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Kontakty polsko-czeskie na tle literatury psałterzowo-biblijnej

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Borowiec K., Kuźmicki M., Masłej D.

Poznańskie Studia Polonistyczne. Seria Językoznawcza

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2015

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vol. 22

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issue 1

35-54

PL

The article makes an attempt to verify the theses concerning the kind of dependence of the Old-Polish Psalms and Psalters from the Czech Psalters. By juxtaposing the Latin texts of Psalms and the Old-Polish and Czech translations (here mainly Psalm 50 from the so-called Page of Medyka and St. Florian’s Psalter), the authors demonstrate that – firstly – the voices from the Page of Medyka are not (as contended by Stanisław Rospond) an evidence of “fine tuning” of the text of Psalm 50 from Kmed to the translation of this Psalm from the remaining Old-Polish Psalters, and they may have been a result of contact of the glossator with the Czech text (in the written or verbalized form); secondly – that the similarities of the Polish and Czech Psalters are not necessarily the result of the difficulties connected with translation into Polish or lack of translator’s professional skills. The conducted analyses justify the thesis that the translator of, for example, St. Florian’s Psalter rather made use of individual words or constructions present in Czech Psalters as successive versions of expressing the same contents; what is more, in some cases the similarities prove to be only apparent.

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Odpowiedzialność tłumacza a skutki subiektywnego postrzegania dominanty translatorskiej. Na przykładzie starych i nowych polskich tłumaczeń Eugeniusza Oniegina A. Puszkina

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Gajewski W.

Między Oryginałem a Przekładem

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2012

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vol. 18

193-214

EN

The author considers the translatability of poetry, defines the responsibility of a translator and analyzes it in the context of particular translation strategies. The material to be analyzed consists of a series of Polish translations of Pushkin’s poem masterpiece Eugene Onegin. The quality of translation largely depends on the choice of metre, or Onegin stanza, a 14 verse stanza, of which there are approximately 400, and of which the novel in verse is made, or , to be more precise, it depends on the quantity and quality of the rhymes. In the original version they are 4 pairs of oxytonic, or ‘masculine’ rhymes and 3 pairs of paraxytonic, or ‘feminine’ rhymes. The author analyzes the versions by well-known translators such as Tadeusz Bobiński, Feliks Netz, Andrzej Sycz, Andrzej Lewandowski. What is being considered is the effect achieved by the choice of a particular rhythm pattern of Onegin stanza in the translation as such. In addition, the work contains quotations and classification of typical translation errors. At the end of his discourse the author proposes a compromise: his own pattern of Onegin stanza applied in his translation of the novel in verse. It is based on applying two pairs of oxytonic, or ‘masculine’ rhymes in verses 7 and 8 as well as 13 and 14, which gives the stanza a touch of artistry both in the middle and at the end. The suggested pattern of Onegin stanza, created for the purpose of translation, is parallel to the rhythm network present in the translation of Onegin by Wiktor Gomulicki, who translated the scene of Onegin and Lensky’s duel. It also meets the criteria of the “golden ratio” as a measure of beauty and harmony, expressed by Fibonacci’s numerical sequence (1, 2, 3, 5, 8, 13, 21, 34, 55, 89...).

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Transfikcjonalność

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Marciniak P.

Forum Poetyki

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2015

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issue 2

102-107

EN

This article attempts to introduce and explain the concept of transfictionality. The scholarship in this area developed in francophone literary studies. The main reason for its formation appears to have been the need for a new concept that would develop and supplement the theory of intertextuality. In that theory’s collision with certain literary phenomena (though all domains of art can be taken into consideration here) the intellectual perspective exhausted itself and its tools ceased to be effective. The text focuses on the book Fictions transfuges by Richard Saint-Gelais, and attempts to sketch out and discuss such procedures as expansion, versions, crossings and incorporations. Not only the examples provided by the Canadian theorist, but also their substance and heft, are outlined. The author of this article has initiated the active use of a new terminological constellation in Polish literary studies.

PL

Artykuł jest próbą wprowadzenia i wyjaśnienia pojęcia transfikcjonalności. Badania w tej dziedzinie rozwinęły się w literaturoznawstwie francuskojęzycznym. Główną przyczyną ich zapoczątkowania wydaje się być potrzeba nowej koncepcji, która stanowiłaby rozwinięcie i uzupełnienie teorii międzystekstowych. W zderzeniu z niektórymi zjawiskami literackimi (brane pod uwagę mogą być wszelkie domeny sztuki) perspektywa intertekstualna wypaliła się – jej narzędzia przestały być efektywne. Tekst opiera się na książce Richarda Saint-Gelais, Fictions transfuges i w szkicowy sposób próbuje omówić takie zabiegi jak expansion (rozszerzanie), versions (wersje) czy croisement et annexions (skrzyżowania i przyłączenia). Przybliżona została nie tylko egzemplifikacja kanadyjskiego badacza. Autor artykułu aktywował nową siatkę terminologiczną na gruncie polskiej literatury.

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1 Forum Poetyki

1 Między Oryginałem a Przekładem

1 Poznańskie Studia Polonistyczne. Seria Językoznawcza

1 Borowiec K.

1 Gajewski W.

1 Kuźmicki M.

1 Marciniak P.

1 Masłej D.

2 2015

1 2012

Kontakty polsko-czeskie na tle literatury psałterzowo-biblijnej

Odpowiedzialność tłumacza a skutki subiektywnego postrzegania dominanty translatorskiej. Na przykładzie starych i nowych polskich tłumaczeń Eugeniusza Oniegina A. Puszkina

Transfikcjonalność