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Zbiorniki ze stęchłymi ściekami: przekład specjalistycznej terminologii w powieści detektywistycznej

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Linder D., Sobesto J.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2020
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issue 40 – Gatunki literackie w przekładzie
105-129
EN
Fictional texts containing specialized terms pose a challenge for literary translators. Rooted in raw factual accuracy, terms can nonetheless be used in extremely expressive ways. Raymond Chandler used oil industry terminology (bull wheel, derrick, oil field, scum, walking-beam, and especially the term sump) in his first novel The Big Sleep (1939) within intentionally artistic phrasings involving alliteration, parallel structuring and repetition. The novel was (re)translated into Spanish many times (El sueño eterno 1947, 1948, 1958, 1972 and 2001), offering a view into how different translators met this challenge. Though the published translations reveal lower frequency of repetition in all cases, inconsistent co-textual use of the terminology and usage of non-terms, omissions and errors, these instances were qualitatively compensated with creatively reproduced alliterative elements and added literary devices. This study of a seldomly explored aspect of literary translation shows how professionals are aware of the importance of language for specific purposes in literature and how effective balances between technical accuracy and literary expressiveness can be attained. For theorists who might believe that literary and technical translation are separate worlds of translatorial action, the results of this study show that literary translators tend to bridge this gap proficiently with both accuracy and literary flair.
2
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Autoprzekład jako widmowa opowieść: Oko Vladimira Nabokova

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Księżopolska I., Sobesto J.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2019
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issue 39 – Przekład i pamięć 2
131-161
EN
Nabokov’s novella The Eye is usually read as a story in which the narrator tries to use his failed suicide attempt to announce his own death and assume the role of an observer, who, as it turns out in the end, is merely watching over his own (alienated) figure. The ending seems to project a reintegration of the self. In this essay, the process of Nabokov’s translation of the novella into English is seen as connected with the spectral elements of the story, resulting in a new reading embedded into the framework of liminality: the narrating hero keeps on dying, without, however, being able to escape his private inferno, because his obsessive memory continues to reproduce the same murky world, merely transferring the hero deeper and deeper into its narrowing circles. Each of these circles is an attempt to translate the text of (un)reality to the new language of consciousness, and each of these attempts reduces the hero to the status of a still more spectral voice, while still confining him to the boundaries of self. It seems quite fitting in this context that Nabokov, speaking of self-translation, described it as an unremitting torment of the body being transfigured into spirit. The essay also compares Nabokov’s translation practice to his own views on translation expressed in essays and interviews, pointing out the fundamental differences: self-translation demands the death of the original text, out of which the phantom of existence in another language may be born – a ghost, each movement of which is always double, divided into the observer and the observed. 
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Dzikie bohaterki? Problematyka płci kulturowej i gatunku literackiego w przekładach Northern LightsPhilipa Pullmana

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Seago K., Springett L., Sobesto J.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2020
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issue 40 – Gatunki literackie w przekładzie
22-50
EN
Philip Pullman’s Northern Lights is the first instalment of his award-winning trilogy His Dark Materials. In this alternate-worlds fantasy and children’s literature classic, Lyra and her daemon Pan are catapulted from the relative stability of Oxford to negotiate an increasingly threatening world in a quest to protect free will from cataclysmic adult zealotry. According to prophecy, Lyra is the chosen one; she conforms to the tropes of the fantasy quest performing the paradigmatic steps of the saviour hero. Pullman’s protagonist transgresses and subverts the stereotypical expectations of the fantasy heroine whose generic destiny is coded in enclosure, passivity and endurance. Lyra is also a coming of age story and here again Pullman’s conceptualisation does not conform to the female pattern in both fantasy and children’s literature where marriage functions as the marker for maturity. Character is one of the two defining traits of fantasy (Attebery 1992) and it performs a didactic function in children’s literature. Characterisation is created through the reader’s interpretation of textual cues: narratorial description; direct and free-indirect speech. Lyra’s character subverts fantasy stereotypes and depicts a transgressive child who does not conform to gender role expectations. Genre translation tends to adapt the text to target culture norms and the didactic and socialising impetus of children’s literature has been shown to prompt translation strategies which comply with the receiving culture’s linguistic and behavioural norms. In this paper, we analyse the rendering of character cues in the French, German and Italian translations of Northern Lights: 1. Is the transgressive trope of a) the heroine following the male hero paradigm and b) the coming of age pattern maintained or normalised to conform to genre expectations? 2. Is Lyra’s transgressive character rendered in translation or is it adapted to comply with didactic expectations of behaviour? 3. Are there different notions of the role and function of children’s literature in the target environments and do these impact on translation strategies?
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