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1

La ritraduzione nel panorama degli studi traduttologici

100%
Fusco F.
Translationes
|
2015
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vol. 7
|
issue 1
113-124
EN
Retranslation, intended as the «coexistence de plusieurs traductions, simultanées ou successives, de la même oeuvre (série de traductions)» (Skibińska 2007, 2), is an ancient and rather widespread phenomenon in various linguistic traditions. Drawing on some considerations that arose while studying the ever-growing bibliography on this topic, this article outlines the reasons, the effects and the modalities that distinguish this practice, which is gaining appreciation in many European literatures and cultures, foremost in the Italian one.
2
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UN COUPLE CONTROVERSÉ - L’ORIGINAL ET SA (SES) (RE)TRADUCTION(S) : LE CAS D’UN RÉCIT DE BALZAC

88%
Constantinescu M.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
|
2009
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vol. 1
139-148
EN
In the present paper, the author compares an original text with its first translation (traduction-information) and its retranslations, that is a work of fiction written by Balzac and four Romanian versions. The analysis is based on a sample (meaning the title and the introductory part of La Maison du chat qui pelote), and approaches translation as a flexible concept full of traps for translators of all times.
3
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Characters with split personalities in Nessuno torna indietro by Alba de Céspedes and the German-Polish history of the novel

88%
Miszalska J., Miszalska J.
Kwartalnik Neofilologiczny
|
2019
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issue 2
4
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On the Hermeneutic Ontology of Language in Alice’s Adventures in Wonderland and its Latest Polish Retranslation

75%
Piecychna B.
Crossroads. A Journal of English Studies
|
2017
|
vol. 18
EN
In 2015, the latest retranslation of Alice’s Adventures in Wonderland, produced by Grzegorz Wasowski, appeared on the Polish book market. As the translator explained in his afterword (Wasowski 2015: 159-173), the main aim of producing a new translation was to render the idea of the source text and to avoid word-for-word translation. Wasowski intended to render the so-called ‘English spirit’ contained within the original version by means of the richness of the Polish language. And although Wasowski accentuated the necessity for adapting a language to the wealth of human imagination, at the same time he claimed that the whole process must be completed moderately, within particular linguistic bounds. The main objective of this paper is to analyse whether the latest retranslation of Alice’s Adventures in Wonderland meets the fundamental requirements specified by its translator, that is, whether the version renders the ‘spirit’ of the source text and whether the attempts which have been made might be referred to as moderate. The facets and dimensions of language depicted by Lewis Carroll are illustrated as juxtaposed against Hans-Georg Gadamer’s ontology of language. Finally, the idea of so-called ontological parallelism is put forward, which stands for another type of equivalence, a key notion in the theory of translation.
5
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Hermeneutics, Retranslation and Paratext: a Case Study of Seamus Heaney’s Preface to His Retranslation of „Beowulf”

75%
Saki M.
Research in Language
|
2021
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vol. 19
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issue 4
353-367
EN
This paper sets to analyse the hermeneutical process of highlighting at work in the preface written by the North Irish poet Seamus Heaney to his retranslations of Beowulf (1999). My analysis takes into account the generic identity of the preface by considering it as a textual subgenre where the translator becomes a metatranslator to voice herself out of invisibility, engages in a (self-reflexive) hermeneutical analysis and “justification” by commenting on the choice of the translated work and their translation choices. The analysis is carried out with the help of two concepts elaborated by Gadamer: situatedness and self-understanding to show how Seamus Heaney fuses different horizons in the process of his retranslation.
6
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Dlaczego się tłumaczy ponownie: nowe ukraińskie odczytania polskiej prozy

63%
Saweneć A.
Przekłady Literatur Słowiańskich
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2018
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vol. 9
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issue 1
283-297
EN
The paper focuses on the issue of retranslation perceived as a significant aspect of contemporary practice of literary translation into Ukrainian, exemplified by the cases of the retranslation of short stories by Bruno Schulz and Tadeusz Konwicki’s Minor Apocalypse. The emergence of new translations within a short time encourages questions about the ambitions that drove translators and publishers to present new translations of the previously translated literary works, as well as about the strategies used by translators.
PL
Artykuł poświęcony jest zagadnieniu ponownego tłumaczenia będącego ważnym elementem współczesnej praktyki tłumaczenia literackiego na język ukraiński na przykładzie nowych przekładów opowiadań Brunona Schulza i Małej Apo¬kalipsy Tadeusza Konwickiego. Pojawienie się nowych przekładów po upływie względnie krótkiego czasu prowokuje pytania o motywy pobudzające tłumaczy i wydawców do publikacji nowych przekładów wcześniej tłumaczonych dzieł, a także o stosowane przez tłumaczy strategie.
7
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Nad slovenskými prekladmi Wisławy Szymborskej

63%
Obertová Z.
Przekłady Literatur Słowiańskich
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2017
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vol. 8
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issue 2
159-178
PL
Artykuł poświęcony jest słowackim przekładom poezji Wisławy Szymborskiej, która w roku 1996 została nagrodzona nagrodą nobla. 20 lat później w języku słowackim ukazały się dwa zbiory polskiej poetki. autorka artykułu podsumowuje wszystkie przekłady poezji Wisławy Szymborskiej, które zostały wydane na Słowacji w postaci książkowej lub w czasopismach od roku 1952, czyli od debiutu poetki. Wiele z wierszy zostało przełożonych na język słowacki kilkakrotnie, w artykule poświęcono więc szczególną uwagę fenomenowi serii translatorskiej. Autorka analizuje i porównuje przekłady w serii trzech różnych wierszy poetki.
EN
This paper deals with the Slovak translations of poems by Wisława Szymborska who was awarded nobel Prize in 1996. Twenty years later two collection of her poems were published in the Slovak language. The author of this paper summarized all translations of W. Szymborska’s poems into the Slovak language which have been published in literature magazines as well as books since 1952, the year of the poet’s debut. Since some poems were translated more than once by different translators, the phenomenon of retranslation is also discussed. various translations of three poems are compared and analyzed in the paper as well.
8
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Jakość tłumaczenia w serii translatorskiej – pieśń miłosna na sześć głosów

62%
Kaźmierczak M.
Forum Poetyki
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2018
|
issue 14
6-39
EN
The paper is an attempt to explore the interrelation between the notions of quality and seriality in literary translation. The point of departure is provided by theoretical considerations on translation series and by an expectation of quality increase to some extent inscribed in this concept. With a view to mapping quality trends in an actual translation series, five Polish renditions of T.S. Eliot’s “The Love Song of J. Alfred Prufrock” are surveyed. Four aspects important for the poem’s poetics are investigated comparatively and the results are then formalized. The aim is not to assess the ‘excellence’ of the target texts, but rather to map ‘quality patterns’ that can be observed in the particular aspects of poetics as the series develops.
PL
Przedmiot artykułu stanowi zagadnienie jakości przekładu w ramach serii translatorskiej. Autorka wychodzi od przypomnienia rozważań teoretycznych na temat serii i od potencjalnie wpisanego w ten koncept oczekiwania wzrastających walorów kolejnych ogniw. Zbadaniu fluktuacji jakości w rzeczywistej serii przekładowej posłużyło pięć polskich tłumaczeń Pieśni miłosnej J. Alfreda Prufrocka T.S. Eliota. Analizie poddano cztery istotne dla poetyki poematu aspekty oryginału i przekładów oraz zestawiono rezultaty w poszczególnych sferach. Celem pracy jest nie tyle krytyka przekładów, co próba wymodelowania zmian jakościowych, jakim podlegały różne aspekty poetyki utworu wraz z przyrastaniem serii.
9
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Subjectivity in (Re)Translation: The Case of Oscar Wilde’s Tales in Romanian

51%
Hăisan D.
Lublin Studies in Modern Languages and Literature
|
2020
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vol. 44
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issue 1
DE
Der Artikel enthält das Abstract auschließlich in englischer Sprache.
EN
Based on a corpus of nine tales by Oscar Wilde (making up the two well-known volumes: The Happy Prince and Other Stories, 1888, and A House of Pomegranates, 1891), along with nine Romanian versions of these texts, the present article aims at reflecting on the linguo-semantic expression of emotion (with a focus on subjective adjectives like little, big, poor etc.), as well as making an inventory of the compensation strategies used by translators, taking into account the fact that most Romanian versions are addressed to children, and also that translation criticism, just like translating itself, is a matter of instinct, taste, affinity, finally emotion.
FR
L'article contient uniquement le résumé en anglais.
10
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Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

51%
Minier M.
|
2017
|
vol. 16
|
issue 31
89-108
EN
This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.
11
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Three Translators in Search of an Author: Linguistic Strategies and Language Models in the (Re)translation of Shakespeare’s Plays into Catalan

51%
Pujol D.
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2017
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vol. 16
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issue 31
41-59
EN
This article shows how the language of Shakespeare’s plays has been rendered into Catalan in three especially significant periods: the late 19th century, the early 20th century, and the late 20th and early 21st centuries. The first section centres on the contrast between natural and unnatural language in Hamlet, and considers how this differentiation is carried out (by linguistic techniques that differ substantially from Shakespeare’s) in a late 19th-century Catalan adaptation by Gaietà Soler. The second part of the article investigates the reasons why in an early 20th-century translation of King Lear the translator, Anfòs Par, resorts to medieval instead of present-time language. The last section of the article illustrates how and explores the motivations why Salvador Oliva’s first (1985) version of The Tempest is retranslated in 2006 using a different language model. The ultimate aim of the paper is to put forward the hypothesis that, in the case of Catalan, Shakespearean translations are both a reflection of the current state of the language and a major linguistic experimentation that shapes and creates (sometimes through a via negativa) the Catalan literary language.
12
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Alice u Ukrajini ili o ukrajinskim prijevodima djela Lewisa Carrolla

45%
Vasiljeva L.
Libri & Liberi
|
2015
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vol. Vol 4
|
issue 4.2
395-413
HR
U ovome članku cilj je predstaviti postojeće ukrajinske prijevode knjige Alice’s Adventures in Wonderland i njihove autore, obratiti pozornost na neke razloge pojavljivanja ponovnih prijevoda djela Lewisa Carrolla u posljednje vrijeme, pokazati određene aspekte prevoditeljskoga rada svojstvene ukrajinskim prijevodima koji služe, prije svega, kao sredstvo ekvivalentnoga prijenosa stvaralačkih mogućnosti teksta Lewisa Carrolla ukrajinskim čitateljima. Knjiga je sve popularnija u Ukrajini, u posljednjih 10 – 15 godina bila je objavljena četiri puta. Ponovni prijevodi Aličinih pustolovina u Čudozemskoj, iako su svojevrsna reakcija prevoditelja na zahtjeve naručitelja, produžuju komunikacijski lanac književne recepcije koji ponovo prelazi jezične granice i privlači u krug poštovatelja Lewisa Carrolla nove čitatelje, otvarajući im bezgraničnu smislenu perspektivu priče o Alici. Sačuvavši opću ekvivalentnost originalu, svaki prevoditelj pokušavao je primijeniti stvaralački arsenal jezičnih sredstava koja postoje u ukrajinskome jeziku imajući u vidu, kao što je i sâm Lewis Carroll zamislio, različite skupine čitatelja.
EN
The aims of this paper are to introduce existing Ukrainian translations of Alice’s Adventures in Wonderland and their respective translators; to discuss some reasons for recent retranslations of Lewis Carroll’s works; and to show some aspects of translators’ work which are characteristic of translations into Ukrainian and which primarily serve as a means of transferring the equivalent of the creative attributes of Lewis Carroll’s text for Ukrainian readers. The book is gaining in popularity in Ukraine and has been published four times in the last 10 to 15 years. Although it may be said that recent retranslations of Alice in Wonderland show the translators’ response to the demands from the publishers, these retranslations also expand the communication chain of literary reception which continues to cross linguistic boundaries, bringing new readers to the circle of Carroll’s admirers and opening up to them the boundless meaningful perspective of the Alice story. Preserving general equivalence to the original, each translator has tried to make use of the creative arsenal of language resources that exist in the Ukrainian language, bearing in mind – much like Lewis Carroll himself – different groups of readers.
DE
Im Beitrag werden zuerst die vorhandenen ukrainischen Übersetzungen des Werkes und deren Autoren vorgestellt, um dann auf die Gründe dafür einzugehen, warum in der Ukraine in der letzten Zeit Carrolls Werke neu aufgelegt werden. In diesem Zusammenhang wird auf bestimmte Aspekte der Übersetzungsarbeit hingewiesen, die den ukrainischen Übersetzungen eigen sind und die vor allem als Mittel der äquivalenten Übertragung der schöpferischen Möglichkeiten des Textes von Lewis Carroll dienen, die speziell auf den ukrainischen Lesern ausgerichtet sind. Carrolls Buch gewinnt in der Ukraine an Popularität, weshalb es auch in den letzten fünfzehn Jahren vier Mal herausgegeben wurde. Obwohl Neuausgaben eine Reaktion der Übersetzer auf bestimmte Forderungen der Auftraggeber darstellen, erweitern diese zugleich die Kommunikationskette der literarischen Rezeption eines Werkes. Sie überwinden immer wieder die Sprachbarrieren und begeistern neue Leser für Carrolls Werk, indem sie ihnen die grenzenlose Sinnperspektive der Geschichte über Alice immer wieder aufs Neue eröffnen. Dabei bemüht sich jeder Übersetzer um die Erhaltung der allgemeinen Äquivalenz seiner Übersetzung, verwendet jedoch das ihm in der ukrainischen Sprache zur Verfügung stehende schöpferische Sprachpotential, um auf diese Weise zugleich − gemäß den Vorstellungen von Carroll − verschiedene Leserschichten zu erreichen.
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