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1

Questions de forme et de genre en traduction poétique

100%
Szilágyi I.
Translationes
|
2013
|
vol. 5
|
issue 1
62-74
EN
The present study examines modern and contemporary French poetry from the point of view of its translation into Hungarian. Firstly, the French and Hungarian traditions of poetic translation are summarized briefly. Then the possibility of translation of “verset” (long verse), not recognized in Hungarian poetry as a modern poetic genre, is discussed. Particular attention is called to the return of several contemporary French poets to traditional versification, and to the difficulties of Hungarian translators to suggest the importance of this return. Finally, the Hungarian translation of Roubaud’s volume of poetry (Quelque chose noir) invites reflection on the constraints of Oulipo
2
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Еще раз о трудностях перевода Представления И. Бродского (Е. Чех и А. Берлина)

88%
Бараш О.
Acta Neophilologica
|
2016
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issue 18/2
119-128
EN
J. Brodsky’s poem Predstavlenije presents no semantic difficulties for a Russian reader, but attempts to translate it into foreign languages have not always been successful due to a large number of references to Soviet reality and intertextual links found in the text. The present article is devoted to the comparative analysis of three translations of this poem: those done by Thomas Campbell and Alexandra Berlina (both into the English language) as well as one created by Jerzy Czech (into the Polish language).
3
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On Transmitting Expressiveness in Belarusian-English Poetic Translation

88%
Sakalova Y.
Research in Language
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2014
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vol. 12
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issue 1
61-69
EN
The present article deals with various lexical, grammatical, stylistic problems encountered by translators while transmitting aspects of expressiveness of the original text (on the example of Belarusian-English poetic translation). The focus of attention is on basic transformation types, which are illustrated by the original and colourful examples. The author of the article considers not only purely linguistic aspects of translation, but also relevant pragmatic adaptation.
4
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On Transmitting Expressiveness in Belarusian-English Poetic Translation

88%
Sakalova Y.
Research in Language
|
2014
|
vol. 12
|
issue 1
61-69
EN
The present article deals with various lexical, grammatical, stylistic problems encountered by translators while transmitting aspects of expressiveness of the original text (on the example of Belarusian-English poetic translation). The focus of attention is on basic transformation types, which are illustrated by the original and colourful examples. The author of the article considers not only purely linguistic aspects of translation, but also relevant pragmatic adaptation.
5

W drodze do „magnetycznego punktu”. Poetyckie dialogi Ryszarda Krynickiego z Paulem Celanem i Nelly Sachs

75%
Stankowska A.
Pamiętnik Literacki
|
2019
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vol. 110
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issue 4
209-223
PL
Przestrzenna metafora „magnetycznego punktu” stanowi kluczową formułę poezjowania w dojrzałej twórczości Ryszarda Krynickiego. Autor związany w momencie debiutu z Nową Falą w miarę upływu czasu coraz częściej i dobitniej mówi o konieczności porzucenia (a przynajmniej ograniczenia) społecznych funkcji poezji na rzecz uczestnictwa w misterium „świętej mowy”. Dąży do osiągnięcia takiego aktu tworzenia i milczenia, które byłby transparentny wobec tego, co absolutne. Metafora „magnetycznego punktu” nazywa narastające pragnienie poety, by przekroczyć granice „współczesności”, a nawet więcej – granice percepcji – i zamieszkać w jądrze sensu. Świadczy o tym także wyraźny powrót do tradycji symbolizmu i zainteresowanie dla dykcji neoklasycystycznych. Swoich przewodników na tej drodze Krynicki odnajduje w liryce polskiej. Szczególną rolę odgrywa tu Zbigniew Herbert. Nie mniej ważni okazują się również lirycy niemieccy - Paul Celan, Georg Trakl, Reiner Kunze, Friedrich Hölderlin i Nelly Sachs, których polski poeta tłumaczył. To z wiersza autorki „Rozżarzonych zagadek” („Glühende Rätsel”), otwieranego incipitem *** („Na tak krótko powierzony jest człowiek...”) (*** <”So kurz ausgeliefert ist der Mensch”...>) Krynicki zaczerpnął metaforę „magnetycznego punktu”. Artykuł przynosi próbę opisania niektórych dialogów i korespondencji między poszukiwaniami Krynickiego a liryką niemiecką, zwłaszcza Sachs i Celana.
EN
Spatial metaphor of “magnetic point” is a key formula of poetry writing in Ryszard Krynicki’s mature creativity. The author, who in the moment of his debut was connected with Nowa Fala (New Wave), with time more often and forcibly started speaking about the need of abandoning (or at least limiting) the social functions of poetry for taking part in the mystery of “sacred speech.” He strives for achieving such an act of creation and silence which would be transparent to what is absolute. The metaphor of “magnetic point” gives name to the poet’s growing desire to cross the borders of “the present day” and even further—the borders of perception—and to inhabit the core of sense. What supports it is a clear return to the tradition of symbolism and interest in neo-classicist dictions. Krynicki finds his guides on this way in Polish lyric poetry. Special role here is played by Zbigniew Herbert, and not less important are German lyric poets whom Krynicki translated: Paul Celan, Georg Trakl, Reiner Kunze, Friedrich Hölderlin, and Nelly Sachs. It is from the poem which starts with the incipit *** (“So kurz ausgeliefert ist der Mensch...”) (“Man suffers such short shrift”) that Krynicki adopted the metaphor of “magnetic point.” The article offers an attempt at describing some dialogues and correspondence between Krynicki’s quests and German lyric poetry, especially that by Sachs and Celan.
6
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The Short Career of Riccardo Selvi as Translator of Czech Poetry in the Early 1930s

75%
Catalano A.
Slovo a smysl - Word & Sense
|
2021
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vol. 18
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issue 38 (Special Issue)
13-30
EN
This article reconstructs the short career of Riccardo Selvi as a translator of Czech poetry. Thanks to archival documents and reviews published in Czech newspapers regarding his work, we have been able to reconstruct his rather singular literary path. In addition to his translation of Máj (‘May’) by K.H. Mácha — his most famous exploit —, we examine his translation of the libretto for Antonín Dvořák’s Rusalka in the context of the controversy that ensued in the newspaper Lidové noviny. Selvi’s efforts help to shed light on the essential role played by Czechoslovakian institutions, in terms of their financial support, and on various strategies of poetic translation outside the academic world during the 1930s.
7
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Między teorią a praktyką przekładu. O tłumaczeniu jednego wiersza Charlesa Baudelaire`a

63%
Szymczak K.
Acta Humana
|
2017
|
vol. 8
EN
The subject matter of the article is a comparison of Charles Bauelaire's poem Femmes damnées (Damned) and its two translations by Kazimiera Zawistowska and Bohdan Wydżga. Although Zawistowska's literary work is not as accurate to the French original as Wydżga's, it surpasses it in artistic terms. The description of the differences resulting from different poetic sensibilities of the writers and their gender involvement is preceded by brief information about context-appropriate, contemporary translational theories of the possible ways of shaping relations between original and translated works.
PL
Tematem artykułu stało się porównanie wiersza Charlesa Bauelaire’a Femmes damnées (Potępione) oraz jego dwu tłumaczeń: autorstwa Kazimiery Zawistowskiej i Bohdana Wydżgi. Opis różnic, wynikających z odmiennej wrażliwości poetyckiej tłumaczy oraz ich uwikłań genderowych, zostaje poprzedzony krótką informacją na temat wpisanych w kontekst współczesnych teorii przekładoznawczych sposobów kształtowania relacji między dziełem oryginalnym i tłumaczonym. Choć utwór Zawistowskiej nie jest tak wierny francuskiemu oryginałowi jak tekst Wydżgi, to przewyższa go pod względem artystycznym. Przyjęte w artykule tło badań kulturowych, w którego obrębie istotną rolę zyskuje kategoria płci, umożliwia odnalezienie w przekładzie młodopolskiej poetki typowej dla tej twórczości specyfiki „głosu kobiecego”. Jej wersję tłumaczenia można uznać za rodzaj manifestu kobiecej seksualności i kobiecych doświadczeń ciała, zmysłowej miłości oraz cierpienia.
8
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Польскамоўныя санеты Янкі Купалы ў перакладзе на беларускую, рускую і англійскую мовы

45%
Ляскевіч С.
Acta Albaruthenica
|
2021
|
issue 21
97-108
PL
W artykule rozważa się cechy charakterystyczne przekładu artystycz¬nego trzech sonetów polskojęzycznych Janki Kupały na język białoruski, rosyjski i angielski. Podejmowane są zagadnienia odrębności form sonetowych J. Kupały oraz specyfiki strategii tłumaczeniowych U. Marchela, N. Kislika i W. Rycz w sto¬sunku do zachowywania formy i treści oryginału, przekładu elementów nacechowanych kulturowo, w szczególności realiów. Stwierdza się, że analiza porównawcza tekstów źródłowych i ich tłumaczeń sprzyja uświadomieniu jakości przekładów, wysokości poetyckiego kunsztu twórcy i oryginalności jego poezji oraz rozważaniu problemów przekładu poetyckiego pod względem zachowania cech artystycznych i językowych.
BE
У артыкуле разглядаюцца асаблівасці мастацкага перакладу трох поль-скамоўных санетаў Я. Купалы (Беларус, Гэй, у свет! і Зямля) на беларускую, рускую і англійскую мовы. Асэнсоўваюцца пытанні адметнасці санетных форм Я. Купалы і спецыфікі перакладчыцкіх падыходаў У. Мархеля, Н. Кіслі¬ка і В. Рыч у дачыненні да захавання формы і зместу арыгінала, перадачы культурна-маркіраванай лексікі, у прыватнасці, перакладу рэалій. Сцвяр-джаецца, што параўнальны аналіз арыгінальных тэкстаў з перакладнымі спрыяе ўсведамленню якасці і вышыні паэтычнага майстэрства творцы і перакладчыкаў, разуменню самабытнасці паэзіі Я. Купалы, асэнсаванню праблем паэтычнага перакладу ў кантэксце захавання яго мастацкіх і моў-ных якасцяў.
EN
The article deals with the peculiarities of the literary translations of three Polish-language sonnets by Yanka Kupala into Belarusian, Russian and English, performed by V. Markhel, N. Kislik and V. Rich. Particular attention is devoted to the analysis of the specifics of Yanka Kupala's sonnet forms and the description of translation solutions to preserve the form and content of the original, to adequately convey the culturally marked vocabulary. It is shown that the com¬parative analysis of the original texts with their translations contributes to the awareness of the quality and level of the poetic skills of the author and translators, and to understanding of the problems of poetic translation.
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