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1

MYSTERIOUS BLOODY DUMPLINGS. ON SWEDISH DISHES AND THEIR TRANSLATED NAMES IN THE POLISH EMIL OF LONNEBERGA (Tajemnica klusek z czerniny. O tlumaczeniu kulinariow na przykladzie Trylogii o Emilu ze Smalandii)

100%
Dymel-Trzebiatowska H.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2009/2010
|
issue 2-1(22-23)
246-257
EN
The article starts with a short overview of the fundamental role food plays in children's literature. The motif of food can convey deep psychological as well as philosophical meanings, and Astrid Lindgren made use of it with various purposes in mind: symbolical, comical, anti-didactic or educational. The main analysis is limited to the Polish translation of the name of one dish from the old Swedish cuisine - palt - which appears in different contexts in Astrid Lindgren's trilogy about Emil of Lonneberga.
2

ADAPTATIONS IN THE GLOBALIZATION ERA (Adaptacje w dobie globalizacji)

88%
Borodo M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2009/2010
|
issue 2-1(22-23)
205-219
EN
The article investigates the concept of adaptation in the context of globalization and points to considerable potential of the research on contemporary adaptations, not yet fully realized within translation studies. It provides an overview of several theoretical approaches to the adaptation of children's literature and presents adaptation from a historical perspective. It then focuses on selected Disney adaptations of Peter Pan published in Poland at the turn of the 20th century. Of special interest in these Disney adaptations are pictures, which are identical in different editions, whereas the accompanying texts differ widely. The visual is thus 'recycled' whereas the texts change in style, the depiction of characters, the use of tenses and culture specific items. The article also introduces the category of glocal adaptations, that is, Disney adaptations retold by Polish verbal masters, such as Jeremi Przybora or Jacek Kaczmarski. Though examples of cultural homogenization, these adaptations are partly indigenized by wellknown local figures and therefore may be viewed as glocal texts in which the global and the local overlap.
3

BORDERS OF CHILDREN'S LITERATURE. RECEPTION OF PICTURE BOOKS IN ITALY AND THE QUESTION OF READING ALOUD (Bariery literatury dla dzieci. Recepcja ksiazek obrazkowych we wloszech a kwestia glosnej lektury)

88%
Sezzi A.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2009/2010
|
issue 2-1(22-23)
226-244
EN
The article opens with the idea of the international 'republic of childhood' without geographical and political borders, as conceived by Hazard and promoted after the Second World War. According to O'Sullivan (2004, 2005), this concept of childhood, and consequently of children's literature, is idealistic and does not address real problems connected with the process of translation. As a matter of fact, the translation of a book for children from one language into another is not as easy as it might seem: frontiers and custom-houses do exist (Bertea 2000: 94). A peculiar cas limite is represented by the reception of the picture book in Italy: introduced thanks to the pioneering work of the publishing-house Emme Edizioni and of its translators, the genre was then rejected. Italy had to wait a decade to see the same and similar picture books republished, but it is still paying the price of this initial closing of the borders, which happened even though the translators paid custom-duties and import-duties. These depended not only on the prevailing child image held by the Italian society, but also on the different image of the adult, who was going to read picture books aloud and who was ready to put on a performance for the child reader (Oittinen 2000). In particular, examples of the discrepancy between the adult and the child images of the source texts and of the target texts selected from American and English picture books and their Italian translations will be investigated.
4

'NOTHING BUT THE BEST IS GOOD ENOUGH FOR THE YOUNG'. DILEMMAS OF THE TRANSLATOR OF CHILDREN'S LITERATURE ('Tylko to, co najlepsze, jest dosc dobre dla dzieci', czyli o dylematach tlumacza literatury dzieciecej)

75%
Albinska K.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2009/2010
|
issue 2-1(22-23)
259-282
EN
No doubt the world without Winnie the Pooh, Pippi Longstocking, Pinocchio or Moomin Trolls would be less colourful. Characters from fairy tales imperceptibly slip into young reader's minds and tend to stay there forever. Children accept them unconditionally and do not ask questions about their descent. Children's response to books is usually very spontaneous: a love at first sight or an immediate dislike. Therefore, it is very important that they receive 'the best' - not only beautiful and wise books but also book that are skillfully translated. Discussing the role of the translator of children's literature, this article focuses on such issues as child - translator relation and translator - author dichotomy. It points to different attitudes toward the translator's creativity and 'visibility'. It examines terminological ambiguities of such notions as 'adaptation', 'reconstruction', 'rewriting' and 'translation'. Finally, it deals with translation challenges that arise from didactic, entertaining and aesthetic functions of children's books.
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