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Intertekst – paratekst – przekład. Lektura nadobowiązkowa Borisa Akunina i jej polskie tłumaczenie

100%
Kaźmierczak M.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
|
2016
|
issue 9
127-141
EN
The paper discusses a peculiar way of dialoguing with tradition, namely by way of intertitles, as is the case in Boris Akunin’s novel Vneklassnoye chtenie (Extracurricular Reading). The effectiveness of the dialogue is also measured in intercultural perspective, based on the Polish translation by Ewa Rojewska-Olejarczuk.
PL
Artykuł omawia szczególny sposób dialogowania z tradycją – przy pomocy tytułów rozdziałów. Zjawisko to rozpatrywane jest na materiale powieści Borisa Akunina Внеклассное чтение (Lektura nadobowiązkowa). Autorka bada uwarunkowania tego dialogu w sytuacji przekładu, sięgając do polskiego tłumaczenia Ewy Rojewskiej-Olejarczuk.
2
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„Гамлет. Версия” Бориса Акунина как отказ от регламентации шекспировского интертекста

99%
Kiseleva K.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
|
2016
|
issue 6
97-105
EN
The present article aims at analyzing one of the modern drama's strategies  - playing with a classical text. Boris Akunin's Hamlet. Version, which is at the core of my interests, is comparable to such famed Hamlet’s alterations as Tom Stoppard's Rosenkrantz and Guilderstern Are Dead. The uniqueness of Akunin's work lays in building the individual strategy, while taking into the mass recipient consideration. The forecast is not comforting - consumers are getting less and less sensitive and adequately formed to perceive  art. But one cannot say that Akunin is descending to his readers narrow horizons. He is  a mediator between highbrow and lowbrow, always beyond, never belonging to any category.
RU
The present article aims at analyzing one of the modern drama's strategies  - playing with a classical text. Boris Akunin's Hamlet. Version, which is at the core of my interests, is comparable to such famed Hamlet’s alterations as Tom Stoppard's Rosenkrantz and Guilderstern Are Dead. The uniqueness of Akunin's work lays in building the individual strategy, while taking into the mass recipient consideration. The forecast is not comforting - consumers are getting less and less sensitive and adequately formed to perceive  art. But one cannot say that Akunin is descending to his readers narrow horizons. He is  a mediator between highbrow and lowbrow, always beyond, never belonging to any category.
3
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Nefrytowy różaniec jako nośnik pamięci historycznej w cyklu Przygody Erasta Fandorina Borisa Akunina

99%
Kowalska M.
Facta Ficta. Journal of Theory, Narrative & Media
|
2018
|
vol. 1
|
issue 1
54-66
EN
Erast Fandorin series by Boris Akunin describes adventures of a Russian sleuth named Erast Pietrovich Fandorin who lives at the turn of the nineteenth and twentieth century. The series belongs to detective story genre. The nephrite rosary, which consists of twenty-five beads, is mentioned for the first time in The Jack of Spades and plays a very significant role in most novels of the series. It is not a typical tool of religious worship or meditation, but it helps Erast Pietrovich to concentrate and to solve difficult problems. What is more, it seems to be haunted by the past. It embodies a lot of historical, legendary and spiritual energy. Being an object, a symbol and a carrier of the past, the nephrite rosary has a limited range when it comes to collective memory, because only well-educated people from the higher social classes are able to recognise the meaning of this legendary object and to perceive its importance, therefore it cannot be considered a typical lieu de memoire (place of memory), as understood by Pierre Nora. The aim of Monika Kowalska’s paper The Nephrite Rosary as a Carrier of Historical Memory in the „Erast Fandorin” series by Boris Akunin is, therefore, twofold. It analyzes the historical meaning and significance of the nephrite rosary within the eponymous series as well as presents Akunin’s inspirations and play with the worldhistory.
4
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Codzienność przyszłości, czyli pytanie o życie wieczne

83%
ZYWERT A. M.
Przegląd Rusycystyczny
|
2020
|
vol. 170
|
issue 2
RU
В статье анализируется проблема бессмертия в контексте явления повседневности. В качестве примеров приводятся прежде всего произведения современных русских писателей-фантастов и авторов, которые используют в своем творчестве фантастические мотивы: Владимира Сорокина (День опричника, Сахарный Кремль, Манарага), Виктора Пелевина (Шлем ужаса, Любовь к трём цукербринам), Анны Старобинец (Живущий), Бориса Акунина-Григория Чхартишвили (Хэппи-энд), Дмитрия Глуховского (Будущее), а также фильм Александра Зельдовича (сценарий в соавторстве с Вл. Сорокиным) Мишень. Независимо от принятой концепции, все авторы указывают, что бессмертие – это по многим причинам проклятие человечества. Вместо попыток стать Богом, люди должны сосредоточиться на том, чтобы не потеряться в уже существующей реальности.
EN
The paper aims at analyzing the question of immortality in the context of everyday life. The exemplary works include the ones written by contemporary Russian fantasy and science fiction authors, who deploy the relevant motifs: Vladimir Sorokin (Day of the Oprichnik, Kremlin Made of Sugar, Manaraga), Viktor Pelevin (The Helmet of Horror, Love for three Zuckerbrins), Anna Starobinets (The Living), Boris Akunin-Grigori Chkhartishvili  (Happy end), Dmitry Glukhovsky (The Future) and the film of Alexander Zeldovich (and V. Sorokin as the scriptwriter) entitled Target. Regardless of the applied convention the authors indicate that immortality is a curse for humankind for many reasons. Instead of trying to become God human beings should focus on retaining the already existing reality.
PL
W artykule analizowany jest problem nieśmiertelności w kontekście codzienności. W charakterze przykładów przytaczane są przede wszystkim utwory współczesnych rosyjskich pisarzy fantastów i autorów, którzy wykorzystują w swojej twórczości motywy fantastyczne: Władimira Sorokina (Dzień oprycznika, Cukrowy Kreml, Manaraga), Wiktora pielewina (Hełm grozy, Miłosć do trzech Zuckerbrinów), Anny Starobiniec (Żyjący), Borysa Akunina-Grigorija Czchartiszwili (Happy end), Dmitrija Głuchowskiego (FUTU.RE) oraz film Aleksandra Zeldowicza (scenariusz we współautorstwie z Władimirem Sorokinem) Tarcza. Niezależnie od przyjetej konwencji, wszyscy autorzy wskazują, że nieśmiertelność - to pod wieloma wzglęgami przekleństwo ludzkości. Zamiast prób dorównania Bogu, ludzie powinni skupić się na tym, by nie pogubić sie w świecie już istniejącym.  
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