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MAY REDUCTION SERVE FOREIGNIZATION? WHAT HAPPENED TO SIEROTKA MARYSIA IN ENGLISH TRANSLATION? (Czy strategia redukcji moze sluzyc egzotyzacji, czyli gdzie sie podziala Sierotka Marysia w angielskim przekladzie)

100%
Brzozka A.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2009/2010
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issue 2-1(22-23)
146-158
EN
The translation of Maria Konopnicka's O Krasnoludkach i sierotce Marysi (The Brownie Scouts) into English is an interesting fusion of two translation strategies that are usually considered mutually exclusive. At first glance, this careful and faithful rendering of passages describing Polish tradition, culture, history, geography and folklore is a good example of foreignization. Taking the reader who represents a dominant culture on a trip to an unknown peripheral culture, it seems to stand in opposition to Lefevere's understanding how cultural capital and asymmetries between cultures influence the translator's decision to adapt source culture's exotic elements to the target reader's horizon of expectations. Thus, her decision not to domesticate the original places Katherine Zuk-Skarszewska (nee Hadley) in a group of translators called bridgeheads by Cay Dollerup. They aim at familiarizing the target language audience with most interesting and valuable aspects of the source language culture. Yet this assumption is undermined by Zuk-Skarszewska's frequent use of reduction technique, which helps her to deal with the culture-specific elements she considers less important. Instead of a typical adaptation strategy, in The Brownie Scouts two radically different solutions co-exist: efforts to faithfully preserve some items and fragments characteristic of the source language culture are counterbalanced by decisions to cut other elements and passages in order to make room for what the translator judges more worthwhile. As a result, reduction becomes an integral part of the translation strategy, and it is used to control the intensity of the overall foreignizing effect. This unusual strategy becomes even more interesting to observe, as the elements the translator gives up most readily are usually those related to the child (characters, subject-matter and folklore). Paradoxically, it is children who lose most in this translation of the book about them.
2

'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)

86%
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.
3
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ČAS A KULTÚRNY PRIESTOR V PREKLADE (NA POČESŤ BRANISLAVA HOCHELA 1951 – 2015)

86%
Tellinger D.
World Literature Studies
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2016
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vol. 8
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issue 1
49 – 60
EN
This special issue on time and cultural space in translation is significant for practice, and equally important for its theoretical aspect. Both time and space are universal constraints and have integral roles in every literary translation because in every literary text no action can exist separate from the constraints of time and space (the primary procedures of translation across time and both cultural and geographic space are historizing versus modernizing). These two basic types of translation strategy (foreignization and domestication) are important from the viewpoint of the identity and historical cultural accuracy of translated literature. Foreignization highlights the foreign culture and prevents it from being absorbed by the target culture. Foreignization emphasizes the foreignness of the foreign text and can be achieved if translators use the transference of source language cultural words, proper names and connotations. A domestication principle used throughout our long history is that translators adapt or delete foreign components of a text, above all references to reality, allusions and connotative words. Translation is primarily a time- and space-bound process, so it is inevitable that translation studies will research how the transposition of an original text occurs into a foreign cultural “time-space”
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