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W dniu 9 maja 2017 r. na Wydziale Filologiczno-Historycznym Akademii im. Jana Długosza odbyła się konferencja naukowa „Filozofować po polsku. Źródłowość języka -uniwersalizm zagadnień”. Omawiane przedsięwzięcie – którego głównym inicjatorem była dr hab. Wiesława Sajdek, prof. nadzw. AJD – zostało zorganizowane przez Instytut Filozofii AJD.
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Vsevolod Garshin is one of the most prominent prose writers of the second half of the 19th century. He is characterized through pessimism, which permeates his work and reflects the social malice, indicative of those times. The article presents an analysis of the translation process of one of his most meaningful stories `The Red Flower` into Romanian, revealing the hardships the translators had to face. The novelty of the work derives from the fact that the selected story has not been previously translated into Romanian, which enables readers to get acquainted with the unrenowned work of the Russian writer. Moreover, one of the goals of this work is to draw attention to the wonderful artistic heritage of Vsevolod Mikhailovich Garshin, which may contribute in the future to the surfacing in print of a collection of his works translated into Romanian.
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In the present paper we look into the different ways in which one of the Arabic modalities of proximity, viz. kāda, is rendered in Hispanic Qur´anic translations ranging from the 16th century and up to the early 17th one. The analysis is thus based on an assortment of jewels from the Mudejar-Morisco cultural heritage, a corpus of manuscript texts that offer a valuable testimony to the Islamic hiero-variety of Romance in the context of an Islamic hiero-Sprachbund, as postulated by Casassas (2010: 368-396). We follow in our analysis the classification of Arabic modalities provided by Nadia Anghelescu (1999: 130-134) and we look into the different mechanisms used by the Morisco translators in order to transpose Arabic structures into the Romance vernacular. We also include a revisited version of the calque taxonomy put forth by Soha-Abboud (2000: 141-148), by taking into account the semic analysis of some peculiar Romance structures that exhibit a marked Arabic influence.
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This paper is a linguistic analysis on five linguistic levels, accompanied by a brief introduction into the world of visual effects and the „art of subtitling”. The main reason for choosing this theme is that 2021 was celebrated as the Year of the Cosmos in Russia, being the 60th anniversary of the first man (Yuri Gagarin) in space. However, my main motivation for tackling this topic was the fact that the only Romanian subtitles available online for this film contain many mistakes and inconsistencies. The aim of my paper is to demonstrate that subtitling is a very complex branch of translation, deserving of exploration.
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The article describes the context and content of the correspondence from November 1925, so far overlooked by physics historians, on the Planck law and the Bose statistics between Władysław (Ladislas) Natanson and Alfred Landé and the effects of this interaction.The article publishes for the first time the translations from German into Polish of two letters from Natanson and Landé.
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English (Germanic) and Romanian (Romance) are typologically different in the expression of both change-of-location and change-of-state events (cf. Talmy 1985, 2000). English favours Goal of Motion (GM) and resultative constructions, which combine manner verbs with directional PPs and Result Phrases, respectively; Romanian typically opts for inherently directed motion and change-of-state verbs to achieve the same goals. At the same time, the existing typological differences have been shown to impact both the translation strategies rendering change events, and the syntactic structures they produce (Slobin 2004, 2005, 2006; Capelle 2012; Alonso 2018 et al.). The present article examines the strategies used by professional translators to translate resultatives into Romanian, and the resulting syntactic patterns, shown to be dependent on the type of resultative translated (fake/true). It demonstrates that the mostly compensatory techniques generate structures which, overall, reflect Talmy's lexicalization patterns for Romance and support the uniform treatment of GM and resultatives crosslinguistically. It also argues that the higher syntactic/semantic variation of resultatives (vs. GM) is responsible for the higher number of strategies and patterns translating them.
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Două cărţi, care au meritul de a face cunoscute cititorului străin valori reprezentative din folclorul românesc: Lucian Blaga, Antologie de poezie populară. Volksdichtung. Eine Anthologie. Traducere în limba germană de Artur Greive, Gerda Schüler şi Ion Taloș. Ediţie critică (studiu introductiv, izvoare, comentarii, variante ale textelor, bibliografie, indici) de Ion Taloș. Anexe: fragmente din Spaţiul mioritic, de L. Blaga. Traducere de Iulius Draser (Cluj-Napoca, Editura Limes, 2022, 306 p.) și Sanda Golopenția, Learn to sing, my mother said. Songs of the Women of Breb. Hori de femei din Breb. Translated by Sanda Golopenția and Peg Hausman (Bucureşti, Editura Spandugino, 2022, 305 p.).
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The author focused on searching for and excerpting Russian lexemes from fortification terminology and some historisms related to castle-chateau discourse in the texts prepared for tourism. Mostly, the texts translated from Czech to Russian were used. The lexemes obtained were subsequently analysed from the lexical, semantic, syntactic and other points of view. Special attention is paid to an appropriate or inappropriate use of the equivalents, their use in Russian and connotation differences.
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Translation and its role in the teaching process has been a discussed topic for a long time. The importance of translation has changed over the years according to the preferred teaching method. This article deals with its key role in the grammar-translation method and its rejection with the appearance of the direct (audio-lingual) method. The author compares the pros and cons of the use of translation and notices the dangers of its overuse. She emphasizes the benefits that its rational involvement brings and suggests the activities which can make the translation an effective teaching tool.
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A decade ago I translated Romeo and Juliet into Romanian for a student performance, which premiered on February 14, 2013 and has since participated in four international theatre festivals. Three years later, having joined the team of the Shakespeare for the New Millennium project – devoted to the retranslation of Shakespeare’s complete works – I embarked on what I thought would be merely a revision of my previous translation for the stage, but soon turned into a very different translatorial experience, which resulted in an entirely new Romanian version, mainly due to the twofold, yet more clearly defined purpose of the translation project. This new version, published in vol. 13 (2018) of the latest scholarly edition of Shakespeare’s complete works (2010-2019), has recently passed the performability test as well, in a compelling stage production which premiered, to great acclaim, on December 17, 2022 at the “Mihai Eminescu” National Theatre in Chișinău (Moldova). Thus, my article sets out to explore – self-reflectively, retrospectively and through the lens of Skopos theory – how in each case my approach to the task in hand, my decisions and my solutions to various translation problems were guided by what I knew or assumed about the aims, requirements and prospective audience of each translation. Thus, a translator’s practical experience is brought to bear on what has been both hailed and criticised as “a new paradigm” in translation studies, in an attempt to test its hypotheses against the actual practice (as well as the outcomes) of translating the same text for different purposes.
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Nicaraguan poet-priest Ernesto Cardenal (1925–2020) is one of the most important Latin American poets. He developed his “exteriorist” poetics in the 1950s, much influenced by Anglo-American poets, in particular Ezra Pound, to differentiate his poetry from the prevailing subjectivist verse in Latin America. The impact of Pound’s canto technique on his work is clear, as well. Cardenal’s epic poem Cántico cósmico (Cosmic Canticle), published in 1989, is his magnum opus. This work is distinguished by his avant-garde use of science and its language, as he contemplates the entire cosmos and issues of being and non-being. Revolution is another major aspect of the poem, reflecting Cardenal’s commitment as a ChristianMarxist revolutionary. My translations of three fragments of his Cosmic Canticle selected by him are published here for the first time. They represent his focus on the origin of our planet and life on Earth.
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Review of: Constantinescu, Muguraș & Daniel Dejica, Titela Vîlceanu (coord.). 2021. O istorie a traducerilor în limba română, ITLR - secolul XX, Volumul I. București: Editura Academiei Române. ISBN 978-973-27-3438-4.
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The year 2022 marks a centenary of the birth of José Saramago who was laureate of the Nobel Prize in literature. As the Bulgarian translator of one of his most brilliant novels it is my duty and privilege to take a stand on some real practical issues that have arisen in the process of its popularization in Bulgaria. Since the allegory of the degrading society in “Blindness” brutalizes to the extreme every situation described, I pay particular attention to some of the most shocking scenes in the dehumanization of mankind, which was provoked by the outbreak of an incomprehensible epidemic. These moments in their transgressiveness were the real challenge in terms of translation and will be examined here through the lens of linguoculturology.
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This article sets out to scrutinize two different Turkish translations of the English writer Frederick Burnaby’s travel writing On Horseback through Asia Minor (1878/1996). On Horseback through Asia Minor’s adventure in Turkish is an interesting case because the first translation was published in 1998 by Sabah Kitapları but just one year after this publication, another translation appeared on the Turkish book market, which was published by İletişim Yayınları. However, what is more interesting than these translations, which were published almost simultaneously, is the discourses of the publisher regarding the first translation on the cover of the presentation of the second translation. The publisher claims that the text is a “meticulous”, “uncensored” and “complete” translation, which points out that the previous translation included “censored” and “incomplete” parts. Therefore, this study questions the publisher’s claims by conducting a paratextual and textual analysis of the source text and target texts and also seeks to understand whether the causality created by the publisher led to the second translation or a retranslation. In its theoretical framework, it uses the concept “paratext” put forward by the French scholar Gérard Genette and “operational norms” introduced by the translation scholar Gideon Toury. The findings suggest that the second target text, rather than a “retranslation”, is a simultaneous translation that emerged incidentally almost in the same period, addressed the same target readers, and tried to bring out its difference from the other translation. It is also seen that the claims of the publisher in the second target text on the grounds of “censorship” and “incompleteness” are valid and this causes a rivalry between translations in the translated book market by not only strongly challenging the other translation but also forming market negativity towards it.
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The aim of this article is to provide a critical and refl exive outline of studies related to cultural translation, taking into consideration it’s complexity and showing relevant and precise examples from diff erent cultures. In the second part of this article we classify in detail the cultural elements that appear in the Spanish translation of the poetry book Scene from the Movie GIANT, by Tino Villanueva, based on the theory of Lucía Molina (2006).
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It is our interest to see how the presence of a poet like Dante, also through his translations, is co-participant in the construction of a continuous dialogical relationship between Spanish and Italian literature. In contemporary times, Dante’s work fascinates many authors of letters in the Iberian Peninsula; one of these poets is also the translator Ángel Crespo, who is completely trapped in the Florentine’s hendecasyllables and even achieves a transformation and new realisation of his own personal poetics. Aware that studies of the literary and translational relations between Dante and Crespo are not a somewhat new subject, we would like, throughout this article, to emphasise the relationship between poetry and philosophy. Th e translation of the Commedia will lead the Spanish writer to return to his own writing, a determining factor also being Dante’s gaze constructed between poetry and philosophy, which the translator was able, between philological and theological questions, to reproduce in his translation of the Tuscan poet’s magnum opus.
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In burlesque travesty, humor is first and foremost the result of a mismatch in language registers, such as the mismatch between the noble subject matter and the colloquial or even vulgar language used. In addition, comedy arises from the excessive accumulation of words and tropes, borrowed from the slang or invented by the authors, themselves. Translating burlesque travesties is a challenge: for example, if you want to translate Les Boloss des Belles Lettres (by Quentin Leclerc and Michel Pimpant) while preserving the humor of the source text, you first have to ask yourself whether the translation is valid or if there is any chance of carrying it out successfully.
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This paper discusses translations of William C. Chittick’s works into Bosnian language, giving certain remarks about them and providing a short biography of the author. The paper shows that numerous books and articles of this renowned American researcher of the classical Islamic philosophy and Sufism have recently been translated into Bosnian language. In 2019, the translations of three of his books were published, so it may not be farfetched to say that a kind of translation movement has been taking place. We assume that the reason for this phenomenon lies in the simplicity of Chittick’s language which he deploys to explain the deepest truths of Islam in a fluent, erudite and academic way. At the same time, his works do not lose comprehensiveness and diligence. Hence one can speak about a considerable influence of his works on Bosnian readers.
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De-Sovietization became an important issue of the post-Soviet Ukrainian agenda, and the Russo-Ukrainian war gave a strong impetus to it. The subject matter of the present study is the instrumentality of literary translation in eliminating the Soviet ideology in independent Ukraine. The research is made within the sociological approach, which allows to describe the specific features of the sphere of literary translation, influenced by the sociopolitical and ideological factors. The research material includes the data on the translated texts published in contemporary Ukraine in the state bibliographical index and the catalogues of the leading Ukrainian publishers of foreign literature as well as para- and metatexts (translators and editors’ commentaries, interviews and publications in media).
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The aim of this article is to present the results of research carried out within the European perspective on Literature, Culture, Language and Certification (EpoLCLC) project, according to three main axes: contemporary reading practices and the image of French literature among contemporary readers in a sociological approach; reading strategies of foreign language texts in a psycholinguistic approach; the place of translations and the representation of the role of the literary translator among contemporary readers in the light of conceptions related to cultural transfers and the global circulation of literature. The analysis and interpretation of the data collected during the course of the project will make it possible to compare the image we have of literature and the reader in our time with a set of real practices and beliefs, as defined by the people questioned during the study. More generally, it will be a question of drawing up, again from the data collected, a portrait of the European student as a reader and of defining the place that French and Francophone literature occupies in his or her daily practices.
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