"C’est la faute à Voltaire". Encyclopédie et interprétation de conférence

Author(s): Laura Răşanu Maxim / Language(s): French / Issue: 5/2016

This paper is about learning to interpret, more precisely about cultural references, from the perspective of trainee or beginners interpreters. We pointed out that an interpreter never translates using only language knowledge (he must be able to understand the implicit). The main section of this study provides examples of interpretation errors pertaining to the extra-linguistic, encyclopedic knowledge, by reference field (medicine, geography, history, literature, film, politics, current events, society, food, chemistry). We have shown that the interpreter has to enrich the extra-linguistic background, in order to understand the source text more easily and accurately.

"FIRE" AS THE "LOGO" OF THE ARTISTIC WORLDS

Author(s): Natalja Dyorina,Yuliya Yuzhakova,Liliya Polyakova,Tatyana Zalavina / Language(s): English / Issue: 3/2019

Fire as the ‘Logo’ of Artistic Worlds. The aim of the present paper is to analyse the image of fire created by two representatives, one of the Acmeist and the other of the Romantic school of poetry, N. Gumilev and S.T. Coleridge, revealing similarities and differences between their approaches. The obvious parallelism of the poets’ works is demonstrated, with particular attention paid to the fact that specific fire-related images were emphasised by Gumilev in his translation of Coleridge’s works. The attributes of the artistic universes of the Russian and of the English poet are shown: the continuity and constant interaction of their elements, the identity of the properties of the whole and of its various parts in each case.

"Hammer Tarihi"nin Türkçeye Çeviri Teşebbüsleri ve Çevirisi Üzerine

Author(s): Tuğba İsmailoğlu Kacır / Language(s): Turkish / Issue: 1/2016

This article reviews the writing and translating processes of famous book "History of the Ottoman Empire" of Austrian Baron Joseph Hammer-Purgstall, who is one of the most important orientalists in the German speaking area. Although this work had been translated immediately after the publication into several European languages, since the 1830s, could only be translated into Turkish just in part in the early 20th century. Even though the process of the translation of "Hammer History" into Turkish language targeted at the period of Sultan Mahmud II., the first serious translation was published between the years of 1911-18 by Mehmed Ata. Ata’s translation serve as a basis for all following translations. However, while Ata had translated the book instead of German language, through its French translation and all subsequent translations followed the same path, the turkish "Hammer History" has significant differences according to the original work. Whereas through translation to translate is already problematic, huge destructions and falsifications due to French translator Hellert’s disloyalty to Hammer’s book has been transferred to Turkish. In Turkey this unfortunate misguidance is caused to misidentification of "Hammer History" and attribution of Hellert’s personal additions and interventions to Hammer. In this article has been stated the writing and translating processes of Hammer-Purgstall’s "History of the Ottoman Empire" and the problems of translations with the help of Hammers personal memory, which is in the Archive of Austrian Academy of Sciences, the documents of Prime Ministry Ottoman Archives, Hammer’s works and different translations of "History of the Ottoman Empire" and also secondary literature.

"Kłótnia" i "kłótliwość" na tle stereotypów zawodowych i zwierzęcych w języku polskim i rosyjskim

Author(s): Michał Sarnowski / Language(s): Polish / Issue: V/2000

"Kompetencje tłumacza. Tom dedykowany Profesor dr hab. Elżbiecie Tabakowskiej" pod red. M. Piotrowskiej, A. Czesaka, A. Gomoli i S. Tyupy Kraków 2012, ss. 420

Author(s): Beata Piecychna / Language(s): Polish / Issue: 14/2014

"Quo vadis" all’italiana: investigazione stilometrica sulle traduzioni milanesi del bestseller di Henryk Sienkiewicz

Author(s): Jan Rybicki,Katarzyna Biernacka-Licznar / Language(s): Italian / Issue: 1/2020

Henryk Sienkiewicz’s novel "Quo Vadis" made its way into Italy at the end of the 19 th century through the efforts of Neapolitan translator Federigo Verdinois. The first part of this paper outlines the history of the popularity of "Quo Vadis" by focusing on the operations of Milanese publishers that made the Polish novel part of their offer in a variety of ways (as translations, adaptations, reworkings, plagiarisms, etc.). Bibliometric methods are used to establish why so many publishing houses decided to publish Henryk Sienkiewicz’s Roman romance. The analysis of the bibliometric data of the published translations helped assess and describe the extent and the character of the popularity that the novel garnered among Milanese publishers. The second part of the paper relates the findings of a multi-method quantitative study of the same material. The number of word tokens was compared between the original and the translations. The lexical richness across the texts under study was compared by means of the moving average type-token ratio (MATTR). Sentence lengths were also compared, as was sentence length distribution as time series. Two different programmes ("WCopyFind and Tracer") yielded very similar results on the degree of the similarity of five-word phrases in pairs of translations, which was determined in network analysis.

"Rapacious or Greedy for Money?"

Author(s): Elizabeta Lindner / Language(s): English / Issue: 59/2008

Or: On the Issues of Translating Poetry from Macedonian to German

"Skazani na ciężkie norwidy”? Kilka uwag o kulturowych aspektach przekładu poezji Wisławy Szymborskiej na język norweski

Author(s): Aleksandra Wilkus-Wyrwa / Language(s): Polish / Issue: 3/2019

The aim of this paper is to discuss selected cultural keywords in the Norwegian translation of Wisława Szymborska’s (1923–2012) poetry. Translators O.M. Selberg and Ch. Kjelstrup used multiple approaches, thanks to which Norwegian readers have a chance to get acquainted with typical Polish phenomena, although often at an expense of the original text. Since the kind of publishing itself – an anthology of translated poetry – indicates the place of Szymborska’s work in the foreign discourse, her published works in Norway, Sweden and Denmark, along with her reception in Norwegian discourse as a Nobel Prize winner, are discussed here as well.

"SLIGHTLY LESS" OR "SLIGHTLY MORE" HOMO/EROTIC CAVAFY: A COMPARATIVE ANALYSIS OF THE TRANSLATIONS OF CAVAFY’S SENSUAL POEMS

Author(s): Mustafa Zeki Çıraklı,Florentina Gumus / Language(s): English / Issue: XII/2019

The present study explores the translated versions of Cavafy’s three sensual poems in English and Turkish and, from a linguistic point of view, investigates to what extent the strategies of domestication and foreignization are employed by the translators. The linguistic elements were investigated by using Katharina Reiss’s model of translation criticism with reference to the original versions in Greek. The translated versions taken into consideration are the following: Keeley and Philip ([1975] 1992), Dalven (1976), Millas and İnce ([1990] 2016), and Çokona (2013). Three sensual poems whose translation is challenging due to their homoerotic character were selected for the present analysis, namely: En apognosei (English: In Despair), Dyo neoi, 23 eôs 24 etôn (English: Two young men, 23 to 24 years old) and Oraia loyloydia ki aspra os tairiazan poly (English: Beautiful flowers and white as they suited well). The analysis shows that the English translators made fewer changes to the Greek poems than the Turkish translators, who frequently adopted the strategy of domestication.

"Snow White" Gets Black Hair and Brown Eyes – on Censorship in the Translation of English Children’s Literature into Arabic

Author(s): Paulina Biały / Language(s): English / Issue: 10/2014

Children’s literature is subject to different kinds of censorship which aims at adapting foreign texts in some way to fit certain ideology. Censorship in the Arab world involves the process of domestication of culturally-marked expressions, as, in the opinion of Arab scholars, young readers are threatened by a cultural invasion from the West that prevents the spread of local children’s literature. In this case, censorship is a means to preserve Arab cultural identity and moralizing role assigned to children’s literature. This article is aimed at presenting the major features of Arabic children’s literature as well as constraints which the censorship imposes on translators and the consequences of such restrictions. Moreover, some examples of censorship in the translation of English children’s literature into Arabic are provided on the basis of the research conducted by Arab scholars. They compared original English versions with their Arabic adaptations. The results show that the censorship is still a powerful means of influencing children’s books.

"TRANSLATIO STUDII" U POETICI SREDNJOVJEKOVNOG ANTIČKOG ROMANA

Author(s): Dijana Kapetanović-Ljubas / Language(s): Croatian / Issue: 1/2017

This paper examines the literary motif of the political power transfer (translatio imperii), with a particular emphasis on the East-to-West transfer of civilizational achievements and culture (translatio studii) of the antique period within the context of the medieval French monarchy. Namely, the transfer of the entire sum of knowledge and cultural progress of the classical antiquities is present as a dynamic motif in theϐirst Old French romances. Formally more diverse and thematically richer than their predecessor, the epic poem The Romance of Troy, the Romance of Eneas and the Romance of Thebes, alongside the Romance of Alexander,are a triad of romances of antiquity composed on the threshold of the12th century in the territory of medieval France. As translations/adaptations of ancient masterpieces, these romances are analysed as upholding the tradition and classical authorities .Additionally, the paper discusses how the authors, by making references to antique authorities, confirm the new aesthetic value and truthfulness of their own (fictional) work. Furthermore, particular attention is paid to the motifs of topos and transfer present in the romances’ prologues which are the places of metaliterary and rudimentary theoretic contemplations about the author/translator and writing itself.

"Евгений Онегин" Пушкина по-польски и по-украински

Author(s): Leontij Mironiuk / Language(s): Russian / Issue: III/1998

"Женитьба" Н. В. Гоголя на болгарской сцене

Author(s): Tatiana Fed / Language(s): Russian / Issue: 2/2019

The article traces a range of performances staging Gogol’s play Marriage in Bulgaria with a special emphasis on the respective translations into Bulgarian. The theory features translation and adaptation mechanisms specifically applied to cultural realia. The staging in the Sofia Theatre is highlighted. The methodology applied belongs to the framework of cross-cultural communication studies and employs cultural-historic and reception approaches.

"Немско-българския речник" на Гео Милев

Author(s): Diana Stancheva / Language(s): Bulgarian / Issue: 2/2015

This article is a first attempt at a more detailed presentation of Geo Milev’s German-Bulgarian Dictionary manuscript completed in 1916, as well as of its printed edition from 1940, revised by Dimitar Stoevski and published by Ivan Koyumdzhiev. A comparison between the manuscript and the print edition shows significant differences in the way in which the lexicographical informationis organized, in the macro- and microstructure of the dictionary, in the translation of German words as well as in the listed collocations and phraseological units. This paper is a modest contribution to the historical study of German –Bulgarian bilingual lexicography.

(Ideal) Translation in Context

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Author(s): Aba-Carina Pârlog / Language(s): English / Issue: 03/2010

Prennant en considération la perspective d’Eugen Coseriusur la traduction idéale, la communication envisage une analyse du lien traduction idéale - contexte. La traduction (idéale) en contexte suppose l'absence des erreurs, la possibilité d’améliorer la traduction, l’existence d’une équivalence parfaite, le maintien des fonctions du langage, l’applicabilité générale, l'absence des différences linguistiques et culturelles, etc. La traduction, de même que le langage parlé, dépend du contexte. Parmi les éléments qui définissent celui-ci, on peut analyser : le domaine auquel le texte appartient, la situation historique et politique, les systèmes linguistiques de la langue source et de la langue cible, le spécifique culturel, etc. Outre le contexte, le processus de la traduction est aussi défini par d’autres aspects essentiels, tels : la grammaire, les implications lexicales et sémantiques, le registre de langue, le style de l’auteur, etc.

(Mis)Matches in Translation – A Case Study of “The Big Fat Giant” and its Albanian Version

Author(s): Eriola Qafzezi / Language(s): English / Issue: 11/2018

The aim of this article is to observe how semantic peculiarities travel across languages and cultures. The original book, The Big Fat Giant, by Roald Dahl lends itself perfectly to such a comparative study due to its linguistic and semantic features that need to be explored in order to understand how they were brought to the Albanian language and culture. Classifications of several levels at which mismatches occur are mentioned, such as mismatches at the level of syntax, semantics and phonetics. Examples are given to illustrate each level. The discussion is enriched with observations and examples from the intertextual level. The paper concludes with findings which refer to this tale in particular and recommendations for further research.

(Ne)episteminis modalumas: anglų kalbos must, have to ir have got to bei jų vertimo atitikmenys lietuvių kalboje

Author(s): Audronė Šolienė / Language(s): Lithuanian / Issue: 69/2016

This paper deals with the three types of modality – epistemic, deontic and dynamic. It examines the relation between the synchronic uses of the modal auxiliary must and the semi-modals have to and have got to as well as their Lithuanian translation correspondences (TCs) found in a bidirectional translation corpus. The study exploits quantitative and qualitative methods of research. The purpose is to find out which type of modality is most common in the use of must, have to and have got to; to establish their equivalents in Lithuanian in terms of congruent or non-congruent correspondence (Johansson 2007); and to determine how Lithuanian TCs (verbs or adverbials) correlate with different types of modality expressed. The analysis has shown that must is mostly used to convey epistemic nuances, while have to and have got to feature in non-epistemic environments. The findings show that must can boast of a great diversity of TCs. Some of them may serve as epistemic markers; others appear in deontic domains only. Have (got) to, on the other hand, is usually rendered by the modal verbs reikėti ‘need’ and turėti ‘must/have to’, which usually encode deontic modality.

(Ne)prevodivost Ćopićeve poredbene frazeologije u djelu „Doživljaji Nikoletine Bursaća“

Author(s): Rada Stakić,Belma Šator / Language(s): Serbian / Issue: 12/2015

Taking the study of Copic’s oeuvre into consideration, his reception in German-speaking countries is relatively unknown. This paper deals with one segment of that cultural exchange – translatological and contrastive analysis of comparative phrasemes in a collection of short stories entitled The Adventures of Nikoletina Bursac. Phrasemes (phraseologisms, phraseological units) serve as a reflection of a people’s spirit and culture, they emerge on the basis of certain images – sometimes in common with other languages and cultures, but to a large extent so specific that phraseology as a discipline regards them as untranslatable. Given the fact that every translator’s task is to turn the untranslatable into the translatable, thus revealing their own understanding and evaluation of the foreign culture in question, this analysis seems to coroborate the claim that Ms Ina Jun-Broda managed to maintain the subtle balance with regard to the (un)translatibility of Copic’s protagonists’ sparkling language.

(Nie)poprawność polityczna w nauczaniu tłumaczenia (konfrontacja angielsko‑polska)

Author(s): Ilona Delekta / Language(s): Polish / Publication Year: 0

The article is devoted to the issue of political correctness in English and Polish as well as in language teaching, particularly in teaching translation. The considerations presented here are based on Polish and English literature (the term English literature refers to publications by English native speakers), as well as on the author’s experience as a teacher and translator. Certain sociocultural differences affecting the approach to this issue in both languages have been indicated. Due to complex and dynamic nature of the discussed issue, the article focuses only on selected language aspects which might cause problems with correct interpretation of the source text or its appropriate translation into Polish. Numerous examples, mainly from English, illustrate problems encountered by the translator and show how certain some assumptions of the political correctness in certain contexts can lead to absurd situations, misunderstandings or even identity loss.

(Nie)typowa rola tłumacza starożytnych tekstów dramatycznych

Author(s): Barbara Bibik / Language(s): Polish / Issue: 39/2018

Ancient Greek tragedies were written by their authors to be performed on the Athenian stage and the shape of this stage with its technical devices was included in characters’ lines. However, there is a fundamental difference between the stage those plays were written for and the modern stage on which any drama translation may potentially be realized. The time span too poses a great difficulty for a translator as those plays belong to a culture we probably cannot truly access any more. According to Jerzy Ziomek, every text from the past needs to be adapted nowadays. But does it mean that a translator of any ancient drama aware that those plays were written to be performed on stage, can for various reasons, whether literary or theatrical, take on the role not only of the first reader, but also of the first producer of a given play, thus adapting it to the modern theatre stage?