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Специфика перекодирования лексико-цветовой парадигмы лирики Сергея Есенина в польской языковой системе

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Alimpijewa R., Babulewicz S.
Acta Polono-Ruthenica
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2007
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vol. Tom 1 Nr XII
177-188
EN
In the article, basing the poetic texts by S. Yesenin and their Polish translations, specific pecularities of decoding one of the lexico-semantic paradigms as a component part of the author’s poetic structure in the process of its translation into a language conceptual space formed by some other communicative and cultural traditions are disclosed. The key components of the paradigm are stated; the preservation of their systemic pecularity stipulates the adeguate artistic translation.
2
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Czarny człowiek Sergiusza Jesienina w przekładzie Władysława Broniewskiego

100%
Ojcewicz G.
Acta Polono-Ruthenica
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2009
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vol. Tom 1 Nr XIV
167-188
EN
The author analyses the interpreting techniques used by Wladyslaw Broniewski in his translation of Black Man by S. Yesenin. It becomes obvious that the Polish poet and interpreter used traditional methods of text translation, mainly keeping the formal, semantic, and stylistic structure that guaranteed considerably accurate translation. Nevertheless, in his version of interpretation Broniewski emphasized the presence of a second creator, i.e. himself, and left almost in every line the traces of his poetic initiative. We may conclude that amplification being his most favourite transformational technique is used by the interpreter to modify the substance of the analyzed original.
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CZARNY CZŁOWIEK SERGIUSZA JESIENINA W TŁUMACZENIU ADAMA POMORSKIEGO JAKO DRUGI ELEMENT POLSKIEJ SERII PRZEKŁADOWEJ

75%
Ojcewicz G.
Acta Neophilologica
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2012
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vol. XIV/1
165-183
EN
The author analyses the interpreting techniques used by Adam Pomorski in his translation of Black Man by Sergey Yesenin. It becomes obvious that the Polish interpreter used traditional methods of text translation, not always keeping the formal, semantic, and stylistic structure of the original text. So, in his version Pomorski emphasized the presence of a second author-creator, i.e. himself, and left traces of his interpreting initiative in almost every line, amplifying translation, introducing unmotivated inversions, using archaic and modernized lexis. Due to such a pretentious manner of Pomorski’s translation the reader received the text which doesn’t always remind Yesenin’s original lines.
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