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About Adapting Conrad’s Prose to Film

100%
Skolik J.
Yearbook of Conrad Studies
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2019
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vol. 14
93-107
EN
On the example of Apocalypse Now by F. F. Coppola, Heart of Darkness by N. Roeg, The Duellists by R. Scott, The Shadow Line by A. Wajda, and Secret Sharer by P. Fudakowski, I would like to show that Joseph Conrad’s prose is a cinematic trap for film directors. This being so, I attempt to answer the question as to why it is so difficult to make a film of something that is so cinematic, when it is being read, and why film adaptations that closely follow Conrad’s narratives are less Conradian than films which are “merely” inspired by Conrad’s works.
2
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Dominanta a intencja dzieła

100%
Dąmbska‑Prokop U.
Między Oryginałem a Przekładem
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2012
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vol. 18
75-84
EN
It is only a proper interpretation of both, the structural and the semantic, dominances of the text that allows to preserve the intentio operis in the translation. The importance as well of semantic as of structural aspects in the original is analysed in the case of Stanisław Barańczak’s Polish version of Emily’s Dickinson poem 724.
3
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Dominanta semantyczna a wielość możliwych interpretacji

100%
Dębska K.
Między Oryginałem a Przekładem
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2012
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vol. 18
84-95
EN
In his influential article, What makes an interpretation acceptable?, Stanley Fish states that meaning is not inherent in the text and that all interpretations, even the most far‑fetched ones, are potentially equally plausible and legitimate. However, translation theories usually seem to imply that meaning is a stable, inter‑subjective and uncontested feature of a text. The author of the article seeks to reconcile such an unrestricted multiplicity of interpretations with the idea of an objectively assessed semantic dominant of a text and suggests a new paradigm in translation studies which would give translators more freedom.
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Spark and Sparkle – „Iskra i gra”. O tłumaczeniu poezji absurdalnej na przykładzie wiersza Ogdena Nasha

87%
Skrzypecki M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2019
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issue 36
213-226
EN
The article is a short presentation of a translation concept created by an American cognitivist and physicist Douglas Hofstadter included in his book Le Ton beau de Marot. The principles of the concept are presented by means of a metaphor. Translation is a game of, only partially conscious, participation in an infinite loop: words evoke images and images – words. The contact with the original text creates images in the translator’s mind that he or she translates by means of language structures into sentences/verses of the target language. This cognitive intuition is paired with a structural category of Stanisław Barańczak’s semantic dominant. This methodological, structural-cognitive pair is a starting point for the analysis of Barańczak’s translation of Ogden Nash’s The Dog. The stylistic and formal solutions (especially rhymes) used by the translator are analysed, but the main goal of the text is to capture the elusive, i.e. the analysis of the interlinguistic and‘inter-mental’ translation of the absurd sense of humour.
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