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Literatura quebecka w Polsce - studium (o) przypadku

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Warmuzińska-Rogóż J.
Między Oryginałem a Przekładem
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2010
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vol. 16
57-70
EN
The purpose of this analysis is to discuss the possibilities of translating Quebec literature into Polish on the basis the comparative study of A Season in the Life of Emmanuel by Marie-Claire Blais and its Polish translation by Julian Rogozinski. The paper focuses on such elements of the original text which may be read as signs of (cultural) otherness. Although the question of adherence to a specific literary genre should be posed by interpreters of translated texts in general, the issue becomes central in the case of A Season in the Life of Emmanuel. The reason for it is that the novel is inscribed in the tradition of roman du terroir (novel of the land) – a genre firmly established in Quebec literature – which tradition, however, Blais approaches with irony. In the course of the analysis of the translation, one cannot ignore the elements characteristic for roman du terroir, such as certain key-words rooted in Quebec culture, which Blais often exaggerates or distorts. Among such elements there are the seasons (particularly the never-ending winters), a characteristic family model, or markers of the importance of religion and education. These themes form a distinct representation of culture, which – in the effect of the author’s exaggerations and distortions – appears exceptionally difficult to translate. Understanding translated texts depends on readers’ knowledge of the source culture, which, in the case of the Polish reading audience, may prove to be largely limited. Therefore, the role of the translator as a provider of the extratextual knowledge – who, for instance, may resort to the use of the paratext in order to elucidate obscure references to specific cultural traditions – cannot be underestimated. In this context, the preface to the Polish edition of A Season in the Life of Emmanuel seems less than satisfactory in clarifying the ways in which the novel is rooted in Quebec culture. The above notwithstanding, other signs of cultural otherness (such as proper names used in the Polish translation of the novel) facilitate one’s reception of the text as a pastiche of the roman du terroir.
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Poesia brasileira (ex-centrica): marcas de um neorromantismo contemporâneo

100%
Coelho Tinoco R.
Studia Iberystyczne
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2010
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vol. 9
155-167
EN
The Brasilian poetic production answered in a rarefied way, starting from the decade of 70, to the challenges and opportunities that the culture and the new sociopolitical order presented coming e.g., for the Cold War, racial fights, concepts of Third World, society of information, dictatorships, globalization. In that national and world context, that contemporary production intends to redraft the contemporary poetic language as a former center of ethical concerns delimited by aesthetic projects. Under such an ethical-aesthetic composition, neo-romantically, sensitive divergences, from the national literary canon, come forward as to understand the borders among poetry and no-poetry, functional art, utilitarian and engaged art. Also stands out the good-humored and ironic, although simple, accusation of the “new times” and of what the poets proposed as search of a more integrated, creative and provocative communication with the people and with art.
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