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Dlaczego Tushman jest śmieszny? Polska wersja powieści dla młodzieży pt. „Wonder” R. J. Palacio jako przykład uczciwego tłumaczenia

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Skwarzyński J.

Acta Humana

2017

vol. 8

Fair translation is one that results in producing a target text that is likely to evoke a reaction similar to that elicited by the source text among its readers. The translator’s goal is to provide the readers of the translated version with the stimuli as close to that of the original as possible. To ensure that, the translator must be free to use every solution they find appropriate on micro- and macrolevel. Olejniczak-Skarsgård’s Polish translation of the young adult novel Wonder by R.J. Palacio is a good example of such rendition. A number of translation challenges was dealt with by very diverse translation strategies. Combining approaches resulted in a readable target text that has the potential to provoke the same reaction as the original. This analysis can be followed by empirical studies regarding young readers’ reception of paratextual additions.

Uczciwe tłumaczenie to takie, którego rezultatem jest tekst docelowy wywołujący u czytelników reakcję zbliżoną do tej powodowanej przez tekst wyjściowy. By temu podołać, tłumacz musi mieć możliwość wykorzystania dowolnych rozwiązań translacyjnych na poziomie jednostkowym i całościowym. Polskie tłumaczenie powieści dla młodzieży Wonder autorstwa R.J. Palacio opracowane przez Marię Olejniczak-Skarsgård jest tego dobrym przykładem. Pojawiające się w niej problemy translacyjne zostały rozwiązane dzięki różnym strategiom. Dzięki połączeniu rozmaitych rozwiązań powstał czytelny przekład, który daje możliwość zareagowania na opowieść i jej elementy tak jak czytelnicy oryginału. Przeprowadzona analiza daje podstawy do badań empirycznych dotyczących stosunku młodych odbiorców do paratekstów.

The Translation Minefield On Specific Translation Challenges Posed by the Graphic Novel Form

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Skwarzyński J., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

2017

issue 2

The comic book genre, or, to be more precise, medium (Chute and Dekoven 2012), like any other, creates many formal elements which influence the interpretation of the story and set particular technical boundaries to the amount of text presented: for example, through the size of speech bubbles. In this article, I outline how both features have an effect on the process of translation by comparing Adrian Tomine’s well-acclaimed (Diaz 2007, Fułek 2010, Goodreads n.d., Windolf 2007) graphic novel, Shortcomings, with its Polish translation by Agnieszka Murawska entitled Niedoskonałości. I also evaluate on the quality of the choices made by the translator. Formal components of the comics, such as the composition of frames on a page as well as the composition of images within the individual frames, the use of color or the design of diegetic space (Lefѐvre 2009), constitute how the readership (including the translator) combine the elements on the page, fill in the extradiegetic space, and thus interpret and receive the story (McCloud 1994). It is not just the text in the speech bubbles that has to be translated – it is also the way in which it corresponds to images, transitions between frames, symbolia, narration boxes or the lack thereof (Baetens 2002). Moreover, the technical constraints, such as the size of speech bubbles and narration boxes, are another feature of the medium which translators must conform to. Finally, the question of cultural references and the readers’ knowledge assumed by the author may pose a difficulty, which, upon translation of a graphic novel, can be solved in a number of ways, which Murawska exemplified in Niedoskonałości. In this article, I attempt to show that, in terms of translation, the elements of “articulatory grammar” (Zanettin 2008) are of utmost importance and cannot be ignored. The images and design, unlike the text, will not be replaced in any translated edition; thus, the translator must ensure that the translated version corresponds to those elements just as the original text does. Murawska’s translation of Shortcomings is a notable example of such rendition.

Translating Images. Comic Books and Graphic Novels as Multimodal Texts in Translation

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New Horizons in English Studies

2019

issue 4

A piece of work that requires the interplay of at least two different codes, e.g. written text and elements of design, is a multimodal text (Serafini 2011, 342). These include short or feature films, video games and comic books. The focus of this paper is comics, the non-interactive texts that, nevertheless, need a reader to be vivified (McCloud 1994, 36-37); a flexible platform for new ways of expression which often provides formidable challenges upon translation.Comic books, often referred to as graphic novels, have become a respected literary form often compared to novels rather than pulp fiction which they used to be classified as. Their growing cultural relevance and increasing recognition shift the gravity of choices made by translators working with these texts. Comics often take on much-debated themes, such as gender, feminism or postcolonial issues; that adds to the importance of comics in a current pop-cultural discourse.Nonetheless, the most unique aspect of these texts is their form, which incorporates static visual images organised “in deliberate sequence” (ibid., 7-9) and text. Even though there are instances of comics with no text, it usually is present; without the imagery, however, it makes little or no sense and vice versa. Moreover, the connection between text and image as well as between the images themselves may be intricate and multilayered, making it even more challenging for translators to tackle.Drawing on examples from classics such as Maus, V for Vendetta, Peanuts and the Asterix series, this paper expands on the aforementioned translation issues and underlines the cultural significance of comic books and graphic novels.

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2 New Horizons in English Studies

1 Acta Humana

3 Skwarzyński J.

2 Antoszek E.

2 Bendrat A.

2 Czemiel G.

2 Frelik E.

2 Galant J.

2 Głaz A.

2 Kniaź-Hunek L.

2 Komsta M.

2 Okuń-Jaśkowiak A.

2 Oleszczuk A.

2 Prażmo E.

2 Szczypa P.

2 Terejko P.

2 Waszkiewicz A.

1 2019

2 2017

Search results

Dlaczego Tushman jest śmieszny? Polska wersja powieści dla młodzieży pt. „Wonder” R. J. Palacio jako przykład uczciwego tłumaczenia

The Translation Minefield On Specific Translation Challenges Posed by the Graphic Novel Form

Translating Images. Comic Books and Graphic Novels as Multimodal Texts in Translation