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Storia – letteratura – traduzione: due versioni polacche del "Gattopardo"

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Łukaszewicz J.
Italica Wratislaviensia
|
2012
|
issue 3
123-143
EN
The article concerns the two Polish translations of "The Leopard" ("Il Gattopardo"): The first one by Zofia Ernstowa, published in different editions since 1961 under the title of "Lampart", and the second one by Stanisław Kasprzysiak, published in 2009 under the title of "Gepard". The analysis concentrates first on the way in which the paratexts (all kinds of notes) within these publications deal with the references to the Risorgimento (presenting this novel to a new public belonging to a different culture, with a growing distance from those historical events); and then on a comparison of a few fragments of the novel, in the different Polish and Italian versions, which contain allusions to Italian history. This presentation of the Polish reception of the Lampedusa’s masterpiece is completed by some considerations on the position of the second translator with respect to the first translation, and on the role played by the critics.
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MARIANNA MALISZEWSKA I JEJ SEJM WALNY CYTERSKI Z FRANCESCA ALGAROTTIEGO

100%
Łukaszewicz J.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2010
|
issue 2(24)
34-49
FR
Comme traductrice dell’Amante militare de Carlo Goldoni et du Congrès de Cythère de Francesco Algarotti, deux œuvres de deux grands auteurs italiens de l’époque des lumières, publiées en polonais dans les années 1780, Marianna Maliszewska s’est révélée être une médiatrice culturelle pourvue d’une bonne connaissance de la langue et de la culture italiennes (malgré quelques défaillances). Dans sa traduction du roman d’Algarotti, elle a effectué des coupures et des adaptations ponctuelles en pensant aux nouveaux lecteurs, sans toutefois poloniser le texte et sans fournir, dans les paratextes, d’informations qui pourraient niveler la différence des compétences entre les lecteurs de l’original et ceux de la version polonaise, en ce qui concerne la connaissance de la littérature italienne. Par contre, elle y fait part de son expérience directe de l’Italie, de son opinion critique de l’Arcadie et de sa conviction que les femmes sont défavorisées sur le marché de la culture. Certaines modifications apportées dans le texte même de la traduction correspondent avec ce point de vue «féministe».
3
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Literatura włoska tylko w przekładzie (ostatnie powieści autorskiej spółki Monaldi & Sorti)

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Łukaszewicz J.
Italica Wratislaviensia
|
2010
|
issue 1
143-160
EN
The article presents an exceptional case of literary works published only in translation: "I dubbi di Salaì" and "L’uovo di Salaì" by Rita Monaldi and Francesco Sorti, a writing Italian couple. A tension between the exotic and the familiar, characteristic of these novels and made clear during the translation, is shown on the background formed by Polish and international reception of the works. The analysis concerns some linguistic problems linked to the complex stylization of the texts, the references to the historic facts and the intertextual allusions, as well as the strategies and solutions adopted by the translator, such as the compensation and the translator’s notes.
IT
Nell’articolo viene presentato il caso eccezionale di opere letterarie pubblicate solo in traduzione. Si tratta dei romanzi "I dubbi di Salaì" e "L’uovo di Salaì" di Rita Monaldi e Francesco Sorti. Sullo sfondo della fortuna polacca ed internazionale della recente produzione di questi autori italiani viene esposta la tensione tra l’esotico e il familiare tipica di queste opere e sorta nel processo della traduzione. Vengono analizzati i problemi linguistici legati alla complessa stilizzazione del testo, i riferimenti alla realtà e le allusioni intertestuali. Un posto di rilievo tra le strategie e le soluzioni adottate è occupato dalle note del traduttore, spazio della sua relativa libertà.
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Traducteurs de théâtre — portrait de groupe

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Łukaszewicz J.
Romanica Wratislaviensia
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2012
|
vol. 59
203-214
EN
The article presents the results of a questionnaire in which I asked theatrical translators about e.g. their education, number of plays translated, opinion about the specific nature of translating for theatre, attitude to adaptations, the biggest satisfactions and disappointments related to working on translations of theatre plays. The comparison and interpretation of answers sent by 25 translators, mostly living in France and translating into French, are complemented by the points of view of two Polish respondents as well as by information about the profile of theatrical translators in the United Kingdom and Italy, information from the latest scholarly publications devoted to this field of translation.
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La letteratura italiana nelle scuole polacche: Pinocchio forever?

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Łukaszewicz J.
Italica Wratislaviensia
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2013
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issue 4
141-158
EN
This article presents aspects of the way Pinocchio is known and understood in Poland, based on the availability and use of Italian literature in primary and secondary schools in that country since the Second World War. It focuses on the paratexts and contexts of the last two translations of Collodi’s masterpiece, particularly the translation by Jarosław Mikołajewski with illustrations by Roberto Innocenti, published in 2011.
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Marianna Maliszewska, traductrice du "Congrès de Cythère", féministe avant la lettre

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Łukaszewicz J.
Romanica Wratislaviensia
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2011
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vol. 58
59-70
EN
Marianna Maliszewska made a significant contribution to the Polish reception of two Italian writers, famous throughout the Enlightenment Europe. In both translations which reached Polish readers in the 1780s, she made her mark as an active participant in the cultural life, thoroughly familiar with the Italian language and Italian culture. Translating Carlo Goldoni’s comedy L’amante militare, she displayed a sound knowledge of the dell’arte tradition, and when translating Francesco Algarotti’s romance The congress of Cythera, she showed a critical attitude towards Arcadia. With her creative approach to translated texts Maliszewska is an example of conscious cultural mediation based on direct experience of Italy. The Polish version of the romance was created for a new type of readers (less important details of the foreign reality were omitted), but these new readers were not provided with any information in the paratexts that could compensate for the difference in competence between the new readers and the educated readers of the original. Maliszewska used the publication of this translation, which — as in the case of the earlier translation of the comedy — she did not adapt for Polish readers, to express the belief that the position of women in the cultural market was difficult, an opinion that was reflected in some of the modifications in the translated text.
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Komedie Goldoniego w polskim oświeceniu: Aspekty metateatralne

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Łukaszewicz J.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 3
103-116
EN
More than a few plays by Carlo Goldoni have metatheatrical qualities. The article probes the presence of play within a play and self-reflexivity in five surviving eighteenth-century Polish translations of Goldoni’s comedies and compares them with the Italian and French originals: La moglie saggia (1752; Żona poczciwa, 1766), La vedova scaltra (1748; Panna rozumna, 1774), L’avvocato veneziano"(1749/1750; Mecenas poczciwy, 1779), L’amante militare (1751; Miłość żołnierska, 1781), and Le Bourru bienfaisant (1771; Dziwak dobroczynny, 1785). Close examination reveals that the Polish versions employ theatre-related vocabulary less frequently than it can be seen in the original plays; on the other hand, however, the Polish translators have a marked tendency to mention the title of the comedy in the concluding lines of the play, which is a basic form of jeu de miroirs. The translators of La moglie saggia and L’avvocato veneziano who, in keeping with the idea of domesticating adaptation advocated by the Enlightenment, stripped Goldoni’s plays of virtually all culturally foreign elements diminished the aspects related to the commedia dell’arte tradition as well. Only Marianna Maliszewska retained the names of stock characters associated with commedia dell’arte in her Miłość żołnierska, where she even laid stress on the metatheatrical qualities of the scenes with Trufaldyn (Arlecchino). The translators reduced the role of some metatheatrical motifs, but they kept intact all the scenes deploying the play-within-a-play device in Żona poczciwa, Miłość żołnierska, and "Panna rozumna. The last of those, being the most metatheatrical of Goldoni’s plays rendered in Polish by the Enlighteners, bears evidence of some adaptive devices meant to compensate for the loss of a plausible context for the metatheatrical effects that had been provided in the original by the Venetian carnival and the tradition of dell’arte, inevitably lost as a consequence of replacing the original setting with a Polish one.
PL
Wiele sztuk Carla Goldoniego ma cechy metateatralne. Autorka szuka motywu teatru w teatrze i autorefleksyjności w pięciu zachowanych osiemnastowiecznych polskich przekładach komedii Goldoniego i porównuje je z włoskimi i francuskimi oryginałami: La moglie saggia (1752; Żona poczciwa, 1766), La vedova scaltra (1748; Panna rozumna, 1774), L'avvocato veneziano (1749/1750; Mecenas poczciwy, 1779), L'amante militare (1751; Miłość żołnierska, 1781) i Le Bourru bienfaisant (1771; Dziwak dobroczynny, 1785). Dokładna analiza pokazuje, że w polskich wersjach słownictwo związane z teatrem pojawia się rzadziej niż w oryginalnych sztukach; zarazem jednak polscy tłumacze mają wyraźną tendencję do wymieniania tytułu komedii w replice zamykającej sztukę, co jest podstawową formą jeu de miroirs. Tłumacze La moglie saggia i L'avvocato veneziano, którzy zgodnie z oświeceniową ideą unarodowionej adaptacji pozbawili sztuki Goldoniego praktycznie wszystkich obcych kulturowo elementów, ograniczyli także aspekty związane z tradycją komedii dell'arte. Jedynie Marianna Maliszewska w Miłości żołnierskiej zachowała imiona postaci kojarzonych z komedią dell’arte, podkreślając nawet metateatralne walory scen z Trufaldynem (Arlekin). Tłumacze ograniczyli rolę niektórych motywów metateatralnych, ale zachowali wszystkie sceny wykorzystujące mechanizm teatru w teatrze w Żonie poczciwej, Miłości żołnierskiej i Pannie rozumnej. Ostatnia z nich, najbardziej metateatralna ze sztuk Goldoniego przetłumaczonych przez ludzi oświecenia na język polski, nosi ślady pewnych zabiegów adaptacyjnych, mających zrekompensować utratę wiarygodnego kontekstu dla efektów metateatralnych, które w oryginale zapewniały wenecki karnawał i tradycja dell’arte, nieuchronnie utracone w wyniku zastąpienia oryginalnej oprawy polską.
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August Fryderyk Moszyński, un illuminista polacco in viaggio tra Padova e Venezia

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Łukaszewicz J.
Perspektywy Kultury
|
2023
|
vol. 41
|
issue 2/1
89-104
EN
Written down in French, the diary of a journey through France and Italy (1784–1786) by Count August Fryderyk Moszyński (1731–1786) – architect, collector, and erudite man, passionate about art and science, an important figure of the Polish Enlightenment, collaborator, and friend of King Stanislaus II Augustus – is a veritable mine of information for the researchers of the 18th century. The aim of this article is to supplement or clarify information on the last weeks of the Count’s life he spent in Padua and Venice, and the circumstances of his death, as well as to find out if he was a promoter of Polish culture when he travelled in the Veneto region. The analysis of his travel diary made it possible to identify elements concerning real or hypothetical links between the culture of Serenissima and that of the Polish–Lithuanian Commonwealth, as well as comparisons between the political and cultural life of the two countries. Selected entries from the diary have been juxtaposed with other sources from the period, thanks to which it has been established, among other things, that Moszyński visited Padua on his way to Venice, around 22 May 1786, and returned to that city to watch the horse races at Prato della Valle on 27 June 1786. By using and interpreting archival documents kept in Warsaw and Venice, it was possible to definitely establish the circumstances of the traveller’s death (place, date, cause) and burial (date, location).
IT
Redatto in francese, il diario del viaggio attraverso Francia e Italia (1784–1786) del conte August Fryderyk Moszyński (1731–1786) – architetto, collezionista ed erudito, appassionato di arte e scienze, importante figura dell’Illuminismo polacco, collaboratore e amico del re Stanislao II Augusto – è una vera e propria miniera di informazioni per i ricercatori che si occupano del XVIII secolo. Lo scopo di questo articolo è quello di integrare o chiarire informazioni sulle ultime settimane di vita del conte trascorse a Padova e Venezia, e le circostanze della sua morte, nonché di scoprire se sia stato un promotore della cultura polacca durante il suo viaggio in Veneto. L’analisi del suo diario permette l’identificazione di elementi riguardanti reali o ipotetici legami tra la cultura della Serenissima e quella della Confederazione Polacco-Lituana, così come un confronto tra la vita politica e culturale dei due paesi. Citazioni tratte dal diario sono state rapportate ad altre fonti dell’epoca, grazie alle quali è stato possibile stabilire, tra l’altro, che Moszyński visitò Padova sulla strada per Venezia, intorno al 22 maggio 1786, e tornò in quella città per vedere la gara di cavalli a Prato della Valle il 27 giugno 1786. Documenti d’archivio conservati a Varsavia e a Venezia hanno consentito a loro volta di stabilire con certezza le circostanze della morte (luogo, data, causa) e della sepoltura (data, luogo) del viaggiatore.
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Le traduzioni polacche delle novelle di Grazia Deledda (1906–1939)

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Łukaszewicz J.
Italica Wratislaviensia
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2024
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issue 15.1
105-126
IT
Il saggio è dedicato alla fortuna editoriale e traduttiva della novellistica deleddiana in Polonia prima della Seconda guerra mondiale, un argomento finora poco studiato. Si stabilisce quali siano state le raccolte originali più fortunate; si esaminano altresì le circostanze della pubblicazione delle traduzioni, prendendo in considerazione le figure dei traduttori e il profilo delle riviste che hanno accolto le undici novelle tradotte. Lo studio delle traduzioni si focalizza sull’approccio dei traduttori nei confronti della natura e della cultura italiana e sarda per approfondire la questione delle scelte traduttive. Ci si chiede in particolare quali elementi sono stati eliminati, quali invece sono stati riprodotti senza spiegazioni o spiegati con uso di note. L’indagine qui condotta ha portato alla conclusione che solo una fra le traduzioni esaminate contiene delle note à piè di pagina, che il colorito locale è stato in gran parte rispettato e che le perdite interessano maggiormente gli elementi descrittivi relativi a paesaggi e personaggi.
EN
The paper is devoted to the editorial and translation history of Grazia Deledda’s short stories in Poland before the Second World War, a topic barely touched upon in scholarship so far. I establish which original collections were most successful and examine the circumstances of the publication of the translations, taking into consideration the translators and the profiles of the journals that published the eleven translated short stories. My study of the translations themselves focuses on the translators’ approach to Italian and Sardinian nature and culture and identifies elements that were eliminated, reproduced without explanation, or explained by means of notes. My findings are that only one translation is equipped with footnotes, that the local colour is largely rendered in translation, and that major losses in translation include some elements of descriptions of landscapes and characters.
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Peritext in Polish Translations from Italian in the Eighteenth Century: Education or Manipulation?

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Łukaszewicz J., Sowiński B.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2019
|
issue Special Issue 2019 – Translation History in the Polish Context
28-45
EN
The paper focuses on peritexts (Gérard Genette) in Polish Enlightenment translations of three Italian texts: Francesco Algarotti’s novel Il congresso di Citera (1745, 1763; the Polish version ca. 1788), Cesare Beccaria’s treatise On Crimes and Punishments (1764; the Polish version 1772) and Giovanni Barberi’s ideological text Compendio della vita, e delle gesta di Giuseppe Balsamo denominato il conte Cagliostro (1791; the Polish version 1793). Their translators: Marianna Maliszewska, Teodor Waga, and Grzegorz Kniażewicz, added a significant amount of their own introductions and notes to the hypertext, which reflected a widespread tendency in  Polish literature, both original and translated, in that period. The information given in the translators’ peritext is analysed here in order to trace manipulation within cultural mediation. The translators take different approaches. Maliszewska’s comments lack the exegetic function, while the observed elements of manipulation may be down to her deficiency in cultural competence and to her low status as a translator. Waga, who uses all kinds of translator’s notes, seems reliable and non-confrontational. His comments are mostly intended to make sure that the text is read according to the author’s intentions and to the Enlightenment outlook. Kniażewicz is the most polemical, partly towards the author of the peritext in the French version of the translated text, which he abuses rather than uses. His peritext definitely indoctrinates the reader and the extent of manipulation in his notes is the largest.
11
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Peryteksty polskich przekładów oświeceniowych z języka włoskiego: przestrzeń edukacji czy manipulacji?

100%
Łukaszewicz J.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2018
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issue 36 – Historia przekładu literackiego 1
44-59
EN
The paper centres on peritexts (G. Genette) in Polish Enlightenment translations of three Italian texts: Francesco Algarotti’s novel Il congresso di Citera (1745, 1763; the Polish version ca. 1788), Cesare Beccaria’s treatise On Crimes and Punishments (1764; the Polish version 1772) and Giovanni Barberi’s ideological text Compendio della vita, e delle gesta di Giuseppe Balsamo denominato il conte Cagliostro (1791; the Polish version 1793). Their translators, Marianna Maliszewska, Teodor Waga and Grzegorz Kniażewicz, added a significant amount of their own introductions and notes to the hypertexts, which reflected a widespread tendency in Polish literature, both original and translated, in that period. The information given in the translators’ peritexts is analysed here in order to trace manipulation within cultural mediation. The translators take different approaches. Maliszewska’s comments lack the exegetic function, while the observed elements of manipulation seem due to her deficiency in cultural competence and to her low status as a translator. Waga, who uses all kinds of translator’s notes, seems reliable and non-confrontational. His comments are mostly intended to make sure that the text is read according to the author’s intentions and to the Enlightenment outlook. Kniażewicz is the most polemical, partly towards the author of the peritexts in the French version  the translated text, which he abuses rather than uses. His peritexts definitely indoctrinate the reader and the extent of manipulation in them is the largest.
12
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O ludziach i aniołach po polsku i po włosku

44%
Łukaszewicz J.
Italica Wratislaviensia
|
2014
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issue 5
519-524
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