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Особенности и способы перевода названий серий мультфиль-ма Маша и медведь на польский язык

100%
Didenko N.
Acta Polono-Ruthenica
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2020
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vol. Tom 2 Nr XXV
173-190
EN
The main name and the set of the headings of Masha and the Bear animated film, as elements of the paratext, play an essential role in determining the characteristic properties of a product. They point to the national and cultural factors conditioning the animated film which manifest themselves on various (audio and video) levels of information transfer. The set of the headings is characterised by a high level of saturation with national and cultural elements such as sayings, phrases, quotations from classic literary works as well as from folklore, quotations from the songs which the Russian audience is familiar with, allusions to films and other television broadcasts. The translation of such names is more difficult and poses a real challenge for the translator. Three types of translation have been observed: literal translation, free translation and substitution. At the same time, it was neutralisation that was the leading strategy of translating headlines containing national and cultural elements. One of the justifications for the approach selected may be the type of the audience – children who – because of their insufficient cognitive experience – will not be able to decipher the coded connotations.
RU
Основной заголовок, а также комплекс названий серий мульт-фильма Маша и медведь как элементы паратекста играют принципиальную роль в определении характерных особенностей аудиовизуального продукта в целом. Они указывают на народно-культурную обусловленность мультфильма, которая проявляется на разных уровнях передачи информации (аудио и видео). Комплекс заголовков характеризуется высоким уровнем аллюзивности. В качестве названий встречаются пословицы, фразеологизмы, цитаты из классических произведений литературы, а также фольклора, строки из известных российских песен, модифици-рованные заголовки популярных телепередач. Такого рода названия представляют собой высокую степень сложности для переводчика. В результате анализа названий серий мультфильма и их переводов на польский язык выявлено три способа перевода: дословный, свободный (интерпретация) и замена. Ведущей стратегией является нейтрализация народно-культурной составляющей среды оригинала. Одним из объяснений выбранного пути можно считать тип главного получателя – ребенок, который в связи с недостаточным уровнем когнитивного опыта не расшифрует зако-дированную информацию.
2
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On the Normative Paradigm of Sworn Translation in the Realm of Law

100%
Król M. Z.
Research in Language
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2020
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vol. 18
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issue 3
299-318
EN
In the 1920s the Polish legislature adopted a whole range of normative acts focused on the protection of the Polish language and on sworn translators practicing in official contexts. In accordance with statutory law, since 2004 sworn translators have been considered a profession commanding public trust. Among the many professional duties associated with sworn translators' performance, the regulations emphasize the duty to translate both spoken discourse and written texts with precision and faithfulness, and make sworn translators liable to disciplinary sanctions for poor quality work. The principles and rules for practicing the profession of sworn translator are enumerated in the Professional Sworn Translator’s Code of 2018.
3
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Poeci i Róża: wiersze polskich poetów w tłumaczeniu Rozy Alimpijewej jako ilustracja koncepcji przekładu wo/man

88%
Borys I.
Acta Polono-Ruthenica
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2014
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issue 19
29-36
EN
Rosa Alimpieva, professor of Immanuel Kant Baltic Federal University in Kaliningrad, is known in Poland as a linguist, specialist in history of the Russian language and TS, but also as a great popularize of a Polish poetry and culture in Russia, especially in Kaliningrad Oblast. She translated into Polish from Russian selectes masterpieces of Polish poetry: poems of Adam Mickiewicz, Juliusz Słowacki, Adam Asnyk, Leopold Staff, Konstanty Ildefons Gałczyński, Czesław Miłosz, Jarosław Iwaszkiewicz. She decided also to translate into Russian some poems of her Polish friends Walenty Piłat and Krzysztof Dariusz Szatrawski. The translation has been acknow- ledged by Polish writers as very accurate and , but we think that the world of Polish poets (especially Mickiewicz) in Alimpieva’s translation is especially close to perception competence of the Russian reader.
4
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Несколько заметок о рецепции творчества Марии Павликовской-Ясножевской в «русскоязычном пространстве»

75%
Bednarczyk A.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2011
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issue 4
114-123
EN
Within the framework of the studies concerning the reception of Maria Pawlikowska-Jasnorzewska’s poetry in the Soviet Union and in Russia, the author explores the issue of the political context in the target cultural and linguistic space. She also explores the problem of literal translation as a method of popularising the poems studied, and analyses the function of the Russophone Internet in the popularisation of the Polish poet.
5
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An Analysis of the Polish Translation of Grant Morrison’s Arkham Asylum: A Serious House on Serious Earth

75%
Elżbieta N.
Anglica. An International Journal of English Studies
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2020
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issue 29/3
195-210
EN
Grant Morrison’s work has greatly added to the Scottish graphic novel tradition. In this regard, this paper will look at the recent Polish translation of the 25th anniversary edition of one of his iconic and groundbreaking Batman graphic novels, Arkham Asylum: A Serious House on Serious Earth. A brief description and publishing history of the graphic novel will be provided, followed by an analysis of the quality, style and publishing history of the translation in order to produce a final commentary on how Morrison’s work has been rendered into the Polish language. It is concluded the translation is largely faithful to its original although it is marred with a number of careless and confusing errors which ultimately have an impact on the reading experience.
6
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Najnowsze przekłady Biblii a teoria przekładu

63%
Zaborski A.
The Biblical Annals
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2014
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vol. 4
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issue 1
175-194
EN
New translations of the Bible may suffer from the fact that sometimes translators who need to demonstrate that their renditions are really new, have a tendency to introduce new versions at any price, which may result either in fancy, less satisfactory solutions, or in mistakes. Only some of the radical experiments are successful. Biblical scholars and translators should keep in mind that the same original can be, by definition, translated in many equally satisfactory ways, so that new translations are frequently only parallel and equivalent to the older versions. Literal or ‘word by word’ rendition, which still reappears in its radical execution, when there is an attempt at imitating grammatical structures of the original language, inevitably results in unfaithful interpretations in which some crucial meanings and style features are lost. A non-literal translation can be equivalent or ‘faithful’, but a literal translation cannot be faithful by definition. In a moderate version, literal translation can be used for metalinguistic discussions only. The use of brackets for words or phrases without which the translation is incomprehensible or grammatically and/or stylistically distorted, should be abandoned. Real etymological meanings of words are by definition obsolete and anachronistic, and should be usedwith utmost caution.
PL
New translations of the Bible may suffer from the fact that sometimes translators who need to demonstrate that their renditions are really new, have a tendency to introduce new versions at any price, which may result either in fancy, less satisfactory solutions, or in mistakes. Only some of the radical experiments are successful. Biblical scholars and translators should keep in mind that the same original can be, by definition, translated in many equally satisfactory ways, so that new translations are frequently only parallel and equivalent to the older versions. Literal or ‘word by word’ rendition, which still reappears in its radical execution, when there is an attempt at imitating grammatical structures of the original language, inevitably results in unfaithful interpretations in which some crucial meanings and style features are lost. A non-literal translation can be equivalent or ‘faithful’, but a literal translation cannot be faithful by definition. In a moderate version, literal translation can be used for metalinguistic discussions only. The use of brackets for words or phrases without which the translation is incomprehensible or grammatically and/or stylistically distorted, should be abandoned. Real etymological meanings of words are by definition obsolete and anachronistic, and should be used with utmost caution.
7
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Józef Marušiak — tłumacz-komparatysta idealny?

51%
Buczek M.
Przekłady Literatur Słowiańskich
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2014
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vol. 5
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issue 1
374-387
SK
Vo svojom príspevku pod titulom Jozef Marušiak — prekladateľ — komparatista ideálny? autorka Marta Buczek sa zaoberá problémom nevyhnutných vzťahov súčasnej novej komparatistiky a translatolgie. Predložená v príspevku teória súčasnej komparatistiky a translatologie dokazuje, že sú to discipliny vzajomne spojené predmetom výskumu. Predmet záujmu komparatistiky sa zhoduje s rozsahom záujmu výskumu prekladu. Posun smerom k komparatistickému vnímaniu prekladu upozornil na tvorivú úlohu prekladov a tvorivú úlohu prekladateľa v kultúre a literatúre. V ďalšej časti príspevku autorka analyzuje prekladateľskú čínnosť známeho slovenského prekladateľa poľskej literatúry — Jozefa Marušiaka. Odpovedá na otázku, kto je komparatista ideálny, a čí možno slovenského prekladateľa predpokladať za komparatistu ideálneho.
EN
In the article under the title Jozef Marušiak — the translator — the prefect comparatist? the author Marta Buczek raises the problem of necessary relationships between new Comparative Studies and Translation Studies. The theory of Comparative Studies and Translation Studies presented in this paper shows that that disciplines are closely connected to each other by the subject of research. The subject of interest of the Comparative Studies is consistent with the interest of research in Translation Studies. Turning towards comparative perception of the translation has focused its attention on the creative role of translation in the culture and the creative role of the translator. In the next part of the article the author analyzes the translation activity of well known Slovak translator of Polish literature — Jozef Marušiak. The author answers the question, who is the perfect comparatist and if the Slovak translator can be assumed for the perfect comparatist.
8
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CHALLENGING THE EXISTENCE OF LEGAL TRANSLATION: A COMPREHENSIVE TRANSLATION THEORY

45%
MANNONI M.
Comparative Legilinguistics
|
2016
|
vol. 26
99-123
PL
Praca dotyczy nieuwzględniania globalnych i nieskoncentrowanych na gatunku tekstu teorii przekładu, co prowadzi do uwięzienia tłumacza w niekończącej się debacie, jaki rodzaj przekładu stosować tj. przekład wolny czy dosłowny. Autor neguje dwie najczęściej wyrażane opinie dotyczące istnienia tekstów prawniczych i teorii przekładu prawniczego, wskazując konieczność stosowania globalnej teorii przekładu niezależnej od klasyfikacji tekstu do jakiegoś konkretnego gatunku. Autor zwraca uwagę, że podejście semiotyczne Popoviča do przekładu pozwala tłumaczowi na dokonywanie indywidualnych interpretacji tekstu i rozwiązywania problemu anizomorfizmu. W ten sposób raz na zawsze można porzucić dywagacje na temat wierności przekładu i ekwiwalencji. W pracy autor stara się udowodnić, że przekład wierny i obiektywny nie istnieje, ponieważ proces przekładu jest zawsze aktem subiektywnej kreatywności tłumacza-interpretatora.
EN
This paper focuses on the lack of recognition of comprehensive and text-genre unrelated translation theories, a condition that keeps translators imprisoned in the old and sterile debate on free Vs. literal translation. By challenging two of the most common opinions, that is, the presumed existence of legal texts and legal-translation theories and that of the presumed utility of the notion of free and literal translation, this paper underlines the importance of the adoption of a comprehensive theory absolutely independent from the classification of the texts to be translated. More specifically, Popovič’s semiotics approach to translation gives great space to personal interpretation and anisomorphism, hence discarding once and for all the concept of faithfulness and equivalence in translation. As I attempt to prove in this paper, faithful and objective translations cannot exist, as translation is proved to be a subjective act: it is a creative process for which the interpreter is called to give his own interpretation on the signs created within the text.
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