Статията представя творческия път на българския поет Николай Кънчев (1936-2007) и интерпретира негови творби, събрани в полскоезичния сборник Przeciwko nieobecności (2020) в превод на Войчех Галонзка. Текстът очертава контекстите на полската и българската рецепция на неговата поезия. В родината си поетът е категорично отхвърлен от критиката за първите си две сбирки Присъствие(1965) и Колкото синапеното зърно (1968), което води до дългогодишно мълчание (1968-1980) и успешно, макар заксъняло признание от 90-те години на ХХ век насетне. В Полша творческото присъствие на Кънчев става възможно от 80-те години на века благодарение на дългогодишните усилия на преводача Войчех Галонзка. Прегледът на литературноисторическите изследвания и оценки позволява идейните и естетическите избори в поезията на Кънчев да се окачествят с понятията неокласицизъм, метареализъм, концептуализъм, философски интелектуализъм, лаконичност и парадоксалност.
EN
This article presents analyses and interpretations of the work of the Bulgarian poet Nikolay Kanchev (1936-2007), collected in the Polish-language volume Against the Absence (2020), translated by Wojciech Gałązka. It takes into account the critical context of the Polish and Bulgarian reception of Nikolay Kanchev’s poetry. The presence of Nikolay Kanchev’s work in Poland since the 1980s is possible thanks to the long-standing efforts of his translator, Wojciech Gałązka. In his homeland, the poet experienced the censorship’s rejection of his first two volumes Presence (1965) and As a Mustard Seed (1968), many years of silence (1968-1980), and a successful but belated reception since the 1990s. A review of historical-literary studies makes it possible to identify the ideological and aesthetic choices of Kanchev’s poetry - neoclassicism, metarealism, conceptualism, philosophical intellectualism, laconicism, and paradoxicality.
The aim of the article is to discuss the latest translation initiatives by Wojciech Gałązka, a Bulgarian and literary scholar from Krakow, and a brilliant translator of Bulgarian prose and poetry. Over the course of several months, between 2019 and 2020, seven works by Bulgarian writers and poets translated by Wojciech Gałązka were published: the novel Under the Yoke by Ivan Vazov (2020); the books of poetry: Revealed from Anywhere by Petar Parvanov (2019), Seasons of Feelings by Petar Karaangov (2020), Moon Spots by Nikolay Liliev (2020), A Dream of Happiness by Pencho Slaveykov (2020), as well as poetic prose and poems included in the collection Against the Absence by Nikolay Kantchev (2020). The review of Gałązka’s translation initiatives included in the article has been supplemented with a commentary on specific problems related to both translation practices (sound and grammatical structures, translatability of idiomatic expressions, taking into account a literary convention in the process of translation) and broader issues related to the understanding of translation as a transfer between cultures (the requirement of mastering the contexts and traditions of both cultures that the translation concerns) and the understanding of the role of the translator himself, whom Gałązka describes as a careful reader and intermediary between cultures.
PL
Celem artykułu jest omówienie najnowszych inicjatyw przekładowych Wojciecha Gałązki, krakowskiego bułgarysty, literaturoznawcy i wybitnego tłumacza bułgarskiej prozy i poezji. W ciągu kilkunastu miesięcy, między 2019 a 2020 rokiem w przekładzie Gałązki ukazało się siedem utworów bułgarskich pisarzy i poetów: powieść Pod jarzmem Iwana Wazowa (2020); tomy poetyckie: Skądkolwiek wyjawiony Petyra Pyrwanowa (2019), Sezony uczuć Petyra Karaangowa (2020), Odblaski księżyca Nikołaja Liliewa (2020), Sen o szczęściu Pencza Sławejkowa (2020) oraz proza poetycka i wiersze zawarte w tomie Przeciwko nieobecności Nikołaja Kynczewa (2020). Zawarty w artykule przegląd inicjatyw translatorskich Gałązki uzupełniony został omówieniem konkretnych problemów związanych zarówno z praktyką przekładową (struktury brzmieniowe, gramatyczne, przekładalność związków frazeologicznych, uwzględnienie konwencji literackiej w procesie przekładu), jak i szerszych kwestii, związanych z rozumieniem przekładu jako transferu między kulturami (wymóg zgłębienia kontekstów oraz tradycji obu kultur, których przekład dotyczy) oraz rozumieniem roli samego tłumacza, którego Gałązka określa jako uważnego czytelnika i pośrednika między kulturami.
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