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Dickensowskie anafory w polskim przekładzie

100%
Kujawska-Lis E.
Prace Językoznawcze
|
2009
|
issue 11
115-133
EN
Dickensian anaphoras, being one of his favourite literary devices, are very prominent in his novels where they fulfill many more functions than simply providing emphasis. Frequently the author, opens his novels with anaphoras, which immediately draws the reader’s attention to the concepts acquiring symbolic meanings. Often Dickens uses anaphoras for comic effects or to mirror the orality of discourse to achieve a diachronic distance between the empirical reader and the fictional events. Moreover, this device is used to characterize fictional characters, where lexis being the basis for the anaphoras acquires additional senses. Dickens uses anaphoras creatively, and although they are frequent in his works, they are never employed mechanically. He often combines them with intertextual and extratextual references, which turns translating into a challenge. Thus, although superficially simple to recreate in translation, anaphoras are most often reflected in their primary, emphatic function. However, frequently, additional functions and intratextual relations which are formed between the elements creating the anaphor and other segments of the text are lost in translation.
2
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Market Value and Victorian Hybrids Dickens and Marx Against Latour

99%
Tavlin Z.
Praktyka Teoretyczna
|
2014
|
vol. 13
|
issue 3
23-37
PL
When Bruno Latour says that “we have never been modern,” he means only to recognize that the ‘actually living’ of modernity (or the temporal duration we’ve often categorized as ‘modernity’) is something altogether different (and far more complicated) than the theoretical apparatus by which academic intellectuals use to describe and categorize it. The modern condition, then, involves a separation between the socio-economic creation of ‘hybrid objects’ and theoretical reflection on society. This reflection takes the form of ‘purification,’ or a clear distinction between nature and culture, science and politics. Drawing upon Charles Dickens’ last completed novel, Our Mutual Friend, as well as Marx, I will argue that already in Victorian England we can find coherent representations of modernity that defy Latour’s high standard of actualized purification (or a visible ‘reality’ that conforms to our purified categorizations). That is, in Dickens and Marx we can find a literary-economic discourse of ‘modernity’ (which may also be Victorian post-humanism) that already recognized the failure of ‘purification’ as the result of expansive capitalism.
3
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“Consider Yourself One of Us”: The Dickens Musical on Stage and Screen

99%
Barker A.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
241-257
EN
Charles Dickens’s work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the con­nection between Dickens’s novels, the celebration of “London-ness” and its articulation in popular forms of working-class music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people’s affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy.
4
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“Consider Yourself One of Us”: The Dickens Musical on Stage and Screen

99%
Barker A.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
241-257
EN
Charles Dickens’s work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the con­nection between Dickens’s novels, the celebration of “London-ness” and its articulation in popular forms of working-class music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people’s affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy.
5
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Negative Emotions in the Translation on the Basis of The Cricket on the Hearth by Charles Dickens and Its Polish Renditions

80%
Dybiec A.
Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova
|
2017
|
issue 2
EN
The article is devoted to a Polish translation of a famous Ch. Dickens’s Christmas story The Cricket on the Hearth (1845). The article offers a comparative analysis of the source text and its two Polish translations. A special attention was given to negative emotions and feelings, and to the differences in their renditions. The first translation was published in 1954 by M. Feldmanowa-Kreczowska and the second – in 1988 by K. Tarnowska. Translations were published at different times, which had a considerable impact on their poetics and quality. Theoretical aspects of emotional issues are shortly discussed.
PL
Artykuł jest poświęcony analizie komparatystycznej wybranych przykładów z dwóch polskich przekładów jednego z opowiadań wigilijnych Charlesa Dickensa Świerszcz za kominem (The Cricket on the Hearth). Moim celem jest zbadanie różnic w wyrażaniu uczuć i emocji, które są obecne zarówno w tekście wyjściowym, jak i wersjach docelowych, w przekładach dwóch polskich tłumaczek: M. Feldmanowej-Kreczowskiej i K. Tarnowskiej. Przekłady powstały w różnym czasie, co miało wpływ na ich jakość i poetykę. Opracowanie eksponuje te emocje, które są szczególnie obecne i częste w dzisiejszym świecie, jak lęk, ból, bojaźń czy przygnębienie. Omawiając sceny w przekładach, zamierzam się skupić na uwypukleniu różnic wyrażających emocje negatywne.
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