Cynamon na mapie ciała. "The Cinnamon Peeler" Michaela Ondaatjego w przekładach na język polski

Michael Ondaatje w Polsce rozpoznawany jest przede wszystkim jako autor powieści „Angielski pacjent” – jako poeta jest u nas właściwie nieznany. Ondaatje należy do tych poetów, których twórczość kształtowana jest przez doświadczenie biograficzne – jego wiersze często wychylone są w przeszłość i stanowią tej przeszłości imaginacyjne przetworzenie. W lankijskiej intensywności doznań zanurzony jest również jeden z najsłynniejszych i zapewne najpiękniejszych wierszy Ondaatjego, noszący tytuł „The Cinnamon Peeler”. Celem artykułu jest analiza polskich przekładów tego utworu oraz krytyczne porównanie strategii translatorskich przyjętych przez tłumaczy – Jerzego Jarniewicza (Zbieracz cynamonu, „Literatura na świecie” 1998, nr 4/5; M. Ondaatje, Zbieracz cynamonu. Poezje wybrane, Kraków 2016), Krystynę Lenkowską (Obieracz cynamonu. „Fraza” 2001, nr 3) oraz Justynę Drobnik i Zofię Małkowiak (Korowacz cynamonu i Cynamonowy pan, portal ) – którzy dokonują przekładu utworu niełatwego, gdyż zanurzonego w języku i kulturze postkolonialnej

Szczęśliwe ogrody dzieciństwa. Literackie obrazy przestrzeni parkowej w powieści „Piotruś Pan w Ogrodach Kensingtońskich” Jamesa Matthew Barriego

It is impossible to imagine London without its royal parks. One of the most beautiful among them is Kensington Gardens, forever connected with the figure of a boy who didn’t want to grow up: Peter Pan. This article provides an interpretation of James Matthew Barrie’s novel Peter Pan in Kensington Gardens (1906), centred mainly around literary portrayals of garden space, which becomes an embodiment of the paradise of childhood: Arcadia, a pleasant place, locus amoenus, allowing one to exist beyond evanescence, growing up and sadness. Kensington Gardens are London’s green island, primeval Neverland, where the fairy-tale and the magic are rooted: during a day it creates a playing space for “human children,” whereas at night it goes under the rule of Queen Mab and mysterious fairies. The outline of various interpretation paths which can be followed in Kensington Gardens are accompanied by the reproductions and analyses of Arthur Rackham’s illustrations, which in an outstanding way capture the whimsical genius of the author of Peter Pan

Szkicownik pełen Ogrodów. Arthur Rackham i jego ilustracje do powieści "Piotruś Pan w Ogrodach Kensingtońskich" Jamesa Matthew Barriego

Celem artykułu jest zarysowanie biograficznego i interpretacyjnego tła dzieł Arthura Rackhama oraz analiza jego wybranych ilustracji do powieści Peter Pan in Kensington Gardens, skupiona na badaniu zależności pomiędzy tekstem a grafiką: na jakich płaszczyznach wyobraźnia ilustratora spotyka się z wizją pisarską; jak obrazy – tak ważne w książce dla dzieci – wpływają na interpretację tekstu literackiego i w jakim sensie same są jego interpretacją. Niezwykle istotna jest tu również kategoria nastrojowości tworzącej się na styku słowa i obrazu oraz rozumienie ilustracji jako „przekładu intersemiotycznego”, gdyż analiza dzieł Rackhama (i Barriego) została dokonana także z perspektywy tłumacza, by pokazać, jak istotna w literaturze dziecięcej jest korelacja pomiędzy przekładem a obrazem, jaką rolę w procesie translatorskim pełni ilustracja

„Mała” historia przekładu. Złoty wiek angielskiej literatury dziecięcej w tłumaczeniach na język polski – zarys

The Golden Age of English-language literature for children began about 1865, when Alice’s Adventures in Wonderland was published, and it continued with the works of writers such as Louisa May Alcott, James Matthew Barrie, Lyman Frank Baum, Frances Hodgson Burnett, Kenneth Grahame, Rudyard Kipling, Hugh Lofting, Alan Alexander Milne, Lucy Maud Montgomery, Edith Nesbit, Beatrix Potter, Robert Louis Stevenson, Pamela Lyndon Travers or Mark Twain. The first Polish translations of English children’s classics, in turn, appeared at the end of the 19th century and continued to be published throughout the 20th century. The main aim of the article is twofold. First, it proposes to create an outline of the history of Polish translations of English classical books for children, in the temporal perspective (from 1870s, when the first translations were published, up to now) as well as in terms of the quantity of translated works. Secondly, it attempts to answer the question about mutual influences between cultures, writers and works of art (in translation) and suggests the hypothesis that the masterpieces of Polish children’s literature were somehow “caused” and inspired by the translations of children’s classics created before them

O czytaniu (tysiąca i jednej) Sycylii. Przestrzenie krańca świata w „Dzienniku sycylijskim” Zygmunta Krasińskiego

Among all Polish romantic writers Zygmunt Krasiński was the one whom southern Italian landscape enticed the most. His experiences from Italian voyage were written down in his correspondence, especially in the letters to Delfina Potocka – for her Krasiński dedicated Sicilian diary, the collection of never-sent letters intended as a romantic gift for the lady. On the one hand the Diary is a conventional romantic work, but on the other it breaks the convention – because the journey to Sicily is the journey to the end of the (European) culture, civilisation and world. Sicily, the land of finis terrae, the place of different turns, is a fascinating lecture demanding the response from those who encounter it. It is the New World in which one must find the way to one’s heart and identity – and, in the end, it is terrestrial Paradise, exotic country of One thousand and one nights: in short – the land of thousand views, thousand perspectives and thousand readings. The main purpose of the paper is to present romantic lecture of Sicily – its landscape, architecture and character – taken by Krasiński in correspondence to Delfina, and to look into writer’s attitude towards this “sophisticated land”, which is revealed in the dialogues with reality, poetic self-aggrandizement and arrangement of the presented world

Wkład w przekład 2

The article focuses on the cycle of short pieces of prose which are classified among the early works of James Joyce. The Epiphanies are a kind of artistic transcript of reality by which the author was surrounded and which was speaking to him through symbols, gestures, behaviour, appearances, phenomena and, most of all, through the alchemy of words and human language. Joyce’s epiphanies – poetic pieces in the form of sketch or description, records of memorable phase of mind itself or short dramatic dialogues with author’s stage directions, sudden manifestations of vulgarity of speech or gesture – started the literary career of epiphany. As a separate entirety, a separate piece of work collected and rewritten by Joyce himself scrupulously on separate sheets of paper, some of the epiphanies were also woven by the author into his narrations and short stories. The epiphanies, slightly changed or in their intact form, became an integral part of Joyce’s novels: Stephen Hero, Portrait of the Artist as a Young Man and Ulysses. The article analyses the chosen epiphanies (1 and 11) through the “translation kaleidoscope” and tries to achieve a critical comparison between different Polish translations. Analysing translations of the whole cycle, created by Maciej Słomczyński (James Joyce, Dzieła zebrane, vol.1, 1995) and Adam Poprawa (“Literatura na Świecie” 2007: 11–12) and searching for epiphanies hidden in Joyce’s great novels translated into Polish by different translators, the article presents The Epiphanies in various imensions, various interpretations and various spaces.10912

Obce wcielenia Dusiołka. Leśmianowskie „cudotwory słowotwórcze” w przekładach anglojęzycznych

Bolesław Leśmian is an impossible writer – as Edward Balcerzan put it, “a poet with no masters, a master with no followers.” Moreover, he is usually considered untranslatable: the creator of his own idiomatic language, fraught with neologisms, archaisms, and dialectisms and subjected to the rigours of rhythm and rhyme, permeated with philosophical thought and vivid colours of the Slavic world – in short, an evident proof of the existence of the phenomenon known as untranslatability. But is it quite so? The main objective of the article is to present some difficulties connected with translating Leśmian’s poety into English, using the example of the translations of Leśmian’s ballade “Dusiołek” (by Rochelle Stone, Marian Polak-Chlabicz, and Krzysztof Bartnicki), and to compare the translation strategies adopted by their authors

Od Piotrusia Pana do Tajemnic motyli. Stefania Szuchowa, Zofia Rogoszówna, James Matthew Barrie i inni – historia (prawie) rodzinna

Celem artykułu jest przeprowadzenie analizy komparatystycznej pokrewieństw tekstowych łączących debiutancki utwór polskiej pisarki Stefanii Szuchowej za-tytułowany Tajemnice motyli (1920) z opowieścią Jamesa Matthew Barriego Peter Pan in Kensington Gardens [Piotruś Pan w Ogrodach Kensingtońskich] (1906), która w literaturze polskiej zaistniała po raz pierwszy w roku 1913 dzięki prze-kładowi Zofii Rogoszówny jako Przygody Piotrusia Pana. Istotnym kontekstem, który towarzyszy prowadzonym przez autorkę tekstu dociekaniom, jest również niemal nieznana biografia Szuchowej, pisarki debiutującej w dwudziestoleciu mię-dzywojennym, będącym w Polsce szczególnie intensywnym okresem w rozwoju oryginalnej oraz przekładowej twórczości literackiej dla dzieci. Analizę filiacji teks towych między utworami Szuchowej i Barriego uzupełnia studium porównaw-cze niezwykłych podobieństw ilustracji Stefana Norblina, które towarzyszą pierw-szemu wydaniu Tajemnic motyli, do grafik Arthura Rackhama z książki Peter Pan in Kensington Gardens

Wiersze dla niegrzecznych dzieci. Danuta Wawiłow i angielskie „nursery rhymes” (przekłady, inspiracje)

Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is unique not only because of the poetical qualities it represents – rhythmicity, melodiousness, catchiness, melancholy and lyricism equally with pure nonsense, absurdity, grotesque, (black) humour and numerous equivoques and puns, which are characteristic for Wawiłow’s poetical works; above all else Poems for Naughty Children is a collection of translations of the traditional English nursery rhymes, made by Danuta Wawiłow, who claimed more than once that she was a translator long before she had become a writer. The article aims to explore Wawiłow’s translation work which (up to now) remains almost unknown and un-described in Polish theoretical discourse. Moreover, the author presents the outcome of her research conducted to find “missing originals” of translated nursery rhymes, offers the classification of them and undertakes critical reflection over translation strategy adopted by Danuta Wawiłow

"Piotruś Pan w Ogrodach Kensingtońskich" Jamesa Matthew Barriego

„All children, except one, grow up”. Among all the authors of global classic literature for children James Matthew Barrie is definitely an outstanding writer, known as the creator of the story about Peter Pan – the boy who would not grow up and who lives on the fantastical island of Neverland. However, the eternal boy not always lived on Never Never Land – although he is (and forever will be) „young”, he is not devoid of the past: his story begins in Kensington Gardens. The present MA thesis is divided into three parts. The opening part is an interpretative essay, in the first instance devoted to James Matthew Barrie himself (who’s biography – unknown in Poland – is essential to understand his work). Subsequently the essay considers textual and generic flexibility of Peter Pan and presents a comprehensive interpretation of Peter Pan in Kensington Gardens (1906) – Barrie’s very first work dedicated to the boy who would not grow up, which somehow forms the origin and prefiguration of famous Peter Pan and Wendy (1911); finally, it offers an exploration of various mythological, cultural and literary motives from which the figure of Peter Pan originates. The second section of the present MA thesis is a piece of literary translation criticism; it focuses on the two existing Polish translations of Peter Pan in Kensington Gardens: Przygody Piotrusia Pana (1913) by Zofia Rogoszówna and Piotruś Pan w Ogrodach Kensingtońskich (1991) by Maciej Słomczyński. This part consists of a comparative analysis of translations mentioned above; the main challenges that Barrie’s works pose to the translator are highlighted here and translation strategies adopted by Rogoszówna and Słomczyński are critically compared. The third part – central and the most extensive – presents the new translation of Peter Pan in Kensington Gardens, prepared by the author of the present MA thesis in the 110th anniversary of the publication of the original text. The translation is accompanied by Arthur Rackham’s Edwardian illustrations which perfectly capture Barrie’s elusive and whimsical genius, and by the brief afterward written by the youngest translator of Peter Pan in Kensington Gardens