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1

POLSKIE TŁUMACZKI POZA KANONEM. KILKA UWAG NA TEMAT ZAPOMNIANEGO PRZEKŁADU BIESÓW FIODORA DOSTOJEWSKIEGO

100%
Pytlak M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2010
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issue 2(24)
159-173
EN
Despite the growing interest in women’s writing, women translators and their achievements are rarely discussed. The article focuses on mechanisms behind the exclusion of women’s writing from literary history and examines the social status of three women translators as contributing to their invisibility. Dora Gabe, Slava Shtiplieva and Anastasia Gancheva were co-workers at Polish-Bulgarian Review. Each developed a different strategy to cope with the unfavorable intellectual climate of interwar Bulgaria. Their biographies show the connections between marital and social status of a woman writer and the esteem of her works. They also confirm the claim that translating, instead of writing, was thought to be more appropriate for women because of the low position translation occupied in the hierarchy of artistic occupations.
2

Tłumacze po różnych stronach lustra

100%
Brajerska-Mazur A.
Pamiętnik Literacki
|
2023
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vol. 114
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issue 1
247-269
PL
Autorka artykułu poddaje analizie bogatą serię translatorską, na którą składa się 13 polskich przekładów „Alice’s Adventures in Wonderland” Lewisa Carrolla. Rozpiętość czasowa (1910–2020) pomiędzy poszczególnymi ogniwami serii pozwala na prześledzenie zmieniających się strategii tłumaczeniowych, zależnych także od przemian norm przekładowych oraz polisystemów literackich kultury wyjściowej i docelowej. Omówiona zostaje również dynamika serii, z wyszczególnieniem przekładów centralnych i polemicznych, a także najbardziej zagadkowego i pełnego translatorskich paradoksów spolszczenia Grzegorza Wasowskiego, które wymyka się jakiejkolwiek klasyfikacji. Artykuł jest zwieńczony wnikliwym przedstawieniem kulturotwórczej roli „Przygód Alicji”, inspirujących tłumaczy, artystów i naukowców na całym świecie.
EN
The author of the article analyses a rich translation series composed of 13 Polish renderings of Lewis Carroll’s “Alice’s Adventures in Wonderland.” The time span (1910–2020) between consecutive items of the series allows to trace changing translation strategies which depend on the fluctuating translatory norms and literary polysystems of the source and target cultures. Dynamics of the series is also discussed in the paper, specifying central and polemical translations, as well as the most enigmatic, full of paradoxes and escaping any classification Polonised version by Grzegorz Wasowski. The article’s final part contains a meticulous presentation of the culture-forming role of the book which inspires translators, artists and scholars all over the world.
3
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The Adventures in Wonderland: Alice's translation

88%
Tabakowska E.
Między Oryginałem a Przekładem
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2017
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vol. 35
11-21
EN
The article presents Lewis Carroll’s Alice’s Adventures in Wonderland as a classical work within the genre of fantasy, or literature of nonsense. The classification is made according to the “five procedures,” postulated for the genre by the American poet and scholar, Susan Stewart. From the point of view of the translator, the procedures make it possible to define the dominant of the book as the tension between the sane protagonist and the mad world of Wonderland. The criterion of dominant, combined by requirements imposed by double readership, makes it possible to characterize Polish translations of the book, which make a translation series. What becomes a challenge for the translator is the wide context of the book, which changes over time. It is possible to trace, within the series, some general tendencies, as well as to demonstrate that, ultimately, translating Alice becomes “translating Alice.”
4
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Wariantywność przekładu w ujęciu diachronicznym na podstawie wybranych tłumaczeń Mistrza i Małgorzaty Michaiła Bułhakowa na język polski

88%
Sadowska M.
Acta Polono-Ruthenica
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2018
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vol. Tom 2 Nr XXIII
107-117
EN
The first edition of one of the most important and mysterious novels of the 20th century appeared more than fifty years ago. Despite the passage of time The Master and Margarita still enjoys popularity; it also intrigues and inspires. Until now five Polish translations of Bulgakov’s novel have appeared. It is known that the interpretation of the original might be expressed in the form of many potential texts that are communicatively equivalent. There is no doubt that it is the translator who plays a vital role in any translation; her/his personality, life experience, knowledge, skills, and also the times s/he lives in regulate the target text. That is why, no matter how many times a text is translated, the final product will always be different. Taking this into consideration, the author will compare the three Polish translations of Bulgakov’s Master and Margarita, paying attention to the diachronic perspective as far as linguistic norms are concerned, the modernity of language, and the way the anthroponyms are expressed.
5
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O tłumaczeniu jednego wersu Burzy Shakespeare’a Metafora w przekładzie dramatu

88%
Kowalcze-Pawlik A.
Między Oryginałem a Przekładem
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2014
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vol. 25
87-103
EN
The aim of this article is to discuss the existing Polish translations of one passage from The Tempest in the light of such essential components of the translation process as the need to include the situational context, metaphorical language as well as the socio‑historical background of the source text. The first part of the article discusses the history of drama translation in Poland with reference to The Tempest of William Shakespeare, while the second part describes translation strategies correlating to two divergent interpretations which link character construction in language with the overall meaning of the dramatic work.
6
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Elementy trzeciej kultury w przekładach polskich wersji Mistrza i Małgorzaty Michaiła Bułhakowa

88%
Sadowska M.
Acta Polono-Ruthenica
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2018
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vol. Tom 3 Nr XXIII
141-155
EN
Nowadays the publishing market offers five Polish translations of Mikhail Bulgakov’s novel Master and Margarita, which appeared in the space of almost fifty years. The objective of the article is to concentrate on the way the components of third culture are rendered in the translations mentioned above. The author tries to draw the readers’ attention to the analogies and discrepancies within the translators’ choices. The analysis covers the names of natural phenomena, names of traditional culture phenomena, both material and spiritual, as well as the names of social and political life phenomena.
7
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Ogniwo Artura Marii Swinarskiego w serii translatorskiej utworów Johanna Wolfganga Goethego

88%
Grodecka A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2023
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issue 44
265-286
EN
Based on the findings of translation experts on the translation series, the author focuses on Polish-German tropes in the works of A.M. Swinarski, carrying out a detailed analysis of selected translations of Goethe’s poems. A comparison of translations by Swinarski, Jarosław Iwaszkiewicz, Stefan Zarębski, Feliks Konopka and Andrzej Lam reveals changes in the sphere of meanings designed in the original and reflects on the principles of literality and interpretation in translation practice.
8
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Pan Kiehot Güntera Grassa w serii przekładowej. Naśladowanie, wyobraźnia, tłumaczenie

87%
Wesołowska M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2014
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issue 23
119-147
EN
Pan Kiehot by Günter Grass is one of many literary incarnations of Cervantes’s Don Quijote. Grass created his hero in a double manner: the character exists in the poem Pan Kiehot, published in Gleisdreieck in 1960, and a fragment of a chapter in The Tin Drum, the novel published in 1959. The poem has been translated six times into Polish, by Jan Koprowski, Krzysztof Karasek, Bolesław Fac, Zdzisław Jaskuła, Wojciech Woźniak and Ryszard Sobieszczański), whereas The Tin Drum, only once, by Sławomir Błaut. The article analyses all the translations into Polish, as well as the translation into Kashubian by Jan Trepczyk, in the context of the notion of translation series and textualisation series, proposed by Marta Skwara, and with reference to theorists of quixotism, such as Arne Melberg, Josè Ortega y Gasset and Michel Foucault, as well as to German and Polish critics of Grass’s work. The author draws conclusions about the challenge of a different form of interpretation, multiplied interpretation, which is facing the reader of a translation or textualisation series. Every translator who works on a text that has been translated before, must face various anxieties: “the anxiety of influence”, which is often coupled by horror vacui, and fear of imperfect rendition of source-texts meanings (as described by Jerzy Jarniewicz). Thanks to translation series, and works that constitute textualisation series together with translations, Grass’s Pan Kiehot is inscribed in entirely new interpretative framework: each new translation, thus, constitutes a challenge for the translator and for the imagination of a reader of the series.
9
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Od przekładu intersemiotycznego do produktów typu tie-in, czyli transmedialny storytelling jako strategia tłumaczenia

71%
Okulska I.
Forum Poetyki
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2016
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issue 6
56-67
EN
Using examples from literature, film, music, and some that elude unambiguous genre classification, the article presents translation series understood as groups of works (or rather products) interpreting an original work (or each other) using other media. The traditional notion of invoking intersemiotic translation in cases of non-linguistic translation is here enhanced to include the marketing and capitalistic motivations for a variety of translation operations that fall under the rubrics of transmedial storytelling and tie-in strategies for selling products.
PL
Na przykładach literackich, filmowych, muzycznych a także tych wymykających się jednoznacznym gatunkowym klasyfikacjom w artykule przedstawione zostały translatorskie serie, rozumiane jako ciąg utworów (lub wręcz produktów) interpretujących oryginał (lub siebie nawzajem) za pomocą innych mediów. Tradycyjne ujęcie przywołujące przekład intersemiotyczny w przypadku każdego niejęzykowego przekładu zostało tu jednak wzbogacone o marketingowo-rynkowe motywacje takich translatorskich działań, zwane transmedialnym storytellingiem oraz strategią sprzedaży produktu tie-in.
10
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Poetyka przekładu według Edwarda Balcerzana

71%
Rajewska E.
Forum Poetyki
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2018
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issue 14
90-97
EN
The article draws attention to a largely forgotten text by Edward Balcerzan titled Poetyka przekładu artystycznego published in 1968. Ideas presented by this Poznan-based translations expert and poetry translator echo the ideas presented some years later by James S. Holmes in his highly esteemed text The Name And Nature Of Translation Studies (1975). We should pay particular attention to the human aspect of his research methodologies, especially a branch of translations studies postulated by him 50 years ago: translator poetics. Another important term coined by Balcerzan is the concept of a “translation series”.
PL
Artykuł przypomina pionierski tekst Edwarda Balcerzana pt. Poetyka przekładu artystycznego z 1968 roku. Koncepcje poznańskiego translatologa – i tłumacza poezji – współbrzmią z niektórymi o kilka lat późniejszymi pomysłami Jamesa S. Holmesa z jego słynnego tekstu The Name And Nature Of Translation Studies (1975). Na szczególną uwagę zasługuje ludzki wymiar ujęcia badawczego Balcerzana, zwłaszcza postulowana przez niego przed półwieczem nowa gałąź przekładoznawstwa – poetyka tłumacza. Ważnym terminem stworzonym przez Balcerzana jest także pojęcie „serii tłumaczeniowej”.
11
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Czytać między przekładami. Rzecz Czarnoleska Juliana Tuwima w języku włoskim

65%
Wanicka M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2020
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issue 38
251-268
EN
The aim of the article is to draw attention to the value of a translation series as an interpretation tool. Its subject is the translation series consisting of five Italian translations of Julian Tuwim’s Rzecz Czarnoleska (The Czarnolas affair). The key to the analysis is the double reference to Polish Renaissance and Romanticism by allusions to Jan Kochanowski and Cyprian Kamil Norwid. The linguistic and cultural challenges have been overcome by the translators by means of different compensation strategies singled out and commented on in the article.
12
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Paratekst w serii przekładowej — polskie przekłady dwóch wierszy Milivoja Slavička

63%
Wołek-San Sebastian K.
Przekłady Literatur Słowiańskich
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2017
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vol. 8
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issue 1
91-108
EN
Paratext has a considerable impact on the shaping of the way in which a literary work is open to each translation, as well as the dynamics of this openness. critical paratexts that refer to an existing translation prove that new attempts arise from the readers’ unfulfilled expectations. Peritexts, where the poetics of a given author is discussed, point out that the aesthetic value of a given work corresponds to the number of readings of that work (including translations). They also provide a justification (albeit not an indirect one) for individual translation solutions, similarly to paratexts, where the translator provides reflections on his or her own translation. on the other hand, elements of critical epitexts (i.e. reviews) oftentimes become an integral part of a new translated text in a series.
HR
Književnoj djelo je otvoreno prema svakom novom prijevodu. Paratekstovi u velikoj mjeri oblikuju vrstu i dinamičnost tog “otvorenja”. Kritički paratekstovi su dokaz da je uzrok nastojanja novih prijevoda istog dijela neispunjena očekivanja čitatelja.  S druge strane paratekstovi koji govore o poetici konkretnog pisca dokazuju da postoji paralelizam između vrijednosti književnog dijela i broja njegovih interpretacija (dakle također broja prijevoda). U njima nalazimo također opravdanje posebnih traduktoloških rješenja, slično kao u paratekstovima u kojima prevoditelj objavljuje razmatranja o vlastitom prijevodu. Sastojci kritičkih epitekstova često postaju sastavni dio novog prijevoda u seriji.
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Grzegorz Wasowski na Czarytorium: potłumacz i pomagik

54%
Tabakowska E.
Porównania
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2016
|
vol. 19
163-170
EN
The paper brings an analysis of the new Polish translation of Alice’s Adventures in Wonderland by Grzegorz Wasowski, published as Perypetie Alicji na Czarytorium. By defining the translation strategy followed by the translator and pointing to possible reasons for this choice and its consequences, the author enters into discussion with the translator. Wasowski claims that „it is not possible to do it better than the previous translators – but it is possible to do it differently”. This leads to the eternal question about limits of translation and to the conclusion that at the time when reading the text is considered as its interpretation (and hence a translation is a translation of an interpretation, and the reception of the translation is an interpretation of the interpretation) each new interpretation becomes a significant element of the translation series.
PL
Autorka analizuje nowy polski przekład przygód Alicji, pióra Grzegorza Wasowskiego, wydany po tytułem Perypetie Alicji na Czarytorium. Określając przyjętą przez tłumacza strategię translatorską, zwraca uwagę na jej możliwe przyczyny i skutki oraz podejmuje dyskusję z autorem przekładu. Propozycja tłumacza – „lepiej [niż poprzednicy] się nie da, ale może inaczej?” – prowadzi autorkę do ponownego postawienia odwiecznego pytania o granice przekładu, jak również do wniosku, że w czasach odczytania tekstu jako jego interpretacji (ergo przekładu jako przekładu interpretacji i odbioru przekładu jako interpretacji interpretacji), każda kolejna interpretacja jest wartym uwagi ogniwem serii przekładowej.
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