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Tłumaczenie literatury dziecięcej czy tłumaczenie dla dzieci? Problematyka translatoryki literatury dziecięcej na przykładzie dwóch polskich tłumaczeń Piotrusia Pana Jamesa M. Barriego

100%
Cyzio M.
Filoteknos
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2020
|
issue 10
438-452
EN
This paper will seek to test two methodologies theorizing about translating children’s literature, one of which can be termed as the first theory in this field, shaped by Göte Klingberg and the other, polemical to the first one, introduced by Ritta Oittinen. On the example of children’s classic, Peter Pan and Wendy, it will be argued if the both methodologies allow the analysis of children’s literature translation and can justify most of the changes made by translators.
2
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Szczęśliwe ogrody dzieciństwa Literackie obrazy przestrzeni parkowej w powieści Piotruś Pan w Ogrodach Kensingtońskich Jamesa Matthew Barriego

71%
Wieczorkiewicz A.
Śląskie Studia Polonistyczne
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2018
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vol. 11
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issue 1
89-108
EN
It is impossible to imagine London without its royal parks. One of the most beautiful among them is Kensington Gardens, forever connected with the figure of a boy who didn’t want to grow up: Peter Pan. This article provides an interpretation of James Matthew Barrie’s novel Peter Pan in Kensington Gardens (1906), centred mainly around literary portrayals of garden space, which becomes an embodiment of the paradise of childhood: Arcadia, a pleasant place, locus amoenus, allowing one to exist beyond evanescence, growing up and sadness. Kensington Gardens are London’s green island, primeval Neverland, where the fairy-tale and the magic are rooted: during a day it creates a playing space for “human children,” whereas at night it goes under the rule of Queen Mab and mysterious fairies. The outline of various interpretation paths which can be followed in Kensington Gardens are accompanied by the reproductions and analyses of Arthur Rackham’s illustrations, which in an outstanding way capture the whimsical genius of the author of Peter Pan.
3
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W STRONĘ NIEDOJRZAŁOŚCI. PUER AETERNUS, HERMES I PIOTRUŚ PAN

63%
Bzymek A.
Colloquium Wydziału Nauk Humanistycznych i Społecznych AMW
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2020
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issue 4
57-68
PL
Artykuł stanowi teoretyczne poszukiwania źródeł niedojrzałości na podstawie studiów literaturowych. Krótko odwołuję się w nim do ram rzeczywistości ponowoczesnej i przechodzę do początków niedojrzałości, które w opinii badaczy znajdują swoje korzenie w okresie mitycznym. Inspirujące stają się tutaj odwołania do psychologii analitycznej Carla Gustawa Junga oraz Marie-Louise von Franz. Wreszcie, ukierunkowanie na dobę obecną, w której idee niedojrzałości zdają się osiągać apogeum, chociaż ich przyczyny wyrastają z zupełnie innych potrzeb człowieka. Moim celem jest krótki rys niedojrzałości, ukazanie wędrówki od mistycznego Hermesa do współczesnego Piotrusia Pana.
EN
The article constitutes the theoretical search of sources of the immaturity based on literature studies. Briefly I am appealing in it to frames of post-modern reality and I am proceeding to basics of the immaturity which in the opinion of researchers their roots are finding in the mythical period. Here cancellations of the analytical psychology of Carl Gustav Jung and Marie-Louise von Franz are becoming inspiring. Finally, directing a day current, which ideas of the immaturity seem to achieve apogee, though their causes in are growing out of completely different needs of the man. A short trait of the immaturity is my purpose, portraying the walk from mystical Hermes to the contemporary Peter Pan.
4
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THE CHRONOTOPE OF LOVE EXPLORED THROUGH ORHAN PAMUK’S THE MUSEUM OF INNOCENCE

38%
Vaso K.
Świat Tekstów. Rocznik Słupski
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2018
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vol. 16
139-148
EN
Through Orhan Pamuk’s novel, The Museum of Innocence, and Mikhail Bakhtin theory on the chronotope, specifically the idyllic chronotope, the article explores the specific chronotope of love which possesses a dual nature, both specific and timeless. Like all lovers, the novel’s protagonists, Füsün and Kemal belong simultaneously to the particu-lar place and time of their circumstances and the intimate world they create which tem-porarily transcends the boundaries of space and time. This private world echoes that of Adam and Eve, one suspended between the innocence and isolation of a private world and the looming threat of the real world’s interference. This dynamic between the place-less and time-less world of two and its existence within a specific place and time is espe-cially palpable in Orhan Pamuk’s novel, the very premise of which rests on the preserva-tion of a specific temporal period through artefacts, here belonging to Füsün, Kemal’s love. The eponymous museum refers to Kemal’s obsessive gathering and conservation of any item that belongs to her. The meetings of the lovers are dated with a historian’s precision and placed in the exact spot of Istanbul, the author’s beloved city. Kemal and Füsün could be Adam and Eve or any other literary couple following in their footsteps, yet their isolated world is interrupted by the noises, light and smells belonging to Istanbul alone. This specific chronotope belonging to love echoes Peter Pan’s island or Alice’s wonderland but the adult version of this private universe cannot be quite as separate from the real world. The latter can only partially escape and remains halfway trapped in its exact coordinates and time zone. My article ventures the thesis that the children’s and adult’s versions represent a similar effort to create a world of innocence and freedom though to a lesser degree in the second case.
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