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Multiculturalism also requires multilingualism. For example, Albanians from Kosovo are overwhelmed with the foreign preposition multi; they have a multi-ethnic state, a multilingual constitution, a multicultural society etc. While multilingualism has been considered a challenge of communication for a long time, now, in Albanian literature, it can be considered a form of communication. And in our literature also as a form of creation.
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Review of: Ljerka Car-Matutinović: Sve moje ljubavi, Biakova, Zagreb, 2020., 111 str.
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The article attempts to reconstruct the translator biography of Heinrich Nitschmann (1826– 1905) and explain the role he played in Polish-German literary contacts. Nitschmann made German readers familiar with Polish literature firstly through his translations of Polish poetry, and secondly through his popular compendium “History of Polish Literature,” aimed at the German Bildungsbürgertum. Although his translations are not outstanding in quality, they suited the literary tastes of the era and contributed to shaping the German discourse on Poland in the second half of the 19th century. The article traces Nitschmann’s linguistic biography and topobiography, characterizes and situates his translation work against the background of his other activities as a writer, publicist and composer; it attempts to reconstruct his aesthetics and worldview, his translation poetics and self-awareness as a translator. Nitschmann’s modus operandi in his network of literary contacts is shown, exemplified by his relationships with the Danzig publisher Karl Theodor Bertling and with the Lemberg-based Germanist Albert Zipper.
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The purpose of this article is to complete the portrait of Zofia Jachimecka, who went down in history as an entertainer in one of the most important salons of Interwar Kraków and a model for the great portraitists, with her professional profile, most often presented either in residual form, or all together omitted from works focusing on the translator. The article presents an analysis of Zofia Jachimecka’s professional correspondence with Professor of Romance Studies Mieczysław Brahmer, who worked closely together from 1950 on the publication of the Polish translation of Goldoni’s comedies in the Ossolineum National Library series (Goldoni 1951, 1951, 1971), and later maintained social and professional contact for many years. The collaboration between the editor of the Goldoni editions and the translator, very well documented in the surviving correspondence (found in the Scientific Library of the PAAS and the PAS in Kraków archives and Jagiellonian Library manuscript collection), goes beyond the project and develops into a long-standing exchange of reading experiences, workshop and repertoire choices, comments on works sent to each other, as well as information on literary and repertoire news, which clearly show that in many fields it was Jachimecka, and not Brahmer, who assumed the role of the expert on Italian and French literature. According to the letters, Brahmer tries to help the translator to, among other things, find a publisher for the Pirandello dramas she translated, while Jachimecka repeatedly suggests Italian readings to the professor, and helps him find his way through the maze of contemporary literature. The article draws attention to the considerable issue of cooperation in resolving financial matters and Brahmer’s intermediation not only in the negotiations of remuneration for the translator for the volumes prepared jointly, but also when the professor was not directly involved in the project. The article is supplemented by an appendix presenting a compilation of Jachimecka’s theatrical translations.
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The author identifies interrelations between certain elements of Maryla Laurent’s biography and her professional activities, paying special attention to her views of translation. The starting point is the perception of the translator as an entity able to be reflexive about his or her translation choices.At the current stage of translation research, the translator’s status as a subjective element in the translation process does not need any additional recognition. The previous theories have sought to maximise the objectivity of the evaluation of the translator’s decisions by describing them in terms of linguistics or translation reception. This presumed ‘neutrality’ fails to account for the reasons behind translation decisions. Their completion is only guaranteed by viewing the translator from a humanistic perspective: not as an abstract conceptual category, but as an individual personality. Various factors (life experience, acquired knowledge) help build up the translator’s linguistic and cultural sensitivity. Consequently, they shape the translator’s interpretation of the original and the way in which they themselves write a foreign text in the act of translation.
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The objective of the article is to establish the status of translators in relation to the canon of Japanese literature translated in Poland. The author performs a quantitative and qualitative analysis of a big amount of data pertaining to book translations in post-war Poland and juxtaposes it with details of the translators’ biographies in order to ascertain, which elements of those biographies have the biggest correlation with the canon-making power of the translators.
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The Department of Translation and Interpreting in Skopje, North Macedonia offers undergraduate studies where key competences for translators and interpreters are developed. In addition to translation and interpreting competence, students also develop cultural competence, thematic and domain-specific knowledge, digital skills and generic “soft” skills. Knowledge of terminology plays a key role in the training of translators and interpreters. Hence, terminology is taught as a separate course in several different domain at undergraduate level. This paper examines the research question whether the applied terminology teaching approach at the author’s department is effective for terminology learning and skills development in students’ opinion. For that purpose, a research project was implemented entitled “Modernisation of Terminology Teaching Methods at Interdisciplinary Translation and Interpreting Studies” in January 2020 – September 2021, which involved teachers on seven terminological courses. This paper provides an overview of the project activities and results of relevance for translation- and interpreting-oriented terminology teaching and learning. Furthermore, the aim of this paper is to present the results of a survey research on the effectiveness of the terminology teaching approach adopted at the author’s department, thus aiming to contribute to improving the terminology teaching design for translation and interpreting education.
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The article discusses the functions and frequency of the use of various forms of subtitles in editions of Polish translations of the Enlightenment period. The results of research reveal the following regularities: firstly, regardless of the type of the text, there are recurrent patterns of presentation of translation, in a variety of ways referring to the (real or not) publishing history of the translated works. Secondly, the identity of the original author is concealed while the status of the text as translation is erased most often in the case of short literary forms (e.g. lyrics, concise epic texts) and works which were perceived as “low” in the light of classicistic poetics (e.g. novels). Thirdly, apart from the information provided on the title pages, 18th century publishers employed other elements of the book in order to point out the authorship of the original texts or to mark the status of the work as translation in a more prominent way (e.g. introductions, footnotes, bilingual editions, inclusion of several translation of the same original text, “revealing” the individual traits of the translators).
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In the 18th century, when history was shaped as science in Russia, there was a great interest in historical works from ancient literature. During this period, many works on ancient history were translated. We discussed the translation of historical works from Ancient Greek and Roman literature in 18th century Russia under the titles of historical works translation from Ancient Greek literature and historical works translation from Ancient Roman literature. Constantin Manasses, Xenophon, Diodorous, Pausanias, Polybius, and Plutarchus stand out among the significant historians translated from Ancient Greek literature in the 18th century. Quintus Curtius Rufus, Titus Livius, Cornelius Nepos, Lucius Annaeus Florus, Valerius Maximus, Velleius Paterculus, Josephus Flavius and Justinus draw attention among the significant historical writers translated from Ancient Roman literature in the said period. Historical works from ancient literature in 18th century Russia were mostly translated from the original language. Among its translators are important names in Russian cultural history. Thanks to these well-educated translators, fluent in several foreign languages, the Russian reader in the 18th century had the opportunity to meet the significant historical works of Ancient Greek and Roman literature.
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The main objective of the Bibliography of the Romanian-language Novel Translated into Polish until 2023 is to present the complete list of the novelistic production written in Romanian, also by authors from the Republic of Moldova, and published in Poland in Polish translation (in volume or in fragments) between 1931 and 2023. It represents a pioneering work and the first exhaustive database containing all the Romanian-language novel titles ever published in Poland; thus, it can serve as a valuable resource for researchers of Romanian literature from around the world. It contains 86 Polish translations of 83 Romanian-language novels published in volume, as well as 55 Polish translations of excerpts from Romanian-language novels published in literary magazines or online. The bibliography was created based on the Dicționarul cronologic al romanului românesc [The Chronological Dictionary of the Romanian Novel] (2004 and 2011), Polska Bibliografia Literacka [Polish Literary Bibliography] (https://pbl.ibl.poznan.pl/dostep/) and the library queries in Poland (at the Jagiellonian Library in Kraków and the National Library in Warsaw).
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Leon Piniński (1857–1938) was one of the most outstanding legal scholars and men of art at the turn of the XIX and XX centuries. His achievements in law (in particular Roman law and the law on ownership) have already been acknowledged in the research literature. There are also many publications about his life and work as a Professor of Roman law at the University of Lwów. No proper research, however, has been done into Piniński’s contribution to Shakespeare’s studies. The paper attempts to fill this gap by discussing Leon Piniński’s legacy as a translator and commentator on William Shakespeare. The analysis focuses on a two-volume work entitled William Shakespeare. Wrażenia i szkice z twórczości poety (Lwów, 1924). In this seminal contribution, Piniński examines all of Bard’s plays in terms of sources, synopsis, themes and intertextuality. Leon Piniński also translated Shakespeare’s works and criticised the translations by such prominent authors as Leon Ulrich and Józef Paszkowski. Many of his ideas and translation choices were innovative compared to other Polish versions of Shakespeare’s plays and are still relevant today.
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Research on transfiction – and “rethinking translation through literature”, as Rosemary Arrojo puts it – is a considerable novelty in Polish translation studies, especially in its diachronic and sociocultural aspect. The “fictional turn” in TS has not yet made itself felt very clearly in Polish literature. Yet, convinced that literary fiction thematising translation as a process and a product is an interesting reflection – and distortion – of a translator’s status and the official translation studies discourse, the author focuses on two contemporary Polish literary texts on translation: Skrzydło sowy (1967) by Zofia Chądzyńska and Sara – Irena – Elżbieta (2020) by Elżbieta Tabakowska.
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The presented article examines the notion of taboo in translation in Philip Larkin’s poem “This Be The Verse” and its three Polish translations by Jerzy Jarniewicz, Jacek Dehnel and Maciej Froński. In the first part of the article, we find information on Larkin's reception in Poland and translations of his poems. We also learn that in addition to supporters such as Barańczak, Jarniewicz and Dehnel, he also had well-known opponents, the most famous of whom was Czesław MiłoszThe second part of the article deals with the idea of different types of taboo is presented together with an analysis of Larkin’s dealings with this notion. The types of taboo discussed here are: profanity, ancestors, immediate family and God. Larkin seens to be breaking all of them, yet retaining a classic verse structure and certain elegance that present a great challenge to his translatorsIn the third part, we look closer at the three Polish translations of “This Be The Verse”, focusing on how the subsequent translators have dealt with its taboos. They all had a difficult task, which they accomplished in a variety of ways, all of which have been carefully researched and described. Finally, as the author, I also present my own version of Larkin's translation of the poem, but leave its assessment to subsequent researchers.
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The text attempts to point out the main contributions of Alek Popov’s writing both in terms of the development of contemporary Bulgarian literature and the interest he provoked in translators of Bulgarian literature. The most important characteristics of Popov’s handwriting – convertibility, multilayeredness, humour, satire, irony, and skill in plotting – are also pointed out. Special attention is paid to his rehabilitation of the genre of the short story, as well as some of his cult novels – Mission London and the two-volume work on the Palaveevi sisters.
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The article presents a comparative analysis of fairy tale texts from the perspective of their structural, semantic, pragmatic, as well as linguistic and cultural features. Verbal and semiotic code of fairy tales has been reconstructed on the basis of their bidirectional translation (translation of Folk Russian Tales by A. Afanasiev into Slovak and Czech and Slovak and Czech fairy tales translation into Russian). The article considers initial, middle and final fairy formulas ones proceeding from the archetypal structure, value and semantic dominants, as well as concepts of folklore texts (transformations and variants of plots and allomotives, typology of images and names of fairy tale characters through the lens of V. Propp, S. Neklyudov, E. Novik and others’ views). The units are described both in terms of their equivalence, figurative structure, and possible translation transformations, as well as ways of transferring culture-specific elements and pragmes into foreign cultural folklore and semiotic space. The approach applied in the article presupposes cultural and semantic reconstruction of the predominant conceptual spheres actualized in fairy tales, particularly the ones of giving, the Way, ‘us’ and ‘them’, happy end and marriage, oppositions of the living and the dead, functions of fairy tale loci, such as emptiness, chaos and cosmogonic representations associated with them. The research analyzes modal, temporal, and syntactic characteristics of fairy tale formulas, lexical and semantic substitutions, as well as compensations and equivalents in the target text.
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The research is devised as a case study focused on the study course “Easy Language for Social Inclusion” developed within the ERASMUS+ project “Promoting Easy-to-Read Language for Social Inclusion/PERLSI”. The discussion is contextualized within a broader discourse on the training opportunities available for translators in the project countries (Latvia, Lithuania, and Slovenia). The macro-level of analysis introduces the socio-political frame of discourse on inclusion and information accessibility. The meso-level discussion evolves around the Easy language translator’s profile, based on the best practice offered by German scholars (Maaß and Rink 2020) and the immediate experience acquired during the project. Micro-level analysis offers insights into the course syllabus, the study materials developed to ensure the acquisition of knowledge, skills, and competencies necessary for reducing cognitive load at lexical, syntactic, and textual levels as well as the visual language of the text.
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The article presents the most common themes in the hip-hop music on the basis of material from Bulgaria and other South Slavonic countries (more specifically, North Macedonia, Serbia, and Slovenia). Even though individual hip-hop scenes may differ significantly in comparison with each other, they share many common features. Hip-hop artists describe the surrounding world in their songs – that includes the physical world like nature or the city, as well as intangible phenomena like feelings. Even in this field there are some common and divergent features. Some of the themes are universal for the whole genre, so regardless of different language systems their execution can be similar to a certain degree. The reason for that is mainly the slang vocabulary which in most of the countries shares a large number of identical units.
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Хайдушки песни/Haiduk Songs - Translation into Czech by Ludmila Kroužilová Translation into Polish by Zdzisław Jerzy Kempf (I, IV), Translation into Polish by Anna Kamieńska (II, III) Translation into Russian by Maria A. Pavlova // Арменци/Armenians - Translation into Russian by Mikhail A. Zenkevich, Translation into Czech by Ludmila Kroužilová, Translation into Polish by Jerzy Ficowski // Две хубави очи/Two lovely eyes - Translation into Serbian by Vlada Urošević, Translation into Croatian by Vesna Parun, Translation into Polish by Anna Kamieńska, Translation into Slovenian by Eva Šprager, Translation into Chech by Ludmila Kroužilová, Translation into Russian by Lev Ozerov, Translation into Ukrainian by Dmitro Pavlichko, Translation into Slovak by Jan Koška // Копнение/Longing - Translation into Polish by Anna Kamieńska, Translation into Slovenian by Katja Špur // Не си виновна ти/The guilt is not in you - Translation into Czech by Ludmila Kroužilová, Translation into Serbian by Vlada Urošević, Translation into Russian by Maria Petrovykh, Translation into Polish by Włodzimierz Słobodnik // На Лора/To Laura - Translation into Czech by Ludmila Kroužilová, Translation into Polish by Włodzimierz Słobodnik, Translation into Slovenian by Eva Šprager, Translation into Ukrainian by Mikola Bazhan, Translation into Russian by Lev Ozerov, Translation into Serbian by Marko Nikolić // Вълшебница/Witch - Translation into Russian by Vladimir N. Sokolov Translation into Polish by Anna Kamieńska // Две души/Two Souls - Translation into Croatian by Vesna Parun, Translation into Russian by Lev Ozerov, Translation into Polish by Janina Brzostowska, Translation into Ukrainian by Vasil Moruga, Translation into Slovak by Jan Koška, Translation into Czech by Ludmila Kroužilová
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Translation from Russian by Tanya Neycheva, Zhorzheta Cholakova
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