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Ja tłumaczę – Ja piszę? O przekładzie wierszy autotematycznych

100%
Waligóra A.
Porównania
|
2020
|
vol. 26
|
issue 1
77-102
EN
The article describes an attempt to conduct an experimental translation of a self-referential poems with the conversion of the subjective “I who write” into the subjective “I who translate”. It contains numerous translations of three poems (written by Robert Lowell, Frank O’Hara and Jane Kenyon). They are interpreted and compared with the original works and provided with commentary, which situates them in a broader translatological and theoretical context. The translations were made by the students of the translation speciality (Wydział Filologii Polskiej i Klasycznej, Adam Mickieiwcz Univeristy in Poznań).
PL
Artykuł opisuje próbę przeprowadzenia eksperymentalnego tłumaczenia autotematycznych utworów lirycznych z zamianą podmiotowego “Ja, które pisze” na podmiotowe “Ja, które tłumaczy”. Przytoczone zostają liczne przekłady trzech wierszy (autorstwa Roberta Lowella, Franka O’Hary oraz Jane Kenyon): zostają zinterpretowane one i porównane z dziełami oryginalnymi oraz opatrzone komentarzem, sytuującym je w szerszym kontekście translatologicznym i teoretycznoliterackim. Tłumaczenia dokonały studentki specjalności przekładowej na Wydziale Filologii Polskiej i Klasycznej Uniwersytetu im. Adama Mickiewicza w Poznaniu.
2

Nie miałem prawa tak mówić o tobie, Robercie. Czesław Miłosz i poeci amerykańscy

96%
Franaszek A.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2011
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issue 25
81-92
EN
In 1946 Czesław Miłosz started his diplomatic service in the USA, which allowed him a more serious encounter with American culture, particularly with American poetry. He would observe it closely and participate in it till the end of his life. This article discusses the cultural shock experienced by Miłosz, who arrived in safe and affluent America from a Europe devastated by the war. It also talks about the poet’s distance towards American culture and about his interest, sometimes bordering on ambiguous fascination, in such authors as Walt Whitman or Robinson Jeffers. In the 1960s and 70s, as a resident of California, Miłosz argued with contemporary American poetry, Robert Lowell and Allen Ginsberg among others. His argument focused on two fundamental issues: poets’ concentration on their own experiences or their need to capture the greatest possible part of the world external to them and different understandings of nihilism. Frequently accusing confessional poets of feeling sorry for themselves, of dazzling readers with their own “I”, only towards the end of his life did Miłosz start to reveal, in such poems as This or To Allen Ginsberg, his own doubts and despairs that he had kept secret for private reasons and as part of his artistic strategy
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