Historyczne uwarunkowania intertekstualności w przekładzie : (o polskich wersjach "Smugi cienia")

Intertextuality is an omnipresent notion in discourse. As it has been frequently noted a fully autonomous text does not exist since both authors and readers create and perceive intertextual references between diverse texts. The aim of the article is to analyze historical aspects of intertextuality in translation on the example of Polish renditions of Joseph Conrad’s The Shadow-Line

Przekład wewnątrztekstowych nawiązań na podstawie tłumaczeń "Smugi cienia" Josepha Conrada

This article analyzes some elements of three Polish translations of Joseph Conrad’s The Shadow- Line, made by Jadwiga Sienkiewiczówna (1925), Jan Józef Szczepański (1973) and Ewa Chruściel (2001). This is not a comprehensive evaluation of the merit of each translation, but rather a comparison of strategies used to resolve difficulties posed by certain points in the original text by translators who represent three markedly different generations of Polish writers/readers of the 20th century. The main focus is on recurrent textual references (semantic itératives) which highlight the interpretative (and structural) backbone of a literary work. In other words, they function as key words, which are indispensable for the decoding of the deeper meaning of the text. In The Shadow- Line the catalogue of such itératives includes the following lexems: ‘shadow line’, ‘bottles’, and a group of words, used in descriptive passages, which evoke the supernatural and its peculiar operations, i.e. ‘ghost’ and its derivatives, ‘haunt’, ‘joke’ and its synonyms (eg. ‘trick’), ‘devil’, ‘higher/infemal/evil powers’, and ‘death’

Seria w przekładzie : polskie warianty prozy Josepha Conrada

The present work analyzes one aspect of Translation Studies – a series of translations on the basis of Joseph Conrad’s prose. The first chapter is a theoretical analysis of the concept of ‘a series of translations’ in Polish as well as Western Translation Studies. In Western Translation Studies scholars use the term retranslation. This chapter delineates the evolution of the term ‘series of translations’ introduced by Edward Balcerzan and its development as well as modifications supplemented by Anna Legeżyńska and Grzegorz Ojcewicz. As far as the concept of retranslation is concerned the works of Antoine Berman, Paul Bensimon, Yves Gambier and Lawrence Venuti are discussed. Moreover in this chapter deconstruction approach to translation is explicated on the basis of the works of Giles Deleuze and Jacques Derrida who undermine the central opposition of the original and copy. The second chapter is devoted to cultural implications of Joseph Conrad’s translations. The outline of Conrad’s reception in Poland was divided into several periods: Young Poland, Interwar Period, War Years, Contemporary Times. The approach to Conrad’s works and manner in which his books were interpreted and received in Poland depended on the cultural, historical and political context. Analyzing Conrad’s translations and their impact on Polish culture one can detect the phenomena of “manipulation”, “refraction” and “re-writing”. According to different types of patronage Conrad’s works were to be included in the canon of Polish literature (Stefan Żeromski’s patronage) so that they would become “transparent”. The writer was enmeshed in ideological debates with Western capitalism in the socialist People’s Republic of Poland (PRL) and in consequence crossed out from publishing and reading lists in Poland (socialist state authorities’ patronage). Chapters III to V are analytical in nature. In each of those chapters the cultural and historical context was delineated (the views of British critics, the writers’ opinions expressed in private correspondence, last but not least the opinions of Conrad himself triggered by the critical reception). Moreover the translators’ profiles were presented as well as the cultural context in which the translated text was produced. Additionally paratexts of translation (forewords, afterwords, footnotes, glossaries, translators’ press interviews) were commented upon. The analytical chapters concentrate on several major translatological issues. The third chapter is devoted to the retranslations of The Nigger of the “Narcissus” produced by Jan Lemański (1920) and Bronisław Zieliński (1961). The translation issues that were chosen for this comparison comprise translation of dialects and terminology. The fourth chapter consist in the analysis of Polish retranslations of Typhoon by Jerzy Bohdan Rychliński (1926), Halina Carroll-Najder (1972) and Michał Filipczuk (2000). For this novella a crucial translatological problem was the semantic dominant used a noun not an adjective (dominanta semantyczna). The last chapter focuses on intertextual chains on the basis of Polish retranslations of The Shadow-Line produced by Jadwiga Sienkiewiczówna (1925), Jan Józef Szczepański (1972) and Ewa Chruściel (2002)

Koncepcja ideowo-artystyczna zdjęć do filmu Tam i z powrotem. Opis autorski

.Koncepcja ideowo-artystyczna zdjęć do filmu Tam i z powrotem. Opis autorsk

Intertekstualność jako dominanta przekładu

The aim of the article is to demonstrate that intertextual references are crucial for the building of the semantic structure of a given work. In the author’s opinion these intertextual links should constitute the translative dominant (Anna Bednarczyk’s term). In addition the nature of intertextuality was analyzed on the basis of Hatim and Mason’s notion of intertextual chains. It was proved that the omission of one loop in translation did not mar the overall semantic field operating by connotation

„Potrzeba mi poezji, co się rodzi z konkretnych faktów”. Nieznane listy Andrzeja Wajdy do Stanisława Czycza

Archiwalia opracowano na wzór edycji listów Stanisława Czycza i Andrzeja Wajdy z 2007 roku – zastosowano analogiczne konwencje edytorskie i redakcyjne oraz opatrzono je metrykami zawierającymi podstawowe dane nośników, stan zachowania i informacje o kopertach. W celu zwiększenia czytelności zdecydowano się rozwinąć skróty. Celowo popełnione błędy oznaczono następująco [!], zaś niepewne odczytania – [?]. Teksty listów opatrzono komentarzami – zdecydowano się jednak omówić tylko kwestie związane z zamówieniem filmu o Wróblewskim, dotyczącymi Czycza i Wajdy, nie objaśniać oczywistych nazwisk i tytułów. Poprawiono pisownię i uzupełniono interpunkcję. Tytuły dzieł i utworów zapisano kursywą. Zbiór uporządkowano w kolejności chronologicznej. Na końcu dodano pełną listę korespondencji w ramach dwugłosu drukowanego wraz z Arwem z uwzględnieniem nowo ujawnionych jednostek

W sidłach emocji i konwencji. Beata Przymuszała, 2016, “Smugi Zagłady. Emocjonalne i konwencjonalne aspekty tekstów ofiar i ich dzieci”, Wydawnictwo Naukowe UAM, Poznań, ss. 369

Recenzja książki Beaty Przymuszała: “Smugi Zagłady. Emocjonalne i konwencjonalne aspekty tekstów ofiar i ich dzieci”. Wydawnictwo Naukowe UAM, 2016 Poznań

Gaining Cognitional Self-Awareness as an Educational Process

The article is an attempt to present the reflexive approach in its auto/biographic form. In this context, two representative reflexive essays featured in Volume 4 of the periodical “Educational Sciences. Interdisciplinary Studies” (“NOWIS”) are interpreted. Additionally, the text shows the problem of distance and proximity appearing among different perspectives of conducting educational-biographic research.Artykuł jest próbą przybliżenia podejścia refleksywnego w odmianie auto/biograficznej. W tym kontekście interpretacji poddane zostały dwie reprezentatywne dla tego podejścia wypowiedzi zamieszczone w tomie 4. czasopisma „Nauki o Wychowaniu. Studia Interdyscyplinarne” („NOWIS”). Na innym poziomie tekst ukazuje problem dystansu i bliskości występujący między różnymi ujęciami stosowanymi w badaniach poświęconych edukacyjnym wymiarom biografii