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The paper aims at examing the most important factors which determine the ordering of elements in Polish, English and Hungarian freezes such as za i przeciw / for and against / mellette vagy ellene. We demonstrate that in all three languages expressions of this kind are governed by the same semantic, cultural and phonological principles and that exceptions to them can be accounted for in terms of the complex interaction of these factors.
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The aim of this paper was to examine, identify and define strategies by which it is possible to translate such language varieties as the youth language, as well as their specific local, cultural and temporal linguistic forms (thus also the youth-colored Overall style of a text) into another language. The original text of Marko Vidojković's novel Ples sitnih demona and its German translation Tanz der kleinen Dämonen by translator Milan Andrejić served as the subject of the examination. Contrastive and descriptive methods were chosen as a methodological approach to the text analysis.
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This paper aims to reevaluate the concept of translation or transfer as a semantically polyvalent term, with special emphasis on its literary value in the French Middle Ages. The paper further explores the origin and polysemic nature of the term (lat. translatio), explaining the process and the content of the transfer as a phenomenon specific to Western civilization’s cultural history which adapts and contextualizes the legacy of the ancient Greco-Roman world. The paper also analyzes the aesthetical and poetical guidelines of antique romances and medieval courtly romances, which are inevitable sources of information about how medieval mentality perceived Antiquity and classical authorities. Lastly, the paper examines the extent to which medieval translation, as the forerunner of the new, humanist vision of the world and its relation to the works of classical antiquity, precedes the concept of contemporary translation.
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Review of: Čoser, Džefri (2015), Kanterberijske priče (treće izdanje, prevod i objašnjenja Boris Hlebec), Beograd: NNK Internacional.
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In the contemporary linguistic research, the colour system occupies a special position. Today’s culture space is supersaturated with colours, which are important semiotic components of human functioning and their relationships with other people. This paper attempts to describe colour semiotics from the point of view of the human development period. The author tries to determine whether colours can also determine the age frame of a person. First, the relationship between colours and time is analysed. The suggested description of the stages of life through the colour spectrum allows answering the question of how the respective stages of human life are determined by the colours assigned to them by the culture.
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The paper presents an analysis of Polish equivalents of the Russian proper name Kolobok. Their diversity results from insufficient familiarity with the Russian source text (a folk fairy tale) in Poland, which is caused by little acquaintance with the hero of the story and lack of a Polish equivalent of such a fairy tale character that carries the same communicative value. Examples in-cluded in the paper do not always preserve the communicative value of the context: in few cases, it had been assessed which elements of the meaning are relevant and significant, and which are redundant, i.e. semantically irrelevant. Provisional equivalents in most cases are based on the inner semantics of the discussed proper name.
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This paper deals with the properties of the idiolect used by the main character of Masha and the Bear animated film and the ways in which they are rendered into the Polish language. In the film, the properties of Masha’s idiolect have a characterising function. They are as follows: (1) the repetitiveness of syntactical structures (including exclamatory sentences); (2) linguistic creativeness (i.e. creating occasional vocabulary); (3) the use of colloquial lexis; (4) grammatical and lexical mistakes. The properties of Masha’s idiolect are not always rendered in translation. Therefore, in the target text, there is a character whose linguistic properties are different from the ones she has in the source text. However, the primary task of the translator is to create an equivalent which could be perceived by the target audience as belonging to their native language, devoid of artificiality (especially for children). It is thus frequently related to the necessity to introduce some modifications of the idiolectal properties of the main characters.
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The main aim of this paper is to show some of the difficulties in translating highly polysemous words, using the example of the English verb to run and its translation into Serbian. The given theoretical framework includes different studies, which focus on the importance of context and the problems which emerge from polysemy in the process of translation, as well as on different peculiarities related to the verb to run itself. The paper then provides an overview of the verb’s dictionary meanings collected from relevant dictionaries of English. This is followed by an overview of the parallel translation corpus compiled from two novels in English and their versions translated into Serbian. In the main part of the paper, the authors provide a detailed corpus analysis, which gives us an insight into the complexities translators face in translating polysemous words, whereas the paper’s final section contains discussion and conclusions, which relate this study to some previous studies.
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One of the markers of Bruno Schulz’s style is the simile. It plays two roles in the poetic prose of the author: on the one hand, it confronts two phenomena in a concise and conventional manner; on the other, it compares, quite unexpectedly, two events, living creatures or objects, which seem to have nothing in common. In this article I analyze excerpts of three Spanish translations in order to identify techniques used to render this trope, to verify the consequences of the omission of the linking words, and to investigate whether Spanish readers will be able to recreate the same or a similar image to the one evoked in the original.
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Michael Ende (1929–1994) is one of the most renowned German authors of 20th century children’s literature. As a representative of fantastic literature, Ende frequently plays with words when naming his characters, various objects and places, which is a challenge for translators of his works. Ende’s books translated into Serbian so far are the cult titles The Neverending Story and Momo, then adventures of an unusual boy Jim, Jim Button and Luke the Engine Driver and Jim Button and the Wild 13, a book on magic The Night of Wishes; or, The Satanarchaeolidealcohellish Notion Potion and the collection of short stories The School of Magic. When translating names in these books, translators often had to be creative and to make a choice of a certain approach in the translation process. The aim of this paper is to analyse the name translations from the aspect of the functional approach, as elaborated by Hans-Joseph Vermeer and Katharina Reiß, a concept known as skopos theory. According to the theory, the translation process purpose (intentionality) and goal (finality) of a text are of key importance, which can, but does not have to be identical in the original and the translation, as is decided by a number of external factors. Although the function and purpose of children’s literature are complex, they do not change when translated into a foreign language.
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Qualitative characteristics of translation and/or adaptation sometimes depend vastly on the poetic tradition of the target language. In the process of mediation between source and target languages, the poetic corpus acquires form and often function that is remote from the point of its origin. Considering the fact that the source text quality and quantity is affected by language proximity i.e. remoteness, considerable challenges are indicated within the translation of the original idea and form of The Prediciton of The Prophetess into our language.
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By means of a critical analysis of translation of chapter titles and subtitles in the novel The Tin Drum by Gunter Grass, the author raises the issues of translating poetic titles, with a view to pointing to the necessity of one having a solid command of the language, the piece itself, its writer, as well as its overall context in terms of literary history, literary theory, and culture, in order to deliver an adequate result.
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