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1

DATED TRANSLATIONS. ON SHORTCOMINGS OF EXISTING POLISH VERSIONS OF RUDYARD KIPLING'S STORY THE CAT THAT WALKED BY HIMSELF (Polish title below)

100%
Gluszak J.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2009/2010
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issue 2-1(22-23)
192-204
EN
(Polish title: Postarzale przeklady - o niedostatkach istniejacych tlumaczen historii The Cat That Walked By Himself Rudyarda Kiplinga). The existing Polish translations of Rudyard Kipling's Just So Stories, created in early 20th century, seem faulty nowadays, mainly due to the loss of many stylistic features of the original. One of the causes might be a generic absence: prose written in Polish at the time does not bear any similarity to Kipling's manner. The articles points out the weaknesses of the two Polish translations of the story entitled The Cat That Walked by Himself. It concludes with the attempt at a new translation.
2
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Kołysanka jako gatunek literacki – inspiracje, realizacje, modyfikacje (na wybranych przykładach z literatury czeskiej)

100%
Katarzyna C.
Bohemistyka
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2013
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vol. 13
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issue 3
167 - 183
EN
The article discusses a "lullaby" as a syncretic genre, indicating its inspirations, realizations and modifications in the Czech literature. The traditional form of a lullaby, to a large extent, references the children's literature. However, as evidenced by the centuries-long tradition of the genre, the range of addressees is considerably wider. A lullaby goes back to various sources of inspiration, assuming different forms of realization, ranging from songs firmly established in the folklore, intended for children, to works for adults, taking up the social and moral subject matter. The classic form of a lullaby references idyllic images of childhood, whereas the modified form emphasizes the agitation character of the work.
3

FROM THE AMERICAN PLANTATION TO THE INTERWAR POLAND: HOW UNCLE REMUS BECAME BAM-BO THE NEGRO (Polish title below)

100%
Blumczynski P., Najwer J.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2009/2010
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issue 2-1(22-23)
160-171
EN
(Polish title: Z amerykanskiej plantacji do miedzywojennej polski (czyli jak Uncle Remus zostal murzynkiem Bam-Bo)). The article opens with the introduction of Joel Chandler Harris and his literary output, since Harris is unfamiliar to Polish readers, despite his well-established position in the American literary canon. As a so-called local colorist, Harris depicted American plantation life in 19th-century Georgia: he included many cultural and folk elements in his works. The analysis of his stories about Uncle Remus concentrates on (1) the levels of narration; (2) the linguistic complexity of the text (the stories abound in slang and dialectal expressions); (3) the form; and (4) the folklore value. The same four aspects of the analysis guide the discussion of the Polish translation of Harris's work. The only Polish version of his stories comes from 1929 and was done by Wladyslawa Wielinska. As the target audience of the translation were children, the ultimate aim of this analysis is to determine the profile of the translation as a book for children, to consider it against the skopos of the source text, and to establish the extent to which the peculiar character of Uncle Remus stories was preserved.
4

La littérature pour jeunes lecteurs: problèmes terminologiques liés au nom du domaine en polonais et en français

100%
Paprocka N.
Romanica Wratislaviensia
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2010
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vol. 57
59-81
EN
Literature for children and young people interests many scholars, who use various terms to describe it. The aim of the article is: (1) to collect the terms that are used in Polish and French to describe this type of literature and (2) to examine why there are so many synonyms, or at least words that seem to be synonymous, to name a single notion. From the formal point of view, these terms can be divided according to two criteria: (1) structure of its object and (2) number of words to describe the age category in the object. When it comes to the reasons behind the existence of such a complex terminology, we could distinguish the following: (1) different ways of understanding the definition of age categories, (2) different scopes attributed to the terms by various scholars, (3) the ambiguity of some of the terms, (4) subordination to a broader linguistic phenomenon or, finally, (5) a desire to avoid negative connotations associated with some terms.
5

Wokół poetyki przestrzeni Północy i Wschodu — Dzieci zorzy polarnej i Tam gdzie wiedźma leci w piaskowej zamieci Anny Onichimowskiej i Toma Paxala

100%
Michułka D.
Prace Literackie
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2010
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vol. 50
87-101
EN
Children of the Northern Lights and Where the Witch Flies in a Sandstorm by Anna Onichimowska and Tom Paxal build spatial poetics of the North and the East. In both stories space cocreates the plot. It determines the themes and composition of the stories; provides a background, a scenery for the events; influences the fate of the characters; and at the same time it is a “protagonist” of the stories. When we talk about the meaning, space can be a “big metaphor”. In both collections of stories space creates a road symbolism. In the case of “desert stories”, the road symbolizes the search for oneself, while in Children of the Northern Lights it is a determinant, a driving force, a catalyst of adventures of six-year-old twins, becoming a clear equivalent of their emotional states. Beyond the boundaries of a safe home, the mysterious space of nature and its magic influence, inspired by the mythology of the North, become poetic and communicate with the exuberant world of children’s imagination, provoking children’s ordinary curiosity about the world. Space in this case has a much bigger influence on the protagonists’ behaviour than in the “eastern story”. Here the desert is ludic, capricious, funny; it “plays tricks”, it is personified (it “sighs” and it “breathes a sigh of relief”) but, generally, it is merely an exotic and original place for the protagonists’ journey and it wishes them well. However, in both stories the description of space and its meanings is a pretext for a thorough presentation of the protagonists, who look for their own identity but who eventually return to their safe family home.
6

DISCOURSE OF THE MODERN CHILDREN'S LITERATURE IN THE LIGHT OF INTERDISCIPLINARY APPROACH

100%
Beloglazova E. V.
Stylistyka
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2005
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vol. 14
567-580
EN
The authoress aims at illustrating the potential of interdisciplinary analysis on an example of children's literature, oriented on a specific audience of children. The age character of this audience, a detailed model of the reading process based on children's psychological and physiological features was determined with the involvement of psychologists. The literary review of the children's literature in its diachronic aspect allows to trace its evolution parallel to the change in the perception of its addressee. The use of statistical methods allows avoiding subjectivity and groundlessness of conclusions. At that stage there is no need to subject the whole children's literature to calculating and measurement. Numerical data are called to confirm (or refute) a hypothesis, and a relative value of an element's concentration is sufficient for this purpose. Therefore it is the comparison of the values received for texts aimed at different-aged addressees that is of importance.The authoress confirms the undoubted value of attracting adjacent discipline's data and methods to ensure a more adequate and comprehensive understanding of the subject matter.
7

ADAPTATIONS IN THE GLOBALIZATION ERA (Adaptacje w dobie globalizacji)

88%
Borodo M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2009/2010
|
issue 2-1(22-23)
205-219
EN
The article investigates the concept of adaptation in the context of globalization and points to considerable potential of the research on contemporary adaptations, not yet fully realized within translation studies. It provides an overview of several theoretical approaches to the adaptation of children's literature and presents adaptation from a historical perspective. It then focuses on selected Disney adaptations of Peter Pan published in Poland at the turn of the 20th century. Of special interest in these Disney adaptations are pictures, which are identical in different editions, whereas the accompanying texts differ widely. The visual is thus 'recycled' whereas the texts change in style, the depiction of characters, the use of tenses and culture specific items. The article also introduces the category of glocal adaptations, that is, Disney adaptations retold by Polish verbal masters, such as Jeremi Przybora or Jacek Kaczmarski. Though examples of cultural homogenization, these adaptations are partly indigenized by wellknown local figures and therefore may be viewed as glocal texts in which the global and the local overlap.
8

MAY REDUCTION SERVE FOREIGNIZATION? WHAT HAPPENED TO SIEROTKA MARYSIA IN ENGLISH TRANSLATION? (Czy strategia redukcji moze sluzyc egzotyzacji, czyli gdzie sie podziala Sierotka Marysia w angielskim przekladzie)

88%
Brzozka A.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2009/2010
|
issue 2-1(22-23)
146-158
EN
The translation of Maria Konopnicka's O Krasnoludkach i sierotce Marysi (The Brownie Scouts) into English is an interesting fusion of two translation strategies that are usually considered mutually exclusive. At first glance, this careful and faithful rendering of passages describing Polish tradition, culture, history, geography and folklore is a good example of foreignization. Taking the reader who represents a dominant culture on a trip to an unknown peripheral culture, it seems to stand in opposition to Lefevere's understanding how cultural capital and asymmetries between cultures influence the translator's decision to adapt source culture's exotic elements to the target reader's horizon of expectations. Thus, her decision not to domesticate the original places Katherine Zuk-Skarszewska (nee Hadley) in a group of translators called bridgeheads by Cay Dollerup. They aim at familiarizing the target language audience with most interesting and valuable aspects of the source language culture. Yet this assumption is undermined by Zuk-Skarszewska's frequent use of reduction technique, which helps her to deal with the culture-specific elements she considers less important. Instead of a typical adaptation strategy, in The Brownie Scouts two radically different solutions co-exist: efforts to faithfully preserve some items and fragments characteristic of the source language culture are counterbalanced by decisions to cut other elements and passages in order to make room for what the translator judges more worthwhile. As a result, reduction becomes an integral part of the translation strategy, and it is used to control the intensity of the overall foreignizing effect. This unusual strategy becomes even more interesting to observe, as the elements the translator gives up most readily are usually those related to the child (characters, subject-matter and folklore). Paradoxically, it is children who lose most in this translation of the book about them.
9

J. NOGE'S VIEW ON CHILDREN'S AND YOUNG ADULT LITERATURE - FROM THE FIRST ENCOUNTERS TO THE SYNTHESIS (Pohlad J. Nogeho na literaturu pre deti a mladez - od dotykov k synteze)

88%
Buzgova H.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 4
348-357
EN
The article presents J. Noge's contribution to the study of Slovak children's and young adult literature, which he dealt with alongside his main scientific interest almost all his professional life. Although, almost two thirds of his articles were published in magazines, the research could not be carried out without detailed examination of all the editions of the magazine Zlaty maj including the discussions. Thus it was not only the reviews, studies, and analyses written by J. Noge that served as research material but also contributions of other writers whose opinions he shared or opposed. The result is a piece of writing, which tracks J. Noge's work, from his first 'encounters' with children's books (mostly reviews), to comprehensive studies and analyses published in magazines, to complex scientific works such as monographs Proza Klary Jarunkovej (Klara Jarunkova's prose,1979) and Literatura v literature (Literature in literature, 1988). The main focus of attention is Noge's hypothesis, which he formulated in the late 1950s and thirty years later finally confirmed in his work Literatura v literature. It is about the relationship between children's and young adult literature and adult literature, to put it simply, between 'small' and 'big'. Noge was an enthusiastic promoter of those two being inseparable and mutually conditioned. Tracking his activities in this area the article helps form a complex picture of Noge's scientific work.
10

'NOTHING BUT THE BEST IS GOOD ENOUGH FOR THE YOUNG'. DILEMMAS OF THE TRANSLATOR OF CHILDREN'S LITERATURE ('Tylko to, co najlepsze, jest dosc dobre dla dzieci', czyli o dylematach tlumacza literatury dzieciecej)

75%
Albinska K.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2009/2010
|
issue 2-1(22-23)
259-282
EN
No doubt the world without Winnie the Pooh, Pippi Longstocking, Pinocchio or Moomin Trolls would be less colourful. Characters from fairy tales imperceptibly slip into young reader's minds and tend to stay there forever. Children accept them unconditionally and do not ask questions about their descent. Children's response to books is usually very spontaneous: a love at first sight or an immediate dislike. Therefore, it is very important that they receive 'the best' - not only beautiful and wise books but also book that are skillfully translated. Discussing the role of the translator of children's literature, this article focuses on such issues as child - translator relation and translator - author dichotomy. It points to different attitudes toward the translator's creativity and 'visibility'. It examines terminological ambiguities of such notions as 'adaptation', 'reconstruction', 'rewriting' and 'translation'. Finally, it deals with translation challenges that arise from didactic, entertaining and aesthetic functions of children's books.
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