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EN
The article presents a few motifs related to the poetic dialogue between Tadeusz Rózewicz and Adam Czerniawski. The reflection concerns, among other things, the issue of references - i.e. mutual poetic portraits; how Czerniawski's translations affected the meaning-modifying corrections made by Rózewicz in his lyric 'Drzwi' (Door); and, the dialogicality of autothematic issues embarked on by the two poets, related to the essence of poetry and the ethos of poet. The following poems are subject to analysis: Rózewicz's 'Francis Bacon czyli Diego Velázquez na fotelu dentystycznym' (Francis Bacon or Diego Velázquez in a dentist's chair) ***; 'Drzwi' (Door); ***; 'na poczatku jest slowo' (at the beginning there is word); 'na obrzezach poezji' (in the peripheries of poetry); and, Czerniawski's 'Tak to jest specjalista' (Yes that's an expert), and 'Tajemnica poezji' (The secret of poetry). Adam Czerniawski has translated Rózewicz's poems and plays into English. A poet and critic, he is a friend of Rózewicz's.
EN
Translations of Wislawa Szymborska's poems analysed by the authoress call for the necessity of mitigation of Teresa Baluk-Ulewiczowa's categorical view that cultural issues are totally untranslatable. References to Polish culture, history and tradition may prove to be 'difficult to translate' or 'partially translatable', thus they cannot be referred to as 'absolutely untranslatable' since the translator has a number of various methods at his/her disposal to manage the ignorance of the target receivers. Stanislaw Baranczak and Clare Cavanagh usually resort only to domesticating which is sometimes a fruitful approach, however in most cases it partially or totally omits the original meanings and their 'Polishness'. It seems that the best recipe is the adjustment of translation strategy to the original text and the unavoidance of foreignizing method as in some translations by Adam Czerniawski, Joanna Trzeciak, Magnus J. Krynski and Robert A. Maguire.
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