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1
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Slang in animated cartoons: Translation peculiarities

100%
Bondarenko K.
Linguistics Beyond and Within
|
2019
|
vol. 5
17-28
EN
The research focuses on analysing the function of slang in modern cartoons (Madagascar 2, Kung Fu Panda, Shrek, Open Season, Cars) as well as translation strategies used to convey accurate meaning. Our data from film scripts (163 examples containing slang terms) has proved that slang, as an important part of cartoons’ verbal component, should be and mainly retained in translation. Excerpts from original cartoons scripts show slang use, that may function both for the protagonists’ characterisation and for the mapping of humor (carnivalesque) world picture. Componential analysis of meaning – breaking down the sense of slang terms into their minimal distinctive features – was used to determine the meaning of lexemes and reconstruct semantic domains actively verbalised by slang. The assumption has been made that due to the universality of domains slang can be potentially translated in most cases. Componential analysis is particularly applicable to semantically related lexemes (in one language or comparable ones). A thorough analysis of slang translation showed the employment of the following strategies: stylistic compensation (50.3%), literal translation (44.7%), omission (4.9%) and cultural equivalence (0.1%). As seen, a substantial proportion of the slang words can be translated from English into Ukrainian without significant loss of meaning. The neutralisation of slang appears to be inevitable in some cases.
2
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The Subversive Play of Kaytek the Wizard (by Janusz Korczak)

88%
Slany K.
Filoteknos
|
2019
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issue 9
249–260
EN
The article at hand tackles the subversive play of Kaytek the Wizard’s character and the constructions of childhood in the prose of Janusz Korczak. The novel, Kajtuś Czarodziej (Kaytek the Wizard) serves as the source material for an analysis which shows childhood in the convention of a ‘world upside-down’ – the typical carnivalized vision of the world found in literature dedicated to young people. In such literature, the carnival is associated with the motif of having ‘great fun’ which is a marker of children’s folklore and subculture. However – and this is something atypical for Polish children’s prose – Korczak’s novel includes a motif of subversive play during which a child overturns and deconstructs the reality governed by the social rules determined and enforced by adults. Such a form of play is revolutionary by its very nature and the child-character becomes somewhat demagogic. A consequence is that he is capable of perverting or denaturalizing the usual order, and grotesquely implementing a reversed one. In the novel explored, the subversive play of Janusz Korczak’s child-character fits into a carnivalesque paradigm of childhood and may be illustrative of ‘dark paidocracy’.
3
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Mary Poppins, Mr. Inkblot and Pippi Longstocking as Three Embodiments of the Fool Figure

88%
Czernow A. M.
Filoteknos
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2019
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issue 9
275–290
EN
This article analyzes three characters created by Astrid Lindgren, Pamela L. Travers, and Jan Brzechwa. Pippi Longstocking, Mary Poppins, and Mr. Inkblot, the title characters of classic fantasy fiction for children, are discussed through their appearances, identity, as well as status and interpreted as embodiments of a fool defined as the central figure of carnivalesque in accordance to Mikhail Bakhtin theory.
4
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Obraz Jaryły w wierszach Siergieja Gorodieckiego

88%
Potyrańska A.
Acta Polono-Ruthenica
|
2019
|
vol. Tom 1 Nr XXIV
113-128
EN
This paper offers to divagate on the matter of mythopoeic view on Slavic god – Jarilo – in poems of Sergey Gorodetsky (from ”Ярь” tome(1905)). The etymology of ”Jarilo” name was analyzed. It symbolizes strength flowing from youth, severity, and even spring, of which arrival was celebrated in a special way, that required a particular time-space. Our task is to track, in what extend Russian poet uses Slavic folk traditions, and reflects them in his works, and to what extend he modifies traditional motifs. There is a reference i.e. to Vyacheslav Ivanov and Vladimir Toporov findings. We underlined the relations between celebration of Jarila holidays with Bakhtin’s concept of life carnivalesque.
5
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Thomas Dekker and the Spectre of Underworld Jargon

75%
Sarkar A.
Anglica. An International Journal of English Studies
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2014
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issue 23/1
129-139
EN
My paper seeks to locate Thomas Dekker’s handling of underworld jargon at the interface of oral and literary cultures. The paper briefly looks at a play co-authored by Dekker and then examines two “coney-catching pamphlets” by him to see how he tries to appropriate cant or criminal lingo (necessarily an oral system) as an aesthetic/commercial programme. In these two tracts (namely, The Bellman of London, 1608; Lantern and Candlelight, 1608) Dekker makes an expose´ of the jargon used by criminals (with regard to their professional trappings, hierarchies, modus operandi, division of labour) and exploits it as a trope of radical alienation. The elusiveness and ephemerality of the spoken word here reinforce the mobility and deceit culturally associated with the thieves and vagabonds – so that the authorial function of capturing cant (whose revelatory status is insistently sensationalized) through the intrusive technologies of alphabet and print parallels the dominant culture’s project of in-scribing and colonizing its non-conforming other. Using later theorization of orality, the paper will show how the media of writing and print distance the threat inherent in cant and enable its cultural surveillance and aesthetic appraisal.
6
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From Masque to Masquerade: Monarchy and Art in Andrew Marvell’s Poems

75%
Łączyńska K.
Anglica. An International Journal of English Studies
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2014
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issue 23/1
115-127
EN
A considerable number of Andrew Marvell’s poems contain reference to various forms of visual arts. Marvell’s use of this type of imagery frequently leads to some type of transformation of a psychological, spiritual, political or social reality, with more or less overt allusions to the Neoplatonic notions of sublimation. However, this predominantly Neoplatonic notion of art, characteristic of Marvell’s earlier lyrics, disappears from his Restoration poems. In the satires, art, instead of idealising and elevating the corporeal, is rather dragged into the sphere of matter, where, together with the objects of the poet’s mockery, it undergoes a carnivalesque deformation. Such a degradation or carnivalisation of art imagery in Marvell’s Restoration satires is not only generically conditioned, but has its roots in the political, social and philosophical legacy of the Republic.
7

Karnawalizacja śmierci w literaturze rosyjskiej lat trzydziestych XX wieku

63%
Kotkiewicz A.
Slavica Wratislaviensia
|
2018
|
vol. 167
339-348
EN
The carnivalesque of the death in the Russian literature of the 1930s Russian literature in the 30s of the 20th century developed within the totalitarian sphere, recording and mirroring the horror of the Stalinist reality. The impossibility of a direct expression of one’s own pain and grieving over death which was often associated with a sudden disappearance and a necessity to erase the beloved from one’s memory guided the artists’ attention towards new forms of expression. The works which represent a variety of genres and styles, such as Nikolai Erdman’s drama The Suicide, Daniil Kharms’s novel The Old Woman, as well as The Blue Book of Mikhail Zoshchenko, can be seen as examples of the use of carnivalesque which I understand as a defence strategy towards the omnipresent experience of death. I analysed the following features of carnivalesque: satire, grotesque, “black humour”, absurd, laughter, which are used in the above mentioned works.
RU
Карнавализация смерти в русской литературе30-х годов XX века Во многих произведениях русской литературы 30-х годов XX века, возникших вне эстетики соцреализма, кошмар отождествляется с тоталитарной действительностью. Невозможность непосредственно выразить страдание и оплакать смерть близких направляла писателей к поискам новых форм их передачи. Такие отличающиеся друг от друга по жанровым и стилистическим особенностям произведения, как драма Самоубийца Николая Эрдмана, повесть Старуха Даниила Хармса, а также Голубая книга Михаила Зощенко, являются примерами карнавализации, которая воспринимается как защитная стратегия по отношению к смерти. В данной статье анализу подвергаются следующие приемы карнавализации: сатира, гротеск, черный юмор, абсурд и смех, характерные для выше упомянутых произведений.
8
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Pedagogie kabaretu – wstęp do tematu

51%
Lewartowicz U.
Kultura i Edukacja
|
2021
|
issue 1(131)
96-108
PL
Artykuł ma charakter przyczynkowy i stanowi wprowadzenie do tematu pedagogii kabaretu. Kabaret, jako ważny obszar współczesnej kultury popularnej oraz odrębny gatunek sztuki, pełni określone funkcje społeczne, estetyczne i edukacyjne. Jest nośnikiem krytyki, formą demaskowania rzeczywistości oraz budowania opartej na śmiechu wspólnotowości. Korzystając z typowych dla siebie środków, takich jak: ironia, groteska czy satyra, kabaret realizuje swoją nadrzędną funkcję, jaką jest przekraczanie tabu oraz podawanie w wątpliwość tego, co oczywiste. Osadzony w kulturze popularnej kabaret charakteryzuje się tak zwaną niepełnością semantyczną, a więc generowaniem fragmentarycznych i wyrywkowych znaczeń, inicjujących procesy myślowe. Punktem wyjścia do podjętych w tekście rozważań jest pedagogiczna teoria kabaretu opracowana w latach 70. XX wieku przez niemieckiego badacza Jürgena Henningsena, będąca impulsem do myślenia o kabarecie w kategoriach publicznej pedagogii, a konkretnie tak zwanych pedagogii przewrotnych - opozycyjnych wobec pedagogii głównego nurtu. W opracowaniu zasygnalizowano i omówiono pokrótce trzy zasadnicze tropy kabaretowych pedagogii - pedagogię ironiczną i groteskową, karnawalizującą oraz błazeńską.
EN
The article is of a contributory nature and is an introduction to the topic of cabaret pedagogy. Cabaret, as an important area of contemporary popular culture and a separate genre of art, performs specific social, aesthetic and educational functions. It is a carrier of criticism, a form of exposing reality and building a community based on laughter. By using its usual means, such as irony, grotesque or satire, cabaret performs its overriding function, which is to transgress taboos and to question the obvious. The cabaret, embedded in popular culture, is characterized by the so-called semantic incompleteness, that is, it generates fragmentary and random meanings that initiate thought processes. The starting point for the considerations undertaken in the text is the pedagogical theory of cabaret developed in the 1970s by the German researcher Jürgen Henningsen, which was an impulse to think about cabaret in terms of public pedagogy, specifically the so-called perverse pedagogy - in opposition to mainstream pedagogy. The study highlights and briefly discusses three basic traces of cabaret pedagogy - ironic and grotesque, carnival and clown pedagogy.
9

Carnival Revisited: The Return of the Clown in Thomas Ligotti’s “The Last Feast of Harlequin”

51%
Antoszek P.
Roczniki Humanistyczne
|
2014
|
vol. 62
|
issue 5: Neofilologia
135-144
EN
Although carnival as a social phenomenon has been virtually eliminated from cultural life, carnivalesque imagery seems to pervade a lot of contemporary writing. In Thomas Ligotti’s “The Last Feast of Harlequin” a modern winter festival turns out to be only a mask for a sinister underground anti-fertility rite. The article explores the ways in which horror literature uses carnival’s transgressive potential and leading images to create an ambivalent space of chaos, evil, and perversity. In a truly grotesque reversal of carnival spirit, the Bakhtinian rejuvenating laughter is replaced by a mourning chant and celebration of “many shapes of death.” What is more, the dark ceremony in the story may be seen as an enactment of the narrator’s own pathological obsessions and private terrors. By revealing a contemporary festival’s hidden meaning and function, the story seems to comment upon the very process of the cultural suppression of carnival and gothic fiction’s subsequent appropriation of various cultural abjections framed in carnival’s ambivalent aesthetics.
PL
Mimo że karnawał jako zjawisko społeczne został niemal zupełnie wyeliminowany z życia kulturalnego, elementy karnawałowej estetyki odnaleźć można w wielu współczesnych tekstach literackich. W opowiadaniu Thomasa Ligottiego „The Last Feast of Harlequin” karnawałowe święto okazuje się jedynie maską dla ponurego, podziemnego rytuału. Celem niniejszego artykuł jest przedstawienie jednego ze sposobów, w jaki literatura horroru wykorzystuje transgresję i karnawałową poetykę do tworzenia własnej ambiwalentnej przestrzeni. Przerażający podziemny rytuał wopowiadaniu jest nie tylko groteskowym odwróceniem bachtinowskiego „święta głupców”, ale także odzwierciedleniem osobistych lęków i obsesji narratora. Odsłaniając ciemne aspekty współczesnego świętowania, opowiadanie Ligottiego staje się komentarzem na temat samego procesu marginalizacji praktyk karnawałowych i jednoczesnego pojawienia się poetyki karnawałowej wliteraturze gotyckiej.
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