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1

Alliteration as a Means to Reinforce Orality in Conrad’s Early Marlow Narratives.

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Kujawska-Lis E.

Zagadnienia Rodzajów Literackich

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2018

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vol. 61

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issue 1(125)

85-99

EN

Joseph Conrad’s narratives featuring Marlow are composed as stories within stories, in which Marlow (the intradiegetic narrator) tells stories to his few listeners (the intradiegetic addresses). Critics have found analogies of these narratives with the Polish gawęda tradition and the English sailor’s yarn, both related to oral story-telling. This paper sets out to look at one literary device — alliteration — found in early works narrated by Marlow (Youth, Heart of Darkness, and Lord Jim), and to indicate that various effects achieved by alliterative phrases (onomatopoeic, emphatic, rhythmical, and autotelic) all contribute to this narrator’s status as an oral performer.

2

Cockney w polskich przekładach Murzyna z załogi „Narcyza” Josepha Conrada

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Kujawska-Lis E.

Prace Językoznawcze

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2011

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issue 13

141-155

EN

The Nigger of the “Narcissus” is a novel in which linguistic differentiation plays an important role in identifying particular characters, and in contributing to their verisimilitude. Linguistic polyphony provides the reader with information concerning social status and geographical origin of the novel’s characters. A prominent role is given to the anti-hero – Donkin, an East-End Londoner, who appropriately speaks cockney. The author does not attempt to stylize Donkin’s speech in order to reconstruct all the? features typical of this language variety. He mostly employs phonological features to signal Donkin’s cockney utterances. Despite the fact that both Polish translations introduce linguistic varieties into their texts, the outcomes are not as successful as those featured in the original. The first reason is that both Lemański and Zieliński use colloquialization to reconstruct Donkin’s speech, a procedure they also employ with respect to the? other characters representing the lower class. Consequently, Donkin’s speech is clearly differentiated from the standard English used by the narrator, but not from other sailors. The second reason is that lexical stylization is frequently absent as it strongly depends on the subject-matter of the message; whereas in the original, graphological forms are introduced more consistently as they are independent of/on? what Donkin talks about. Finally, lexical colloquialization, while pointing to the social status of a character, cannot provide target readers with any additional information implied by the very fact of using cockney not only for purposes of emphatic loudness, vigorous body language, attentioncatching utterances, but also as indicative of the manifestations of arrogance, insolence and impertinence.

3

Victorian Women in conflict with Public Institutions as Portrayed in the Novels of Charles Dickens

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Kujawska-Lis E.

Acta Neophilologica

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1999

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issue I

111-120

4

What is in the name or what is lost when Dickensian surnames are translocated

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Kujawska-Lis E.

Acta Neophilologica

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2004

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issue VI

57-68

5

Kilka uwag o mutowaniu postaci fikcyjnych i recepcji tekstów kultury na przykładzie powieści Alienista Caleba Carra i jej serialowej adaptacji

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Kujawska-Lis E.

Acta Neophilologica

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2019

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vol. XXI/2

127-140

EN

The Alienist, a TV series released in 2018, is based on Caleb Carr’s best-sell-ing novel published in 1994. Irrespective of its genesis as an adaptation, presently the TV series generates new senses when watched from the perspective of works that have appeared in visual culture since the publication of the book. This paper sets to demonstrate to what extent the original novel and later the TV production create a mutation of a well-known pair of detectives (Sherlock/Watson) and how the reception of the series may differ from that of the original novel.

6

Idiolekt niemieckojęzycznych bohaterów opowiadania Falk. Wspomnienie Josepha Conrada w przekładzie polskim

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Kujawska-Lis E.

Prace Językoznawcze

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2010

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issue 12

123-138

EN

Falk is a story in which language and its differentiations are important elements of the narration. Conrad introduces linguistic polyphony for two main reasons: in order to differentiate the characters and provide them with verisimilitude, and to hint at the limitations of human communication. Language allows the reader to place characters in the fictional world and provides additional information about them, mainly their national background. The author differentiates his bilingual characters by means of specific linguistic features. Captain Hermann’s speech is characterized by frequent exclamations in German, resulting from his code-switching, as well as phonetic and grammatical interference. He can, however, also produce speech free from any interference. Siegers’s speech is noted for his unusual pronunciation of English words, while Schomberg’s English does not show any influence of German. In each case specific features of a given bilingual speaker’s language are connected with his function in the story and connected to its semantic level. In the Polish version of the story the major functions of specific language use are retained as the translator, Aniela Zagórska, does not use any neutralizing techniques. By means of transfer and stylization she achieves a similar effect as that of the original, although some of her solutions are debatable, especially from the point of view of verisimilitude with respect to incorrect pronunciation.

7

THE BLACK VEIL: 19TH-CENTURY POLISH TRANSLATIONS OF CHARLES DICKENS’S SHORT STORY

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Kujawska-Lis E.

Acta Neophilologica

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2018

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vol. XX/1

123-144

EN

This paper sets to analyze and compare three anonymous translations of Charles Dickens’s gothic short story The Black Veil that appeared in the 19th-century, the first one serving as an introduction of Dickens on the Polish literary scene. The analysis focuses on selected issues, such as the reconstruction of the suspense, treatment of culture, translators’ linguistic competence and completeness of the text.

8

(PSEUDO)POLONISMS IN JOSEPH CONRAD’S AMY FOSTER AND PRINCE ROMAN AND THEIR POLISH TRANSLATIONS

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Kujawska-Lis E.

Acta Neophilologica

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2012

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vol. XIV/1

5-17

EN

Joseph Conrad’s language has been subject to various analyses regarding its uniqueness stemming from the writer’s trilingualism. Scholars have traced diverse influences from the French and Polish languages in this writer’s artistic output. Nevertheless, the effects of such influences are not thoroughly discussed. This article attempts to take a critical look at the outcomes deriving from the appearance of phrases which may be classified as Polonisms or pseudo-Polonisms in two short stories Amy Foster and Prince Roman and their translations into Polish. In the former story, untypical phrasings which may have been calqued from Polish serve to emphasise the alienation of the character of Yanko, in the latter, expressions which are generally common for both English and Polish highlight both the distinctiveness of Polish culture and its affinity with the European cultural setting. Unfortunately, in the translations into the language from which such linguistic or cultural concepts originated, such effects are much less distinctive.

9

Aliteracje zagubione w tłumaczeniu. Analiza porównawcza trzech tłumaczeń opowiadania G. K. Chestertona The Strange Crime of John Boulnois

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Kujawska-Lis E.

Prace Językoznawcze

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2007

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issue 9

65-80

EN

The article aims at analysing methods of translation of alliteration. This stylistic device seems to be neglected in the theory of translation as most scholars focus on such elements as: culturebound items, proper names, dialects, titles, idioms, puns, etc. Yet in some texts (mostly poetic but also written in prose) alliteration is a constructive element which definitely demands consideration on the part of the translator. One such text is G.K. Chesterton’s The Strange Crime of JohnBoulnois which provides the basis not only for the analysis of the nature and functions of alliteration but also methods of its translation. The article discusses different methods used by translators of the short story in order to provide a systematisation of procedures which can be applied when dealing with this linguistic phenomenon.

10

DOMESTICATING AND MODERNIZING HEART OF DARKNESS

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Kujawska-Lis E.

Acta Neophilologica

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2013

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vol. XV/1

61-80

EN

The present paper seeks to analyse the development of the translation series of Joseph Conrad’s Heart of Darkness with emphasis on domesticating and modernising tendencies. To this end, two translations into Polish are compared: Aniela Zagórska’s version published in 1930 and Ireneusz Socha’s modern translation of 2004. Various levels at which domesticating and modernising tendencies can be noticed are considered. It seems that, contrary to current tendencies to foreignize translated texts, the modern version of Heart of Darkness, at least at the linguistic level, may be labelled as the domesticated one in comparison with the earlier translation. Generally, Zagórska tries to reproduce Conrad’s wording in Polish; whereas Socha’s aim, or skopos, seems to be creating the text that reads naturally. The paper shows in what ways the translators’ choices of particular translating strategies and procedures accentuate the deforming tendencies, as defined by Antoine Berman.

11

Dickensowskie anafory w polskim przekładzie

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Kujawska-Lis E.

Prace Językoznawcze

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2009

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issue 11

115-133

EN

Dickensian anaphoras, being one of his favourite literary devices, are very prominent in his novels where they fulfill many more functions than simply providing emphasis. Frequently the author, opens his novels with anaphoras, which immediately draws the reader’s attention to the concepts acquiring symbolic meanings. Often Dickens uses anaphoras for comic effects or to mirror the orality of discourse to achieve a diachronic distance between the empirical reader and the fictional events. Moreover, this device is used to characterize fictional characters, where lexis being the basis for the anaphoras acquires additional senses. Dickens uses anaphoras creatively, and although they are frequent in his works, they are never employed mechanically. He often combines them with intertextual and extratextual references, which turns translating into a challenge. Thus, although superficially simple to recreate in translation, anaphoras are most often reflected in their primary, emphatic function. However, frequently, additional functions and intratextual relations which are formed between the elements creating the anaphor and other segments of the text are lost in translation.

12

CLARIFICATION AS THE TEXT KILLER. ANALYSIS OF SELECTED POLISH TRANSLATIONS OF EDGAR ALLAN POE’S THE FALL OF THE HOUSE OF USHER

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Kujawska-Lis E.

Acta Neophilologica

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2010

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vol. XII

41-54

EN

Clarification is one of the textual phenomena enumerated by Antoine Berman as deforming tendencies in translation. It is best observable when the target text turns what was ambiguous in the original into more specific. This need to clarify the original often stems from systemic differences between languages. However, on numerous occasions the movement from the original ‘indefinite’ into the definite in the translation results from a subjective decision taken by the translator, who in fact has proper linguistic means at his disposal to retain the original level of indeterminacy. In the case of a literary work such a tendency may influence all its levels, especially the interpretative possibilities, as seen in two Polish translations of E.A. Poe’s The Fall of the House of Usher, by Bolesław Leśmian and Stanisław Wyrzykowski. By discussing descriptions of the fictional space and the references to the Usher siblings, this article indicates to what extent clarifying lexical choices impact on the atmosphere of the work, consistency of the fictional world, suspense and the stance of the narrator.

13

Ekwiwalencja przekładu wyrażeń opisujących chód w opowiadaniu G. K. Chestertona The Queer Feet

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Kujawska-Lis E.

Prace Językoznawcze

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2008

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issue 10

123-136

EN

Equivalence in translation theory understood in its wide sense seems to be a very imprecise category given the assumptions that in literary translation the target text is to be equivalent to its source text at all its levels. Some types of equivalence are easily evaluated, especially lexical or syntactic equivalence. Using the tools applied in contrastive grammar one can quite objectively point to syntactic equivalence or its lack. Quantitative research or comparison of semantic fields of particular words used in a given text and its translation as equivalents allow the possibility of a multi-layered analysis of lexical equivalence. However, in literary translation terminological precision and maintaining one-to-one lexical equivalence is of secondary importance to achieving a similar aesthetic effect. There is a tendency in literary translation to apply clarification, which is often associated with expansion. The analysis of selected expressions describing ways of walking which appear in a detective story The Queer Feet written by G.K. Chesterton provides ample examples of the way these deforming tendencies function in translation and influence equivalence. Systemic differences between languages make aesthetic-stylistic equivalence difficult to achieve without disturbing lexical equivalence or destroying the frequency of appearance of particular lexemes. It is also quite difficult to analyze aesthetic-lexical equivalence since it is unproblematic to point to the lost stylistic effects, yet it is more difficult to evaluate which elements of the target text might function as compensation for the losses. The number of linguistic and extra-linguistic factors in evaluating aesthetic-stylistic equivalence is vast, which makes it a challenging category to evaluate objectively in a scientific way.

14

Synonyms in Medical Terminology: Confusion for Inexperienced Translators?

100%

Kujawska-Lis E.

Prace Językoznawcze

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2018

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issue XX/1

83-99

PL

Artykuł omawia wyrażenia synonimiczne w terminologii medycznej występujące w języku angielskim z punktu widzenia tłumacza. Analizowane są wyrażenia pochodzenia angielskiego oraz łacińskiego i greckiego dla nazwania tej samej jednostki chorobowej, jak również synonimiczne wyrażenia pochodzące z języka angielskiego odnoszące się do tego samego stanu klinicznego. Na podstawie wybranych przykładów (zaczerpniętych głównie z dziedziny nefrologii i kardiologii) oraz w odniesieniu do celu, jaki chce osiągnąć tłumacz (skopos) wskazane są czynniki determinujące wybór ekwiwalentu, w przypadku gdy synonimy mają analogiczną wartość stylistyczną, gdy różnią się wartością stylistyczną oraz gdy ich wartość stylistyczna jest analogiczna bądź podobna, lecz subiektywnie odczuwana przez tłumacza jako odmienna.

EN

English-language medical terminology can be occasionally confusing for translators as simultaneously both English-based and Latin-based (sometimes Greek-based) terms referring to the same disease are used. Additionally, synonymous English terms relating to the same phenomena can be employed. This may be potentially challenging, especially for inexperienced translators who are not sure which term should be selected in particular contexts. Such situations can be illustrated by the synonymous co-occurring and coexisting in relation to disorders and diseases, tumour and neoplasm, and cancer and neoplastic disease. Examining terminology mainly from the area of cardiology and nephrology, I would like to indicate that depending on various factors and the translator’s skopos, different terminology can be applied and also draw attention to the fact that medical language, like any natural language, develops; hence the change in terminology and preferences for specific terms.

15

G.K. CHESTERTON’S GAMES WITH IDENTITIES

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Kujawska-Lis E.

Acta Neophilologica

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2009

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vol. XI

107-118

EN

Gilbert Keith Chesterton, the author of, amongst others, the Father Brown detective stories is generally analysed, with some exceptions, by Polish criticism in terms of ideology and Catholi- cism. His literary technique is treated with less attention, though his artistic output as such is perhaps valued even more in Poland than in England. This article attempts to fill in the gap by examining the ways in which Chesterton structures some of his stories and the way he introduces and inserts elements of Catholic doctrine into them. This article investigates the recurring motif of various identities for the same character both in selected stories and within the framework of the whole Father Brown cycle. Chesterton’s characters epitomise the dichotomy of human nature: one and the same character may transition from an honest person into a criminal and vice versa. The author also shows the implications of leading a double life and, of course, employs the notion of a double identity as a vehicle for committing a crime.

16

Into the Heart o f Matters - in Search o f the Finality of the Translation Proces

100%

Kujawska-Lis E.

Acta Neophilologica

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2007

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issue IX

31-43

EN

The article aims at providing a provisional answer to the question conceming the finality of the translation process. The main point of interest is the status of the revised version of a published translation, that is whether the revision is to be treated as a new realization of a particular literary work (and consequently enriching the translation series of this particular work) or not. In the introductory part, the article examines shortly the models of the process of translation focusing on including the stage of revision into it. The analytical part discusses examples of changes introduced in the revised version of Aniela Zagórska’s translation of Joseph Conrad’s Heart of Darkness in comparison with the first published version. The analysis refrains from pointing out corrected mistakes or updating lexical items, syntax and spelling. It focuses on the changes in the treatment of key expressions (heart and darkness, the horror) as well as some examples of structural repetitions and changes of lexical items connected with nautical terminology. On the basis of the investigation one may conclude that the introduced changes do not involve merely intralingual shifts in order to make the revised target version more natural. Rather they involve alterations which stem from a meticulous hermeneutic analysis of the original work and noticing a careful patterning of the lexical items and structures so that this patterning may be reflected in the translation and provide for new interpretative possibilities. Consequently, in William Frawley’s terminology, the translation code in the revised version is modified to such an extent in comparison with the code of the first translation that one may venture the hypothesis that the result is a new realization of this particular literary work.

17

Syntagmatic translation: translator’s friend or foe?

100%

Kujawska-Lis E.

Prace Językoznawcze

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2015

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issue 17/1

41-55

18

DICKENS AND RAGGED SCHOOLS: THE REFORMER VERSUS THE ARTIST

100%

Kujawska-Lis E.

Acta Neophilologica

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2003

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vol. V

157-167

19

TRANSLATION OF BIBLICAL REFERENCES IN LITERARY AND NON-LITERARY TEXTS

100%

Kujawska-Lis E.

Acta Neophilologica

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2008

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vol. X

37-50

EN

The division of texts for the purpose of translation into literary and non-literary ones, based mostly on the dominant language function in a given text type, often leads to a stereotypical understanding of the stance of the translator’s competence. Non-literary text translators who focus entirely on that branch of knowledge that a given text refers to and on related terminology may overlook the cultural and intertextual elements. This not only ignores the intention of introducing them into the text, but also may change the meaning of passages in which they are included. The analysis of a book concerning psychology and psychotherapy: Systems of Psychotherapy. A Transtheoretical Analysis, as representing non-literary texts, and G.K. Chesterton’s detective stories, being examples of literary texts, provides some examples of introducing more or less implicit references to the Bible into psychological discourse and literature respectively. Despite the label of scientific texts, American psychological literature is characterized by numerous hidden quotations from other sources which serve various functions: using the already lexicalised phrase- ology or entering into a polemics with the religious doctrine. Consequently, in translating such texts, translators cannot limit themselves to a thorough knowledge of psychology, psychotherapy and terminology connected with those areas, but must also be observant enough to notice interte- xtual traces and then be able to localize them and interpret them correctly. Otherwise the transla- tion may alter the original meaning or introduce an ambiguity which is not welcome in such texts. Thus ‘intertextual competence’ is by no means reserved for literary text translators for whom this type of expertise is obviously of primary importance.

20

Some Functions of "Utopian Business" Motif in Nicholas Nickleby by Charles Dickens

100%

Kujawska-Lis E.

Acta Neophilologica

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2005

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issue VII

17-30

EN

The article aims at presenting some of the functions of the "utopian business" motif represented by the Cheeryble Brothers in Nicholas Nickleby by Charles Dickens, as well as indicating some of the ways in which the utopian dimension is achieved. Shown in comparison with other Dickensian companies, the Cheeryble Brothers seems unique. The uniqueness lies in the fact that in the majority of cases the firms are destructive forces in the novels whereas employment in the brothers’ company equals the highest happiness possible. The firm is an ideal, almost symbiotic merger of private and business lives of the characters, moving it to the realm of utopia. The functions of the "utopian business" motif are numerous. The company is seen as the centre of goodness in the novel and the antithesis of evil represented by Ralph Nickleby and Squeers. The motif ends the picaresque element in the novel by providing the main character with proper financial stability which in turn enables him to support his family and seek for emotional stability. At the same time it reinforces the fairy-tale convention in the novel where the brothers, through their helpful attitude, act as good uncles of other characters. From a different perspective, the "utopian business" motif is used to advocate the idea of self-help and charity thus indicating the cultural model of the world based on the Christian in a general sense, and Puritan in a narrower sense, ethics.

Refine search results

Alliteration as a Means to Reinforce Orality in Conrad’s Early Marlow Narratives.

Cockney w polskich przekładach Murzyna z załogi „Narcyza” Josepha Conrada

Victorian Women in conflict with Public Institutions as Portrayed in the Novels of Charles Dickens

What is in the name or what is lost when Dickensian surnames are translocated

Kilka uwag o mutowaniu postaci fikcyjnych i recepcji tekstów kultury na przykładzie powieści Alienista Caleba Carra i jej serialowej adaptacji

Idiolekt niemieckojęzycznych bohaterów opowiadania Falk. Wspomnienie Josepha Conrada w przekładzie polskim

THE BLACK VEIL: 19TH-CENTURY POLISH TRANSLATIONS OF CHARLES DICKENS’S SHORT STORY

(PSEUDO)POLONISMS IN JOSEPH CONRAD’S AMY FOSTER AND PRINCE ROMAN AND THEIR POLISH TRANSLATIONS

Aliteracje zagubione w tłumaczeniu. Analiza porównawcza trzech tłumaczeń opowiadania G. K. Chestertona The Strange Crime of John Boulnois

DOMESTICATING AND MODERNIZING HEART OF DARKNESS

Dickensowskie anafory w polskim przekładzie

CLARIFICATION AS THE TEXT KILLER. ANALYSIS OF SELECTED POLISH TRANSLATIONS OF EDGAR ALLAN POE’S THE FALL OF THE HOUSE OF USHER

Ekwiwalencja przekładu wyrażeń opisujących chód w opowiadaniu G. K. Chestertona The Queer Feet

Synonyms in Medical Terminology: Confusion for Inexperienced Translators?

G.K. CHESTERTON’S GAMES WITH IDENTITIES

Into the Heart o f Matters - in Search o f the Finality of the Translation Proces

Syntagmatic translation: translator’s friend or foe?

DICKENS AND RAGGED SCHOOLS: THE REFORMER VERSUS THE ARTIST

TRANSLATION OF BIBLICAL REFERENCES IN LITERARY AND NON-LITERARY TEXTS

Some Functions of "Utopian Business" Motif in Nicholas Nickleby by Charles Dickens