landscape – school on the stage. Texts of tragedies as texts for reading were texts for schoolchildren who used them as notebooks with prescriptions for rewriting or as text-exercises for reading aloud, reciting, memorizing.
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The well-known evidence of Sextus Empiricus in Adv. Math. 7.65–87 is one of the two major evidences about Gorgias's treatise “On Not-Being or On Nature” along with “De Melisso Xenophane Gorgia”. The paper offers the analyses of the persuasive structure is this passage and discusses the arguments, which Sextus and, presumably, Gorgias use in this treatise. Also the paper compares formal persuasive structure of Gorgias’ treatise as it presented in Adv. Math., on the one hand, and MXG, on the other.
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In this article are examine certain philological beliefs of Julius Cesar in the context of the “Language Politic” of Roman expansionism. Based on the remaining fragments of the grammatical tract De Analogia, the authors come to the conclusions that Cesar wanted to create a language norm that is free from vulgarities and distortions, the one that adhere to strict grammatical rules, which correspond to the spirit of traditional Roman culture, religion and government. We think that in this treatise Cesar shows himself not only as a jealous defender of linguistic antiquarianism but also as an active political reformer, who corrects and transforms the Latin language, infected, in his view, by the illness of barbarization.
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From the autumn of 1866 taking of shorthand notes and further transcribing of those notes became an important stage in Dostoevsky’s creative process. Thanks to his wife and assistant, professional stenographer A. G. Dostoevskaya, the writer got acquainted with the enlighteners who were at the forefront of the development of shorthand in Russia and Germany — P. M. Olkhin and Yu.-W. Zeibig. The role of P. M. Olkhin in life and work of the Dostoevskys was significant: for 20 years he had been engaged in the application of various shorthand systems to the Russian language and had developed his own system on the basis of the German cursive writing of Gabelsberger, that one underlain the works of Dostoevsky and his assistant. It was P. M. Olkhin who introduced the writer and his stenographer to one of the leading German stenographers and a member of the Royal Shorthand Institute in Dresden, Y.-W. Zeibig. A. Dostoevskaya recorded in her diary two short meetings of the writer with the Dresden stenographer Zeibig. She also met him more than once, including at a meeting of the German stenographers’ circle, where she was invited on purpose. There is no documentary evidence of communication between Dostoevsky and Olkhin. In the memoirs of the writer’s wife there are only their opinions about one another as “sullen” people; it is mentioned that the boy who carried the icon during the wedding ceremony of Dostoevsky was the son of Olkhin named Konstantin. The article presents data from church books, clarifying information about the birth of P. M. Olkhin and his son; the documentary evidence of the communication between A. G. Dostoevskaya and the Dresden stenographer Yu.-W. Zeibig is studied.
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The research is the continuation of the previous investigations devoted to the attribution of an anonymous author of the publication “Pictures from officer life” in issue no. 41 of “Grazhdanin” in 1873. He was one of Dostoevsky’s correspondents Nikolay Aleksandrovich Shakhov, the officer of the 1st Labe Guard of the Ekaterinoslav Regiment of His Majesty. In course of further researches in Russian archives new materials for the biography of the author who attracted attention of the editors of “Grazhdanin” Fedor Dostoevsky were found. The revealed sources of an epistolary and official character supplement Nikolay Shakhov’s biography. This article expands the idea of him as about one of Dostoevsky’s correspondents, the author of the daily, as well as about a remarkable individual who achieved wide popularity thanks to his active public work as a philanthropist.
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This paper highlights the need for raising translation studentsʼ awareness of issues related to the thematic structure of source and target texts. This is a problematic area which significantly affects the quality of translations, especially from English into Polish, the latter having more flexible word order and thus opening more syntactic possibilities. An especially useful tool that may help to address this issue is the theory of Functional Sentence Perspective (FSP) developed by the Prague School. Despite the fact that it is quite elaborate, it may be trimmed to fit more practicallyoriented translation classes. Based on examples from student translations, the paper shows that such notions as communicative dynamism, context dependence/independence, competitors of the verb, setting vs. specification, Presentation Scale vs. Quality Scale, and potentiality can help trainee translators to correctly identify the hierarchy of carriers of communicative dynamism in their source texts and then make informed translation choices.
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The present paper aims at demonstrating how the initial norms adopted by translators, affecting their operational norms, impact the hermeneutic potential and process of canonization of the target text—or, in other words, how the consistency of Gombrowicz’s philosophy as it is expressed in his works in the Polish language transforms when translated into English. Opening with an overview of the canonization of translated literature and canonical authors’ “signature words,” the paper concentrates on one of landmark Gombrowicz’s terms, the word pupa, and its function in the immanent poetics of the philosopher’s work and in his global vision of the human condition. Against such a backdrop, an analysis of the consequences of the English translator’s choice concerning this term is provided, simultaneously revealing the importance of “signature words” in the process of canonization of a translated text.
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The main purpose of this paper dedicated to those Polish Bible scholars who seem to ignore new achievements of the theory of translation is to show that a conscious definition of the translation strategy (most notably, its scopos and its projected reader) is a capital issue in the Bible translation studies. The author aims to convince persons who may not be devoted admirers of poetry – a frequent case among Bible scholars – that poetry should not anymore be considered merely a “beautiful form” supplementing the omnipotent sense anymore. In his analysis of the first and successive editions of the Millenium Bible the author criticizes the commentaries to the Psalms which he calls “antipoetic” and therefore dissonant with the translated texts.
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The article concerns footnotes to literary texts translated from English into Polish in which translators waive their invisibility and clearly underline their presence in the text, as if demanding attention and entering into dialogue with the author. The context for these considerations is provided by contemporary trends in literature, the concept of the death of the author, and the postulate of translator’s loyalty. A number of functions of footnotes are distinguished, e.g. correcting the author’s mistakes, adding information or guessing the author’s intentions. Also the form of the footnotes is peculiar: often stylistically or emotionally marked, humorous, sometimes ironic. The analysis of the collected material suggests that translators refuse to be invisible intermediaries or the author’s loyal servants, but become overt co-authors of the text who have power over it.
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This analysis takes as its subject jokes about Poles that appeared in two US-American sitcoms: The Big Bang Theory (Teoria wielkiego podrywu) and 2 Broke Girls (Dwie spłukane dziewczyny), as well as their official Polish TV translations made for Comedy Central Polska channel. The selected examples refer to Polish traditions, history, and stereotypes about Polish people. They were divided into three categories according to their subject: a joke based on a stereotype, jokes making Poles look exotic, and jokes referring to Polish-Jewish relations, and the history of World War II. The aim here is accordingly: to characterize the original jokes, to analyze their official Polish voice-over translation, and to consider the potential differences in the reception of given fragments by the sourceculture and target-culture viewers. This paper refers to the characteristics of sitcom as a text genre and Eugene A. Nida and Charlesa R. Taber’s theory of functional equivalence.
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The new rendition of a text whose previous translation has already entered the literary canon of a given language can be a challenge. The existence of a rooted translation in one literary system can constitute an obstacle for the future translators of a given text. The influence of such a commonly accepted translation, ingrained in the minds of readers, can be seen as an example of manipulation. The examination of the two Polish renditions of the same book – Winnie-the-Pooh by A.A. Milne can further prove this point. While the first translation, done by Irena Tuwim, was considered a great success and entered the Polish literary canon, the next translator – Monika Adamczyk had to deal with numerous criticisms and the readers’ rejection because her version of the book was significantly different from her predecessor’s.
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Contrary to a view that is widely held among spoken language interpreters, according to which interpreting should be performed into one’s native language, sign language interpreters prefer to interpret from spoken language to sign language, that is from their A language to their B language. This article explores origins of this phenomenon. It discusses three groups of factors due to which interpreting into sign language is likely to be perceived as easier than into spoken language.
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This article presents a study on the equivalence of written translation in the context of the assessment of the credibility of witness testimony. Part one examines psychological criteria for assessing the credibility of testimony and linguistic indicators of deception that formed the theoretical basis of the study. Translations gathered during the study were analyzed linguistically and compared with original in order to categorize the errors and mistakes made by translators before and after learning the criteria of statements credibility assessment in training. The article also presents a comparative analysis of the assessments made by expert judges with regard to both the original testimonies and the translations thereof. The results of the statistical analysis showed that there are certain differences in the assessment of an original and its translation, and knowledge of the criteria for determining the credibility of a witness’s testimony has a positive impact on translation equivalence.
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