The subject of the present analysis is the creativity of translation within the translation of Malay pantun – a poetic form which has aroused considerable fascination on the part of Western researchers for several centuries. For pantun is something more than merely a four-line verse with an abab rhyme; an exemplification of the present thesis being two examples of pantun in the translation of Robert Stiller.
Slang inTranslation Abstract The article looks at the translation of Russian slang into Polish. Regardless of the theoretical disputes concerning the relation between slang and colloquial language, translators are motivated by the principle to preserve within the translation the stylistic characteristics of the original, in other words to convey the slang by means of slang itself or colloquial language. Deviations from this principle are compensated for in other fragments of the text. Less frequently is reduction employed as its own form of concealment (for example the Polish Eh, ty to jesteś! as the functional equivalent of the RussianКакойтыприкольный!). Keywords:Russianslang,colloquial language, literary translation,Dar'yaDontsova, YuriyTrifonov, Fima Zhiganets, Little Red Riding Hood
Adam Heinz (1914–1984) was an academic whose field of study encompassed – to use the term employed by Walter Porzig (1950) – das Wunder der Sprache (the wonder that is language). His most extensive work entitled Dzieje językoznawstwa w zarysie (An outline of the history of linguistics) has, despite its 36 years, still maintained its popularity amongst linguists. Adam Heinz as one of the most eminent Polish structuralist was to remain critical in relation to both formal and functional structuralism. In subscribing to linguistic autonomy he would quote Wittgenstein’s words Die Grenzen meiner Sprache bedeuten die Grenzen meiner Welt (The limits of my language means the limits of my world.). His academic output is a long way from the tiresome monotony of immanent structuralism; for he grasped as if en passent the difference between lies (deceit) and Newspeak. Professor Adam Heinz, in referencing painting, unofficially divided linguists into miniaturists, landscapists and abstractionists. He himself was an extraordinary miniaturist and landscapist.
Krystyna Pisarkowa expressed her academic interest in stylistics directly or indirectly in the titles of her numerous publications. Her merit is drawing attention to the treatment of the word style in colloquial language as an evaluating predicate (for example, in great/grand/fine, etc. style). In turn, she called Umberto Eco’s book, “The Name of the Rose”, a novel about the truth of signs. Krystyna Pisarkowa considered deviations from language norms and semantic shifts to be a creative way of searching for truth in signs themselves. Archaisation in Sławomir Mrożek’s work is – in her opinion – “a deliberate anachronism, a dissonance, a deformation of uses and meanings, which exposes untruth, the falsity of characters, the ugliness of banality, the ridiculousness and deadness of a pattern and template.” In her publications, she emphasised that “intention is the core of every act of communication, hence it should be discovered and that suffices.” Krystyna Pisarkowa’s research combines pragmatics with style. Her works are an invaluable lesson in style and interpretation.
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