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Polskie oryginały angielskich pism. Tłumaczenia utworów Josepha Conrada na język polski w perspektywie historii przekładu

100%
Heydel M.
Studia Pigoniana
|
2018
|
vol. 1
|
issue 1
PL
Twórczość Josepha Conrada należy do kanonu polskiej literatury XX wieku i zajmuje w nimmiejsce tak ważne, że można przeoczyć fakt, iż mamy do czynienia z przekładami. Tymczasemto właśnie przekłady i ich odczytania kształtowały recepcję brytyjskiego modernisty w Polsce.Jego dzieła były przez tłumaczy oraz interpretatorów i komentatorów jego twórczościumieszczane w wielorakich kontekstach historycznych, społecznych i politycznych, budzącróżnego rodzaju rezonanse i wpisując twórczość Conrada w określone dyskursy ideologiczne.Niniejszy artykuł proponuje przegląd niektórych z tych odczytań dokonany z perspektywyhistorii przekładu.
2
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Miłosz wciałowzięty (rec. Stanley Bill, Czesław Miłosz’s Faith in the Flesh: Body, Belief and Human Identity. Oxford: Oxford University Press, 2021)

100%
Heydel M.
Konteksty Kultury
|
2023
|
vol. 20
|
issue 3
363-369
3
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Przekład i przemoc

100%
Heydel M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2023
|
issue 46 – Przekład i przemoc
7-20
4
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“Why don’t you tell them…” Unheard Voices in Claude Lanzmann’s Shoah

63%
Kwaśna K., Heydel M., Mrzygłodzka A.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2019
|
issue Special Issue 2019 – Translation and Memory
26-51
EN
Claude Lanzmann’s nine-hour documentary Shoah (1985) is a rich source of knowledge on the Nazi extermination of Jews in Central Europe. Its main material consists of interviews with people who witnessed the Holocaust, conducted in the very locations of the wartime events. The present paper analyses an iconic scene from Chełmno on Ner, where between 1940–43 and 1944–45 the first Nazi death camp was located. A group of locals – gathered in front of the parish church, around one of the survivors of the camp – recall the events, sometimes in stunning technical detail. Their Polish utterances are translated into French; English subtitles are based on the French of the interpreter. The Polish linguistic material is not neutral: it is marked with dialectal and sociolectal features; the speakers engage in conversation on the side, comment on the situation of the interview in various ways, verbal and non-verbal. In the translation, both into French and English, sentences are skipped, the plurality of voices is flattened, and differences in memory are smoothed out. The resulting text is rather a summary than a translation. The paper offers close-up analyses of chosen sequences from the interview to show the complexity of the communication situation and the extent of distortion caused by the way translation works in the film. It also offers an alternative translation, which aims at giving voice to the actual people of Chełmno and acknowledging as fully as possible the complication and difficulty of memory construction through language, especially in a highly traumatic context. It hopes to offer insights into the bystander position in Holocaust discourse.
5
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Bystanders Speaking. The Language Identity of the People of Chełmno in Claude Lanzmann’s Shoah

63%
Sobesto J., Heydel M., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2019
|
issue Special Issue 2019 – Translation and Memory
52-72
EN
The main problem discussed in the paper is the authenticity of speech of the inhabitants of Chełmno in the sequence filmed outside the parish church in Claude Lanzmann’s Shoah. The authors analyze a number of characteristic features of the bystanders’ language vis a vis the French translation provided by the interpreter  Barbara Janicka, and the English subtitles. It is argued that the language of the bystanders carries important information on the speakers’ individual and collective identity, and gives clues on the construction of memory, not just on the level of meanings, but also in its materiality. The analysis focuses on four planes which were identified as important for the construction of the implicit messages: the semantic ambiguity of the utterances; the narrative techniques used by the speakers; verb forms, especially the impersonal use of verbs; and syntax. The specific linguistic traits testify to the fact that the speakers lack adequate tools to verbalize their traumatic memories and to reflect the reality that they were part of. The analysis of the linguistic landscape of the scene also leads to conclusions about the instrumentalization of speakers on the part of the film director. The French and English translation in and of the sequence – a summary rather than a rendition – clearly, albeit perhaps not intentionally, contributes to this effect. Through linguistic analysis and wide contextual interpretation, unpacking the way the bystanders speak creates a new, hitherto unacknowledged, source of knowledge on witnessing and trauma.
6
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„Niech Pani im to opowie…” Niesłyszalne głosy w Shoah Claude’a Lanzmanna

63%
Kwaśna K., Heydel M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2019
|
issue 38 – Przekład i pamięć 1
27-52
EN
Claude Lanzmann’s nine-hour documentary Shoah (1985) is a rich source of knowledge on the Nazi extermination of Jews in Central Europe. Its main material consists of interviews with people who witnessed the Holocaust, conducted in the very locations of the wartime events. The present paper analyses an iconic scene from Chełmno on Ner, where between 1940–1943 and later 1944–1945 the first Nazi death camp was located. A group of locals –gathered in front of the parish church, around one of the survivors of the camp –recall the events, sometimes in stunning technical detail. Their Polish utterances are translated into French; English subtitles are based on the French of the interpreter. The Polish linguistic material is not neutral: it is marked with dialectal and sociolectal features; the speakers engage in conversation on the side, comment on the situation of the interview in various ways, verbal and non-verbal. In the translation, both into French and English, sentences are skipped, the plurality of voices is flattened, and differences in memory are smoothed out. The resulting text is rather a summary than a translation. The paper offers close-up analyses of chosen sequences from the interview to show the complexity of the communication situation and the extent of distortion caused by the way translation works in the film. It also offers an alternative translation, which aims at giving voice to the actual people of Chełmno and acknowledging as fully as possible the complication and difficulty of memory construction through language, especially in a highly traumatic area. It hopes to offer insights into the bystander position in Holocaust discourse.
7
Publication available in full text mode
Content available

Językowa tożsamość świadka. Analiza mowy mieszkańców Chełmna nad Nerem w scenie przed kościołem

63%
Sobesto J., Heydel M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2019
|
issue 38 – Przekład i pamięć 1
53-74
EN
The main problem discussed in the paper is the authenticity of speech of the inhabitants of Chełmno in the sequence filmed outside the parish church in Claude Lanzmann’s Shoah. The authors analyze a number of characteristic features of the bystanders’language vis a vis the French translation provided on-stage by the interpreter Barbara Janicka, and the English subtitles. It is argued that the language of the bystanders carries important information on the speakers’individual and collective identity, and gives clues on the construction of memory, not just on the level of meanings, but also in its materiality. The analysis focuses on four planes which were identified as important for the construction of the implicit messages: semantic ambiguity of the utterances; narrative techniques used by the speakers; verb forms, especially the impersonal use of verbs; and syntax. The specific linguistic traits of the language used testify to the fact that the speakers lack adequate tools to verbalize their traumatic memories and to reflect on the reality that they were part of. The analysis of the linguistic landscape of the scene also leads to conclusions about the instrumentalization of speakers on the part of the film director. The French and English translation in and of the sequence –a summary rather than a rendition –clearly, albeit perhaps not intentionally, contributes to this effect. Through linguistic analysis and wide contextual interpretation, unpacking the way the bystanders speak, creates a new, hitherto unacknowledged, source of knowledge on witnessing and trauma.
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