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Józef Birkenmajer jako tłumacz poezji anglojęzycznej (Rudyard Kipling, Edgar Allan Poe)

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Budrewicz A.
Ruch Literacki
|
2021
|
issue 6
843-864
EN
Józef Birkenmajer (1897–1939) was literary scholar and translator from classical and modern languages. He formulated the concept of ‘co-creative translation’, which assumes that the translator and the author of the original text enjoy the same status of creators. Although he translated a host of English novels, what he liked most was highly rhythmic verse, a preference not hard to detect in the list of his publications. His translations of Rudyard Kipling belong to the classics of the genre. By giving full attention to the poems and rhyming couples in Kipling's stories, Birkenmajer pioneered the notion of integral translation. His habit of lacing his journalism and other forms of writing with memorable verses from Kipling's books led many Polish readers to see Kipling primarily as a poet. Birkenmajer was also a translator of the poems and fiction of Edgar Allan Poe, on whose ‘Raven’ he worked in late 1937/early 1938 (it was eventually published in April 1938). While his experiments with obsolete vocabulary and dialect words were on the whole unsuccessful, many of his translations continue to spellbind new generations of readers.
2
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Angielski przekład Pana Tadeusza i jego polskie echa

100%
Budrewicz A.
Poznańskie Studia Polonistyczne. Seria Literacka
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2015
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issue 26
195-216
EN
The article discusses a variety of opinions related to the first English translation of Adam Mickiewicz’s poem Pan Tadeusz published in 1885 by Maud Ashurt Biggs (1857-1933). The main point for the author is to analyse the scope of the Polish critics’ opinions and attitudes towards this translation. Some of them were issued by well-known experts in literary translation at the time (for example Stanisław Tarnowski), as well as critics who regularly published notes on British literature and culture in Polish periodicals (Edmund Naganowski). The article points out that the translation of Pan Tadeusz triggered neither numerous, nor enthusiastic reviews; it did, however, contribute to the publication of several interesting reflections related to poetry translation.
3
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The urban river in Dickens, Dostoevsky and Prus

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Budrewicz A.
Prace Filologiczne. Literaturoznawstwo
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2015
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issue 5(8)
407-425
EN
The article offers a comparative analysis of the literary presentations of three rivers (the Thames in London, the Neva in Petersburg, and the Wisła in Warsaw) in the following novels: Charles Dickens’s Our Mutual Friend, Fyodor Dostoevsky’s Crime and Punishment, and Bolesław Prus’s The Doll. The author discusses the presentations of these rivers and the ways the writers engaged river imagery with the cities. The rivers played crucial roles in shaping the plot and in the characterisation of the protagonists. The Thames serves a crucial part in Our Mutual Friend: it offers safety to some characters, but it is also a deadly power to others. The Neva and the Wisła are related to self-exploration of the main characters who find it necessary to wander around the river banks; it is near the river bank when they undergo an internal transformation (Raskolnikov) or reflect upon humanity (Wokulski).
4
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O ludziach i drzewach. „The Overstory” Richarda Powersa

100%
Budrewicz A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2020
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vol. 8
314-320
EN
On people and trees. “The Overstory” by Richard Powers [Book review – Richard Powers, “The Overstory”, William Heinmann, London 2018, pp. 502]
PL
O ludziach i drzewach. „The Overstory” Richarda Powersa [Recenzja powieści: Richard Powers, „The Overstory”, William Heinmann, London 2018, ss. 502]  
5
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Czy współczesna Penelopa tęskni? O wizerunkach Penelopy w literaturze wieku XX

100%
Budrewicz A.
Transfer. Reception studies
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2022
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vol. 7
223-239
EN
The article discusses various literary representations of Penelope who is stereo-typically perceived as a faithful wife who misses her husband while he is away. The author analysed Polish and English literature of the 20th century. Many adaptations and reinterpretations of the myth of Odysseus and Penelope prove that this story is deeply rooted in culture, but it has also been variously transformed. Penelope is still the wife who misses her husband, but the recent interpretations of the story highlight her independence, inner strength and, as a result, the transformation of the myth into her story.
DE
Der Artikel widmet sich dem literarischen Bild der Penelope, die klischeehaft als treue und sehnsüchtige Ehefrau wahrgenommen wird. Die Analyse umfasst die polnische und englischsprachige Literatur des 20. Jahrhunderts. Die Adaptionen des Mythos und seine Neuinterpretationen zeigen die Kraft der Geschichte von Odysseus und Penelope, aber auch den starken Wandel in der Wahrnehmung und Interpretation der Heldin. Sie ist immer noch eine Ehefrau, die sich nach ihrem Mann sehnt, aber neue Interpretationen der Geschichte betonen mehr und mehr Penelopes Unabhängigkeit, ihre innere Stärke, und damit die Verwandlung des Mythos in Ihre Geschichte (her story).
PL
Artykuł poświęcony jest literackim wizerunkom Penelopy, która stereotypowo postrzegana jest jako wierna i tęskniąca żona. Analiza obejmuje literaturę polską i anglojęzyczną wieku XX. Adaptacje mitu i jego reinterpretacje dowodzą siły oddziaływania historii Odyseusza i Penelopy, ale również silnej transformacji w postrzeganiu i interpretowaniu bohaterki. Jest wciąż żoną, która tęskni za mężem, ale nowe interpretacje tej historii uwypuklają coraz chętniej niezależność Penelopy, jej wewnętrzną siłę, a zatem przeobrażenie się mitu w her story.
6
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Angielska Bovary. O „The Doctor’s Wife” Mary E. Braddon

100%
Budrewicz A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2018
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vol. 49
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issue 3
43-60
EN
This article is a comparative analysis of Mary Elizabeth Braddon’s The Doctor’s Wife and Gustave Flaubert’s Madame Bovary. Braddon’s novel has been interpreted as an imitation of Flaubert’s. The basis of the analysis is a Polish translation of Braddon’s novel (Żona doktora, „Gazeta Warszawska” 1867). This translation was published earlier than the translation of Madame Bovary (1878). Braddon’s works were quite popular in Poland and they were translated into Polish as well. It is shown that Braddon’s novel was not a copy of Flaubert’s work. The similarities concern the plot (a married woman’s affair) and psychological characterisation of the eponymous character (a girl who is absorbed her books and lives in the world of fantasy). In the crucial scene of the novel, Braddon makes a different choice than Flaubert does: her protagonist, who is in love with a seducer, does not commit adultery. Braddon explained that this was due to Protestantism and platonic concept of love which does not need physical involvement. Braddon shows three stages of the protagonist’s history: 1) her youth filled with books; 2) her unhappy marriage (the wife does not love the husband but the seducer); 3) after her husband’s and lover’s deaths the protagonist receives a large amount of money and begins to perform important social roles. This is how Braddon criticises the educational system of Victorian England and depicts a model which is a form of pedagogy preparing people for practical life.
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