Mitte ainult reformatsioonist
Review of: Reformatsioon – tõlked ja tõlgendused. (Eesti Rahvusraamatukogu toimetised 16. Raamat ja aeg 5.) Koostaja Piret Lotman. Tallinn: Eesti Rahvusraamatukogu, 2019. 264 lk
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Review of: Reformatsioon – tõlked ja tõlgendused. (Eesti Rahvusraamatukogu toimetised 16. Raamat ja aeg 5.) Koostaja Piret Lotman. Tallinn: Eesti Rahvusraamatukogu, 2019. 264 lk
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The article discusses, both polemically and critically, a few instances in which Maciej Świerkocki, in his new translation of James Joyce’s Ulysses, renders the novel’s puns into Polish. In order to indicate other possible translations in this regard, the author of the article quotes from previous Polish version by Maciej Słomczyński and the Czech translation by Aloys Skoumal.
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The paper analyzes the words of the Persian origin represented in the thematic fields that reflect the material and spiritual culture of these areas, which is why many of them can be seen as realia. Also, it seeks to determine what is their stylistic potential in the Bosnian language, i.e. whether they belong to the active or passive vocabulary of the Bosnian language. In that sense, the paper indicates that they can be substituted by the Slavic origin lexemes, but also the fact that many of these expressions belong to non-equivalent or hardly replaceable lexicon.
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Specialised languages are used to help disseminate information and news pertaining to the respective fields, both nationally and abroad. In order to achieve this, it genuinely helps to have the results translated into a foreign language and English is most frequently used to this end. If, however, the person who wishes to translate the information in question is a competent user of English but lacks the necessary specialised knowledge, the result is not always going to be the desired one. In order to illustrate this, we are going to select a number of Romanian words: corp (corpus in Latin), formulă, întreg, operaţie, virus, etc. The words corp, formulă and întreg are employed, with a variety of meanings, in certain branches of science including astronomy, physics, mathematics; the word operaţie is frequently encountered in medicine and mathematics, the word virus is extremely prevalent in medicine and computer science.
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Despite the apparent limitation of reading of biblical texts in the liturgical celebrations, the need to periodically translate and retranslate the Bible is seen by Orthodoxy as a vital missionary necessity in the context of the Church’s Tradition. The first part of the article presents the specificities of the Bible in Orthodoxy, especially, the relationship between Tradition and Sacred Scripture. These preliminary observations allow, in the second part, to present the existing agreements between the United Bible Societies and the Orthodox Churches, which condition the participation of the Orthodox, together with Catholics and Protestants, in various projects of translation, publication and distribution of the Bible.
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The objective of this paper is to bring to light an important early 16th-century Polish rendition of the Psalter, Żołtarz Dawidów, translated by Walenty Wróbel and prepared for print by Andrzej Glaber. We argue that in spite of its unique position in the line of Psalter translations into Polish, the Żołtarz has not received a comprehensive and exhaustive treatment. While some detailed issues have been diligently addressed by individual scholars, research on the Żołtarz has generally been overshadowed by Brückner’s (1902) pioneering study, to the extent that one of its two surviving manuscript copies has not received official recognition in the scholarly literature. In particular, alongside the Kórnik manuscript (from 1528) described by Brückner, there exists another 16th-century exemplar (1536), which has been in the possession of the Jagiellonian Library since 1928. Its rediscovery by the authors of the present paper has two important consequences. First of all, the Jagiellonian Żołtarz should become an object of study in its own right. Secondly, its existence requires a re-assessment of the current state of knowledge on the Żołtarz in the light of the data it contains.
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The current paper deals with the functional and structural aspects of collocations while at the same time it explores their socio-cultural features on the grounds of a corpus-based inductive approach. Collocational translation requires in-depth collocational analysis which in turn leads to a tripartite approach based on linguistic, communicative and cultural competence. The meaning of a collocation depends upon the meaning of its constituents so translation becomes more difficult when their figurative meaning is taken into account. Between the untranslatable and easily translatable collocations we come across degrees of translatability depending upon the lexical and cultural congruence between the two languages. But how efortless or how problematic is it to set scientific boundaries? What the paper seeks to explore is some of the strategies used for the translation of verbal collocations in Middle England by Jonathan Coe along with their presentation, attempting to highlight that collocations should not be viewed as mere embellished versions of literal language, but as practical solutions used to fill the void of vocabulary when we are at a loss for the proper translational equivalent.
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Polish and Croatian inherited some of the participles from the Old Slavonic language, significantly narrowing their number and simplifying their forms. Their development was different, due to the peculiarities of each language system. One of them, participium praesentis activi (Pol. imiesłów czasu teraźniejszego czynny, Cro. glagolski prilog sadašnji aktivni / aktivni particip prezenta) developed in Polish into two separate (morphologically, syntactically and semantically different) verb forms: invariable imiesłów przysłówkowy współczesny with the suffix –ąc and the variable imiesłów przymiotnikowy czynny with the suffixes –ący for the masculine gender, –ąca for the feminine gender and –ące for the middle gender. While the first of them has its unambiguous equivalent in the Croatian language, glagolski prilog sadašnji with the suffix –ći, the second forces the translator to find some other solutions. Among them are various transformations at the formal level aimed at conveying the content of the original text. The paper examines translation equivalents on the example of contemporary Polish and Croatian prose (see Literature) in such a way that constructions in the original language are opposed their equivalent structures in another language and their formal and semantic properties are described.
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This article presents analyses and interpretations of the work of the Bulgarian poet Nikolay Kanchev (1936—2007), collected in the Polish-language volume Against the Absence (2020), translated by Wojciech Gałązka. It takes into account the critical context of the Polish and Bulgarian reception of Nikolay Kanchev’s poetry. The presence of Nikolay Kanchev’s work in Poland since the 1980s is possible thanks to the long-standing efforts of his translator, Wojciech Gałązka. In his homeland, the poet experienced the censorship’s rejection of his first two volumes Presence (1965) and As a Mustard Seed (1968), many years of silence (1968—1980), and a successful but belated reception since the 1990s. A review of historical-literary studies makes it possible to identify the ideological and aesthetic choices of Kanchev’s poetry — neoclassicism, metarealism, conceptualism, philosophical intellectualism, laconicism, and paradoxicality.
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The present study sets to underline how important it is in applied modern languages programmes to teach disciplines closely linked to the linguistic dimension (such as morphology, syntax, and phonetics) and Italian culture lessons, thus creating a lasting connection between contents that may be considered by learners, at least at first sight, as objects of study belonging to different fields. Starting from the need to develop the students’ ability to create interdisciplinary networks and to outline configurations by thematic areas, we thought it would be useful to draft a didactic itinerary based on the analysis of some Italian melodramas of the 19th and 20th centuries, in order to dwell on the linguistic evolution of some Italian words, on the origin and history of some lexemes/concepts closely related to historical and cultural events, and to make short retrospective trips into Italian history and literature. In addition, the article focuses on intersemiotic translation, highlighting the fruitful intertextual and intersystemic relationship between literature, music, and theatre.
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Both, Dante Alighieri’s ouevre and him as a person, ignited a grand, incessant passion and unflinching interest of Józef Ignacy Kraszewski (1812–1887), which was fueled by a deep sense of awe. Kraszewski’s works thrive on Dantean motifs mediated by the 19th-century culture that was saturated with the latter. Dante’s towering persona reigned over the 19th century, the era during which not only his ouevre but also his person were idolised, often by applying a political key to him. The Polish writer’s narrative and lyrical output bears a palpable residuum of the Divine Comedy – an inexhaustible source of inspiration he continually aluded to by references, quotes, suggestions, and reworking of topics and motifs. After scrutinising literary reminescences of the Divine Comedy recognised in Kraszewski’s works, the article proceeds to focus on reverbarations and echoes traced back to the masterpiece’s part one, in particular Inferno V (the fifth song) and their relationship with the source text. The astounding fate that befell Paolo and Francesca creates a context for the analysis of a narrative poem Paolo. Powieść wenecka (‘Paolo. A Venetian Tale’; 1843) and a novel Pod włoskim niebem (‘Under the Sky of Italy’; 1845).
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In the interwar period (1918–1939), prior to the development of the comparative literature discipline, the most important Polish authors would be included in the canon of world literature in studies published in Hungary. Mihály Babits’s great synthesis, Az európai irodalom története [History of European Literature], only includes the names of Adam Mickiewicz and Henryk Sienkiewicz (without stating the titles of their works), because Babits divided the individual national literatures into “major” and “minor” ones, and considered both Polish and Hungarian literature to belong to the latter group. In turn, Antal Szerb, author of the still popular A világirodalom története [History of World Literature], described Polish Romanticism competently in a separate subsection and provided a brief summary of the earlier periods. In his opinion, Polish and Hungarian literature developed parallel to each other, and during the Renaissance both literatures produced poetry at the highest level in the respective national languages. The researcher was convinced that not only were certain periods and individual authors “astonishingly similar”, but that the entire history of both literatures was built on similar principles. In the following decades, data was collected on Polish-Hungarian contacts, focusing on reception and imagology. Factual material was collected confirming Polish-Hungarian literary contacts in the spirit of positivist literary science. Thanks to Endre Bojtár’s many years of systematic work, Central European comparative literature established itself at the Institute for Literary Studies of Hungarian Academy of Sciences. Bojtár contributed to a paradigm shift, with a new category of Central European literature emerging between world literature and Hungarian literature. Another researcher, György Spiró, also worked in the field of regional comparative literature, and compiled a history of drama “from the Enlightenment to Wyspiański’s synthesis”. Not so long ago, in the 1980s, leading Hungarian prose writers such as Péter Esterházy and Péter Nádas, avidly read and commented on the works of Witold Gombrowicz, among others, but subsequent generations lost contact with Polish literature.
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Although Ziemowit Szczerek is one of the most interesting Polish writers of modern times, his books are not often translated into other languages. Given the fact that he mostly devotes himself to the subject of Central Europe, his books would certainly also find readers in the Czech Republic. The article raises the question of whether Szczerek’s very specific authorial style, which discourages potential translators, may be the cause of this state of affairs. This article tries to analyze the style and language of Szczerek’s writing on the material of his book Międzymorze (2017a). The aim of the text is, among other things, to show how careful analysis and philological training can help the translator understand the author’s specific style and thus help with the prospective translation. The article analyses specific means of expression, such as very creatively understood neologisms and expressive vocabulary. Particular attention is paid to specific sentence constructions and the possibilities of their translation into Czech. Also typical of Szczerek’s texts are foreign-language elements, reflecting the atmosphere of a place or characterizing the speaker whom the narrator meets on a journey through Central Europe. All these means of expression are a great challenge for any translator.
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This article deals with the essence of literary translation meant as creative phenomenon and transliguistic definition of translation style in literary translation as well. Creativeness of literary translation should be considered as interrelation of the concepts of ‘translator icon’ as well as translation style. Literary translation as creative phenomenon is thought to be undoubtedly studied in connection with Culturology. This cultural interpretation is clearly shown in research methodology.The research methodology, which is derived from the objectives, is interdisciplinary. Besides this, it is also based on the data of the following disciplines: Linguistics, Literature Study, Aesthetics, Translation Theory and Culturology. Taking into consideration the data of these disciplines is very significant while defining translation style. Linguistics is believed to have central meaning in this interdisciplinary methodology that implies the interrelation of the aspects of translinguistics and linguoculturology. In this paper the formed methodology is presented like a graphic diagram with horizontal and vertical axles. Combination of these axles seems to be very important to give us ‘Linguistic Theory of Translation, in particular, ‘The Conception of Translation Transformation’.In the article is also mentioned that translation, in any case, is always connected to transformation phenomenon and this phenomenon can be discussed on micro- and macro- levels. Our goal is to create such kind of concept of translation style that will give us opportunity to confront the original and translated text and make the stylistic analysis. According to this, we try to make the concept of translation style that should be based, on the one hand, on the Transformation Theory, and, on the other hand, it will definitely synthesize all the transformational moments which are discussed in this article. In this case, we can speak about the concept of translation style, that have translinguistic essence. In another words, we get the translinguistic concept of translation style.According to the research we get the following translinguistic definition of the translation style: the stylistic features of the text which are shown in the process of the stylistic confrontation of the original and translated texts should be considered as the translation style.
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The article aims to present the controversy surrounding the geyi's translation and interpretation technique, which was used in the third and fourth centuries in China, commonly translated as "matching concepts", which is the most distinct manifestation of the adaptation of Buddhist concepts to classical Taoist doctrines. For this purpose, its basic philological and philosophical interpretations of the term are presented. Studying the spread and adaptation of Buddhist doctrines in China gives the unique opportunity to balance these two opposing positions. The very specificity of the philosophical sense of the translator and the interpretive technique of the geyi is considered in its aspect as one of the main factors that shaped the features of Chinese Buddhism and its subsequent final detachment from its Indian equivalent. Its use and improvement mark the beginning of the formation of East Asian Buddhism as an essentially new Buddhist doctrinal strand.
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The article deals with the lexical correspondences to the Hebrew hapax legomena in the Book of Job, presented in the translation of Job into Ruthenian (prosta(ja) mova) as a part of the Vilnius Old Testament Florilegium (F 19–262) (approx. 1517–1533) and in the Bible by Francis Skoryna (1517–1519). Both versions are compared with the handwritten Church Slavonic Gennadius Bible (1499) and the printed Ostrog Bible (1581). Two Polish bibles — Radziviłł (Brest) Bible (1563) and the Nesvizh Bible (1568–1572) by Symon Budny — are considered as well. Special attention was given to the cases when translations of biblical hapaxes were the result of prescriptive (conditioned by the canonical context and traditional exegesis) activity of translators. In such cases, the knowledge of implicit information that should be verified in the translation was of particular importance. On the other hand, we analyze the translations of unfamiliar words resulting from conjectural variation, when hapaxes were interpreted on the basis of grammatical and syntactic norms and according to the meaning of the context. Not devoid of subjectivity, such variants were often transferred into subsequent translations, turning into dogmatized formulations. During historical development of the original language, the conjectural translation of individual words and entire text fragments partly compensate the translator's lack of the necessary linguistic and extralinguistic information. Thus, while working on the translation of the Book of Job at the end of the 15th–16th centuries, the translators of the Grand Duchy of Lithuania had to solve a number of problems — from searching for their own translations’ versions when interpreting "dark" passages to the need to meet those normative guidelines that were dictated by biblical translations, exegetical writings, and other authoritative texts.
More...Амбивалентност на понятието за държавно устройство в контекста на платоновите „Закони“
This paper offers an interpretation of a passage in Book VII of Plato's Laws (817b1- 817d8), where the political constitution of the fictional polis Magnesia is called the “truest tragedy”. The author argues that this statement is metaphorical and analyses the conceptual and dramaturgical premises for understanding the metaphor.
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Czesław Miłosz was not only a great writer and one of the most important intellectuals of XX century, but also a good translator. The following article shows the most characteristic area of interest for the poet and the relationship between Miłosz the author and Miłosz the translator. An important concept for this article is also showing the role of the translator in modern translation studies. In the article Miłosz is shown as a translator of Polish, Jewish, Japanese, ethnical literature and finally as a translator of his own poetry. The article tried to answer the questions of what esthetical, biographical, emotional reasons the poet has when he chooses a book to translate.
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Review of: Clara Căpățînă, The verbal aspect in Croatian and ways of rendering in Romanian, Bucharest: Pro Universitaria Publishing House, 2021, 187 p., ISBN 978-606-26-1484-3.
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