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1

Trzy niby‑odsłony – trudności Petroniuszowego Satyrikonu z odbiorem w kulturze polskiej

100%

Arndt A.

Między Oryginałem a Przekładem

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2014

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vol. 26

53-77

EN

The Satyricon of Petronius (first century AD) is one of the masterpieces of world literature. While in Europe it was regularly translated from the seventeenth century, these translators in Poland caught him until the early twentieth century. First the most famous part of the work, The Banquet of Trimalchio, translated Leopold Staff. Subsequently, Satyricon was translated by Mieczysław Brożek (1968) and Leszek Wysocki (2011). Unfortunately, the translations will not be permanently engraved in Polish culture. The causes of this condition were the lack of ability of some translators, improper practices of publishing and finally the excessive conservatism of the critics.

2

Niewydane tłumaczenie epigramów Sarbiewskiego, czyli uwagi o działalności przekładowej prof. Zofii Abramowiczówny

88%

Witczak K. T.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2021

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vol. 31

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issue 2

143-154

PL

The paper describes a Polish translation of M. K. Sarbiewski’s Latin epigrams made by Zofia Abramowicz (1906–1988) during the interwar period. These epigrams (partially preserved) were prepared to be published in 1939 or 1940 by Prof. Ryszard Ganszyniec in his „Filomata” Press. Abramowicz’s translational work seems to be a part of history of the classical philology in Poland.

3

O przekładach sury Al-Fātiha na język polski

88%

Dziekan M.

Przegląd Orientalistyczny

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2020

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issue 1 (273)

3-19

EN

The article is devoted to the analysis of Polish translations of the first sura of the Quran, Al-Fātiḥa (“The Opening sura”). The analysis covers 14 translations from the years 1830-2018, both direct translations from Arabic, as indirect – from English, French, Russian and German. The analysis focuses especially on some particular words and expressions, notably Basmala and Allāh. The analysis is preceded by a short introduction describing the role of Al-Fātiḥa in Muslim faith and everyday life.

4

The Law as Presented in the Polish Renditions of William Shakespeare’s "The Winter’s Tale"

75%

Jaworska-Biskup K.

Acta Neophilologica

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2021

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vol. XXIII/1

259-278

EN

This paper addresses the topic of the law and legal vocabulary in William Shakespeare’s The Winter’s Tale and its Polish translations. Focus has been directed towards the trial scene of Hermione, one of the major characters of this play. By comparing the Polish renditions of the scene against the English original, the article attempts to present how Polish translators have reflected on the law as presented by Shakespeare and whether they have managed to recreate the law-embedded images and reconstruct the legal language of the source text in the target culture.

5

Miljenko Jergović w Polsce i o Polsce — na marginesie komentarza do powieści Wilimowski

63%

Kurtok A.

Przekłady Literatur Słowiańskich

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2017

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vol. 8

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issue 2

37-49

HR

U članku se sintetično ukazuje književnu nazočnost Miljenka Jergovića u Poljskoj te se pregledava poljske prijevode njegovih djela. Predstavlja se Jergovićeve veze s Poljskom, npr. njegovu suradnju s Magdalenom Petryńskom (prevoditeljicom svih poljskih izdanja njegovih romana) i njezin utjecaj na piščevu popularnost u našoj zemlji. U odnosu na to, članak se koncentrira na Jergovićevu najviše poljskom djelu — (kratkom) romanu Wilimowski. Zahvaljajući Petryńskoj roman je bio objavljen u Poljskoj u travnju 2016., što je bila svjetska premijera ove knjige u tiskanom izdanju. U članku se ukratko prezentira okolnosti izdanja poljskog prijevoda Wilimowskog, razloge piščevog interesa za Poljsku (između ostalog za naslovni lik romana — poljskog nogometaša Ernesta Wilimowskog) te recepciju knjige u Poljskoj. isto tako se ukazuju osnovne crte Jergovićevog književnog rada npr. naracijska strategija ili najčešće teme koje se pojavljuju u njegovim djelima.

EN

The article gives a brief summary of Miljenko Jergović’s literary presence in Poland. It concentrates upon the writer’s poems, short stories, novels and essays hitherto translated into Polish and published in Poland. Additionally, jergović’s manifold connections with Poland are presented, starting with the history of his cooperation with Magdalena Petryńska, who translated all of his novels into Polish. This translator’s impact on the writer’s popularity in our country is underscored. Within this scope, the article concentrates on the Jergović’s “most Polish” work, a short novel entitled Wilimowski. Thanks to Petryńska’s efforts, the book was published in Polish in april 2016, which constituted the novel’s world premiere. The article concisely addresses and describes the circumstances of Wilimowski’s several editions, concurrently discussing motives behind the writer’s interest in Poland (among others, the novel’s protagonist — a Polish football player Ernest Wilimowski), and the book’s reception in Poland. Last but not least, Jergović’s writing technique is characterized along with leitmotifs of his literary works.

6

Przekłady literatury słoweńskiej w Czechach i w Polsce w latach 1990—2006

63%

Jamnik T.

Przekłady Literatur Słowiańskich

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2009

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vol. 1

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issue 1

295-312

SL

Na podlagi pregleda prevodov slovenske literature na Češkem in Poljskem v zadnjih sedemnajstih letih avtorica pokaže razlike in podobnosti med kulturno podobo Slovenije v zavesti teh dveh narodov. Obdobje razdeli na dva dela, pred letom 2000, ko za leposlovne prevode iż slovenščine skrbijo predvsem posamezni prevajalci t. i. starejše generacije, in po njem, ko je v obeh deželah zaradi priliva nove generacije prevajalcev opazen bistven porast knijžnih prevodov. Analiza leposlovnih prevodov w knijžni obliki, pa tudi prevodov, objavljenih v periodičnem tisku in na spletu, je pokazala, da je med stanjem w češkem in poljskem prostoru še vedno opaziti bistveno nesorazmerje.

EN

In this review od Czech and Polish translations of Slovene literature in the past 17 years, the author shows diversity and resemblance in the cultural image of Slovenia in the collective consciousness of the two nations. The chosen era of research falls into two distinct periods. In the first, before the year 2000, the translations lied solely on the shoulders of individual translators, members of the „old” generation. The second period is characterized with a great outburst of translated Slovene literature by the young generation of traslators. Trough analysis and comparison of translated books and translations published in journals and on the internet in the Czech Republic and Poland the author draws our attention to the discrepancy in the amount of translated publications. The article explores the possible reasons for these changes and differences in the field of Slovene translated literature in the two related countries.

7

From Euphemisms to Vulgarisms: Translating King Lear’s Misogynistic Monologue (Act IV, Scene 6) into Polish

63%

Cebrat G. A.

Półrocznik Językoznawczy Tertium

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2020

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vol. 5

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issue 1

77-96

PL

Artykuł jest próbą analizy technik i metod zastosowanych przez tłumaczy w trakcie przekładu wyrazów i wyrażeń obscenicznych występujących w tragedii Williama Shakespeare’a Król Lear na język polski. Analiza skupia się na tłumaczeniach monologu szalonego króla (Akt IV, scena 6, wersy 107-132), który jawi się jako mizoginistyczny atak na kobiety, seksualność, oraz cudzołóstwo. Materiał tekstowy stanowi 15 przekładów sztuki, począwszy od najstarszego tłumaczenia, dokonanego przez Ignacego Hołowińskiego i opublikowanego w 1841 roku, a skończywszy na wersji Jerzego S. Sity z roku 2001. Artykuł analizuje wybrane zdania i jednostki leksykalne, pochodzące z siedmiu fragmentów monologu, pod kątem technik i strategii tłumaczeniowych zastosowanych przez poszczególnych tłumaczy przy przekładaniu pojęć uważanych za nieprzyzwoite, a dotyczących kobiecego ciała, seksu, rozpusty, cudzołóstwa, itp. Przeprowadzona analiza wykazuje ewolucję sposobów przekładu, związanych z epoką w której polski tekst powstał i jej uwarunkowaniami kulturowo-społecznymi, a także z rozwojem badań nad twórczością i językiem Shakespeare’a, i pozwala śledzić zmiany, począwszy od eufemistycznego stylu tłumaczeń powstałych w XIX. wieku, poprzez filologiczne tłumaczenia Tarnawskiego i Chwalewika, a skończywszy na współczesnych, miejscami ‘niecenzuralnych,’ tekstach Słomczyńskigo, Barańczaka, a zwłaszcza Sity, który nie zawahał się użyć wulgaryzmów.

EN

The paper investigates the issue how Polish translators of William Shakespeare’s King Lear dealt with rendering Lear’s monologue (Act IV, Scene 6, ll. 107-132), being a misogynistic tirade of the mad king against adultery, sexuality, and women in general. The play was translated into Polish at least fifteen times in the 19th and 20th centuries, beginning with the oldest published rendition by Ignacy Hołowiński (1841) and concluding with the most recent one by Jerzy S. Sito (2001). The paper analyses seven selected fragments taking into consideration lexical and stylistic choices made by the translators of the monologue in order to show how changing attitudes to sexual taboo and Shakespearean obscenities affected the translations in question. The analysis reveals the evolution of translators’ attitudes to those issues (also affected by contemporary Shakespearean research): from euphemistic treatment of the topic in the 19th century, through philological translations of Tarnawski and Chwalewik, to unrestricted modern renditions of Słomczyński and Barańczak, and the extreme case of straightforward obscene translation of Jerzy S. Sito

8

Dvadeset pet godina bilježenja prijevoda: hrvatsko i poljsko ogledalo

63%

Gverić Katana P., Kurtok A.

Przekłady Literatur Słowiańskich

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2016

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vol. 7

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issue 2

35-52/53-72

HR

U članku se skicira slika hrvatske književnosti u ciljnoj, poljskoj kulturi, kao i vice versa, koje se formiraju tijekom 25 -godišnjeg razdoblja. Temelji se ona uglavnom na bibliografijama i komentarima objavljenima u časopisu „Przekłady Literatur Słowiańskich”, koji već desetak godina sustavno i detaljno bilježi i opisuje prijevode slavenskih književnosti. Analiza monografskih izdanja, kad je hrvatska književnost u pitanju, pokazuje da izbor poljskih prevoditelja pada na egzilnu literaturu, koja dobrim dijelom nije bila smatrana kanonom, te djela autora s graničnih područja jezika i kultura bivše Jugoslavije, i tematski se veže uz jugonostalgiju, ratne traume i potragu za identitetom. Hrvatska književnost — i kultura — u Poljskoj često stoga nose ponajprije odrednicu „balkanskog” i „postjugoslavenskog”. S druge strane, poljska književnost u hrvatskim prijevodima uglavnom se predstavlja reprezentativnim autorima, čiji se opus smatra kanonskim i u izvornoj kulturi. Ogledanje jedne kulture u drugoj donosi širu sliku predstavljanja Drugoga i otvara problem odnosa kulturne auto - i heteropredodžbe.

EN

In this article, we have tried to draw an image of Croatian literature in Polish culture, as well as vice versa, in the last 25 years, based on bibliographies and articles on translations in PLS. It has been concluded that, due to translators’ choices of Croatian exile literature, works perceived in the source culture as non -canon, themes related to war, Yugonostalgia and authors whose work belong to the “borderline” of a few nations, Croatian literature in Poland exists as “Balkan” literature. On the other hand, choices of Polish literature in Croatia mainly concerns classic Polish authors. Both cases draw a wider picture of national imagery — a hetero -image — in the target culture.

9

Clytemnestra Rejoicing

51%

Bibik B.

Meander

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2022

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Trzy niby‑odsłony – trudności Petroniuszowego Satyrikonu z odbiorem w kulturze polskiej

Niewydane tłumaczenie epigramów Sarbiewskiego, czyli uwagi o działalności przekładowej prof. Zofii Abramowiczówny

O przekładach sury Al-Fātiha na język polski

The Law as Presented in the Polish Renditions of William Shakespeare’s "The Winter’s Tale"

Miljenko Jergović w Polsce i o Polsce — na marginesie komentarza do powieści Wilimowski

Przekłady literatury słoweńskiej w Czechach i w Polsce w latach 1990—2006

From Euphemisms to Vulgarisms: Translating King Lear’s Misogynistic Monologue (Act IV, Scene 6) into Polish

Dvadeset pet godina bilježenja prijevoda: hrvatsko i poljsko ogledalo

Clytemnestra Rejoicing