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1
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The Sequence Outside the Church in Claude Lanzmann’s Shoah: Some Comments from a Linguist

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Czesak A., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2019
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issue Special Issue 2019 – Translation and Memory
73-83
EN
Based on an analysis of phonetic, lexical and pragmatic (linguistic politeness) aspects of the symbolic sequence outside the church in Chełmno-on-Ner in Claude Lanzmann’s Shoah, this article offers insights into the communicative situation portrayed in the film, which has not been discussed in existing interpretations. It addresses the relations between the participants of the exchange (the film director, Szymon Srebrnik, the interpreter, the inhabitants of Chełmno), the time and space (a religious service taking place in the church), and historical context: Poland under communist rule, where the Holocaust was not spoken about and/or was subject to manipulation.
2
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Terra sonâmbula Means Lunatyczna kraina: An Introduction to the Reception of Translated Luso-African Prose in Poland

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Jankowski J., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2018
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issue Special Issue 2018 – (Post)colonial Translation
89-107
EN
The aim of this article is to take a closer look at Polish press reviews of Sleepwalking Land by Mia Couto, in order to study the novel’s reception. The reviews provide information not only about the assessment of translation quality, but also about the attitude of the target culture towards translated literature. In this case, a novel from a former  Portuguese colony, Mozambique, enters the Polish literary system via the ex-metropole, Portugal. The literary systems involved in the transfer are seen as peripheral, which makes the case interesting in the world of postcolonial order. To legitimise the conclusions, a wider context of Mozambican literature will be taken into consideration, as well as  the Polish context. Couto’s novel is accepted by the Polish audience as an example of exotic writing. The novel’s paratexts, its translator’s explanations, and the position of Mia Couto in the Polish literary system before the publication of Lunatyczna kraina will be considered as factors informing its reception.
3
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“It takes a genius to set the tune, and a poet to play variations on it”: Some Remarks on the Irksome (Im)possibility of Editing Shakespeare in Translation

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Cetera-Włodarczyk A., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2019
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issue Special Issue 2019 – Translation History in the Polish Context
46-62
EN
Drawing on the results of research into the scale and distribution of Polish translation activity with regard to the Shakespeare an canon in the 19th century, the article discusses the various roles assumed by both professional and informal editors working with Shakespeare translators over time. Understandably enough, the editorial efforts serve to ensure the quality and reception of the text, and range from publisher’s pressure and copyediting to aesthetic (or societal) patronage and complementary efforts to append the text with critical commentary. The article juxtaposes the intimacy of the  translation process with the inherently intrusive role of an editor, foregrounding the fragile psychological balance which preconditions effective collaboration and longterm commitment. Finally, the article discusses the need for editorial policies attuned to Shakespeare in translation, which would take into account both the literary intricacy of the original(s) and the specificity of retranslation  dialectics, with the necessary positioning of new rewritings against past canon(s).
4
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To See Heart of Darkness. On the Intersemiotic Translation of Joseph Conrad’s Novel

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Jarniewicz J., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2018
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issue Special Issue 2018 – Word and Image in Translation
36-51
EN
The article examines Catherine Anyango’s and David Zane Mairowitz’s graphic novel Heart of Darkness as an illustration of the differences between the unique possibilities of verbal and visual media. Conrad’s metaphor of Marlow’s story as a misty halo, interpreted here as an autotelic commentary on the text’s elusive meaning, is the starting point for a discussion of visual representations of indeterminacy, which Conrad conceptualizes in visual terms, equating understanding with seeing. Another issue raised is the place of the narrator in visual arts, made problematic by Conrad’s use of two narrators and the story-within-a-story device. It is also argued that the graphic novel, though a sequential medium, makes use of spatial juxtaposition of images, which is not only a source of metaphors, but also creates the effect of simultaneity unavailable to verbal arts.
5
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Bystanders Speaking. The Language Identity of the People of Chełmno in Claude Lanzmann’s Shoah

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Sobesto J., Heydel M., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2019
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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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“A favour to Polish literature”. Katherine Mansfield’s Links with Poland

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Sobesto J., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2019
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issue Special Issue 2019 – Translation History in the Polish Context
63-80
EN
The paper presents the Polish circulation of Katherine Mansfield’s poem “To Stanislaw Wyspianski” – her only piece of poetry translated into Polish thus far. Written in 1910, the poem was translated three times: by Floryan Sobieniowski in 1910, by Beata Obertyńska in 1958 and by Zbigniew Lisowski in 1968. The analysis of contexts in which the Polish translations were created, published and republished, along with the interpretation of their paratexts, demonstrates that Polish readers and translators were more interested in Wyspiański – the figure presented in the poem – than in Mansfield herself. Throughout decades, very little attention has been paid to the interpretation of the poem. Polish scholars and literary critics rather investigated the circumstances in which Mansfield encountered Polish culture in general and, in particular, learnt about Wyspiański, the great artist from Kraków. Their convictions and beliefs can fruitfully be interpreted by the Translation History scholar as a sign of changes in the cultural and political situation in Poland. Moreover, the translators’ attitude – especially the one presented by Sobieniowski – can successfully be analyzed from the perspective of Translator Studies.
7
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“He Saw a Black Man in the Street, but Not a Cannibal”. Translation and Political Correctness

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Borodo M., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2018
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issue Special Issue 2018 – (Post)colonial Translation
143-159
EN
The article focuses on Kaytek the Wizard, the English translation of Janusz Korczak’s children’s classic Kajtuś czarodziej, originally published in Poland in 1933. Translated by Antonia Lloyd-Jones, the book came out in English with the New York-based Penlight Publications in 2012, almost eighty years after the original publication. The article begins with an overview of the theoretical context of translating children’s literature, with regard to issues such as censorship, political correctness, and ideological manipulations. It demonstrates that contentious passages have often been mitigated, in order to create a commercially or ideologically “appropriate” text, for example in the former countries of the Eastern Bloc, in Spain, or in the contemporary United States. It then describes the context of the publication of the English version of Korczak’s novel, shedding light on the roles of the copyright holder and translation commissioner, the publisher and the translator, and also mentioning the English language reviews of the translation in literary journals. Following that, the article examines the translator’s treatment of the original expressions and passages concerning racial issues, which would be considered racist today. These include references to Africans as “savages,” “apes” or “cannibals,” a reflection of the European racial stereotypes of that period. It is demonstrated that, in her treatment of such lexical items, the translator adopted a middle course, retaining some of the contentious passages but also partly omitting and toning down other controversial examples in question. The article also reflects on the role of, and constraints on, the literary translator, who may be confronted with the ethical dilemma of either respecting the integrity of the original, and recreating the collective consciousness of a bygone era, or appropriating the original text, through eliminating passages which negatively portray blacks, so as to better adapt it to the target context of multicultural American society.
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Literatura w historii (i historii przekładów)

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Reynolds M., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2018
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issue 36 – Historia przekładu literackiego 1
7-24
EN
The relationship between literature and history is complicated; so is that between literary translation and the history of translation. This essay begins by making some general theoretical assertions: texts known as literary do not inhabit chronology in the same way as other kinds of texts; translations, especially, disrupt historical timelines since they (almost always) arise from at least two different moments and locations. The essay then focuses on the work of John Dryden, referring also to the King James Bible and to Samuel Purchas’s translation of the Mexica Codex Mendoza, and asks what kind of historical contextualisation is necessary if these texts are to be situated, not in ‘history’
9
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Translation Criticism as a Dialogue. A Hermeneutic Model

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de Bończa Bukowski P., Ziemann Z.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2023
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issue Special Issue 1/2023 – Translation Criticism and Its Vicinity
14-39
EN
In this article, I reflect on the productivity of hermeneutic translation criticism, focusing on literary translation. I pose the question whether the hermeneutic mode of translation analysis and evaluation – largely based on the premises of Romantic art criticism – has the potential to make a significant contribution to contemporary discussions on the functional model of translation criticism. My argument is that the source of the productivity (and functionality) of translation criticism is dialogicity – a feature that can be considered fundamental in the case of hermeneutics. Following the dialogical hermeneutics of F. Schlegel, F. Schleiermacher and H.-G. Gadamer, as well as H.R. Jauß’s aesthetics of reception, I formulate some general postulates regarding a hermeneutic critique of literary translations. This critical mode is interrogative: it locates and poses questions that are answered by the examined texts. The critic’s questions include those about the original and for the original, about the translator and for the translator, as well as about the reader and for the reader. Finally, I demonstrate cases in which a critical dialogue crystallizes around literary translations. It is a dialogue that can be shaped and interpreted by the postulated hermeneutic translation criticism.
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