Poznańskie Studia Polonistyczne. Seria Literacka, 2014, nr 23 (43)
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Item Metafora pralni. Zofii Chądzyńskiej czytanie, pisanie, tłumaczenie(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Gendaj, NataliaThe essay is devoted to the life and work of Zofia Chądzyńska, with special focus on three manifestation of her intellectual activity: reading, writing, and translation, and their linguistic relations. The complicated post-war vicissitudes forced the writer to frequent changes in her way of life, and required an effort to adapt to the new reality. Chądzyńska did different jobs, and often changed her place of residence. The point of departure for the present discussion is her work at white-wash laundry in Buenos Aires. The laundry serves as a metaphor for moving from one linguistic space to another, and both spaces seem to be rigidly isolated from one another for Chądzyńska. The essay also refers to James Clifford’s On Ethnographic Self- Fashioning: Conrad and Malinowski. The anthropologist claims that each sphere of life is allotted to a different language: native, transgressive, and the language of restraint. The languages of both authors discussed by Clifford entered into various interferences, however, or replaced one another and created new connections. In Chądzyńska, it is definitely more difficult to see such relations, and her strong self-fashioning techniques reinforce the impression of radical transit from one language sphere to another. The author’s autobiography and her numerous autobiographical acts of expression also provide evidence for research in translation work, which in Chądzyńska can be analysed, for example, in the feminist context.Item Przekład i przestrzenie lektury(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Scott, Clive; Brzostowska-Tereszkiewicz, TamaraThe author discusses relations between the original and translation in terms of imaginary spaces. Target text is understood here as one of the possible images of the source text, from the perspective which could not be accessible to the original. In accordance with the concept presented here, artistic translation can be not so much reconstructed, as conceptually constructed, in the manner of a cubist object. Acts of creative reading are commented on by the author with examples of his own experimental translations from contemporary French poetry.Item „Silę ucho”, czyli co słychać w przekładzie. Niemieckojęzyczne warianty wiersza Skakanka ufoistki Mirona Białoszewskiego na tle zabiegów „przekładania” codzienności na język poetycki(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Burba, AleksandraThe article has been derived from a chapter of an MA thesis on everyday speech in Miron Białoszewski’s work. The text focuses on exposition of methodological assumptions - the notion of everyday speech and its translation into poetic language in Białoszewski’s works. In particular, the article discusses a series of non-professional translations of the poem UFO agent’s skipping rope into German, as an example of the functioning of the dominant of everyday speech in translations of Białoszewski’s poetry.Item Miasto – wyobrażenie – refrakcja. O niemieckości Gdańska w rosyjskim przekładzie Hanemanna Stefana Chwina(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Kaźmierczak, MartaThe article discusses representation of a third culture in translation: it compares the image of Gdańsk as a city with strong German cultural presence, presented in Stefan Chwin’s novel Hanemann, with the same image in Ksenia Starosielska’s Russian translation of the novel. The image of the old Danzig in Chwin’s work consists of linguistic allusions and references to German literature: interpolations, German proper names, realities from early decades of the 20th century, and the figure of Heinrich von Kleist. Some elements of language and notions in the novel could seem more distant for a R ussian reader than for a Polish one. The present author considers, thus, if and how reality and topography of the city have been presented to secondary receipients. The article focuses on the translator’s strategy of approach to a third culture, reflected both in translator’s choices in the main text, as well as the number and formulation of footnotes. Because images of places in text are also created by non-verbal means, the graphical paratexts are also interesting for the discussion. The transformations are discussed in terms of refraction, which leads to conclusions about the role of the analyzed translation in its target culture.Item Wyobraźnia autora i tłumacza wobec pamięci kulturowej. O Wybrańcu Tomasza Manna i jego polskim przekładzie(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Lukas, KatarzynaOn the example of Mann’s Der Erwählte (1951) and its Polish version Wybraniec (1960) by Anna Linke, the article demonstrates how the creator’s imagination (the creators are the author and the translator) is related to translation and cultural memory, the basic notions of recent German culture studies. Mann’s novel can be described as a parodistic translation of a medieval epic, a text belonging to German cultural memory, into 20th century discourse and language. The article shows Mann’s translation strategies, whose aim is actualisation of the stocks of cultural memory of German readers: an experimental style imitating Medieval language, specific structure of narration time, represented world, and the narrator’s character, the montage and ecphrasis, which are all techniques calling for creative imagination. The article then demonstrates how Mann’s techniques were rendered in the translation. The analysis shows that Linke’s text, by referring to cultural memory of Polish readers, activates the content which is absent in cultural memory of German readers: this is because the translation employs fabulous and archaic elements derived from Polish historical novel, instead of stylistic and genre-specific techniques of German medieval epics. References to the visual archive of common European cultural memory (medieval iconography and architecture) clearly facilitate the translation, and the translator’s own imagination allows for credible rendition of names of medieval realities. The most important task was the rendition of the medieval dialect, which was fully Mann’s imaginary creation.Item Pan Kiehot Güntera Grassa w serii przekładowej. Naśladowanie, wyobraźnia, tłumaczenie(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Wesołowska, MałgorzataPan Kiehot by Günter Grass is one of many literary incarnations of Cervantes’s Don Quijote. Grass created his hero in a double manner: the character exists in the poem Pan Kiehot, published in Gleisdreieck in 1960, and a fragment of a chapter in The Tin Drum, the novel published in 1959. The poem has been translated six times into Polish, by Jan Koprowski, Krzysztof Karasek, Bolesław Fac, Zdzisław Jaskuła, Wojciech Woźniak and Ryszard Sobieszczański), whereas The Tin Drum, only once, by Sławomir Błaut. The article analyses all the translations into Polish, as well as the translation into Kashubian by Jan Trepczyk, in the context of the notion of translation series and textualisation series, proposed by Marta Skwara, and with reference to theorists of quixotism, such as Arne Melberg, Josè Ortega y Gasset and Michel Foucault, as well as to German and Polish critics of Grass’s work. The author draws conclusions about the challenge of a different form of interpretation, multiplied interpretation, which is facing the reader of a translation or textualisation series. Every translator who works on a text that has been translated before, must face various anxieties: “the anxiety of influence”, which is often coupled by horror vacui, and fear of imperfect rendition of source-texts meanings (as described by Jerzy Jarniewicz). Thanks to translation series, and works that constitute textualisation series together with translations, Grass’s Pan Kiehot is inscribed in entirely new interpretative framework: each new translation, thus, constitutes a challenge for the translator and for the imagination of a reader of the series.Item Wyobraźnia badacza – od serii przekładowej do serii recepcyjnej(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Skwara, MartaThe author addresses the problem of translation series, demonstrating that the rich tradition of creating and researching such series focused mainly on structural and model analyses, and usually isolated translations from other reception phenomena related to a foreign text in a national culture. By shifting the attention from translation-only studies to research in a wider scope of reception of a foreign text, such as intertextual relations of originals/translations with national literature/ culture, comments, and the work performed around a foreign text and its translation (e.g. convention of an editing series, anthology editing, canon creation), the author proposes to introduce three complementary notions: translation series, textualisation series, reception series. The author also discusses the proposals on specific examples derived from the Polish reception of Walt Whitman’s poetry.Item Wyobraźnia wyzwolona. Kubistyczny model przekładu literackiego(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Brzostowska-Tereszkiewicz, TamaraThe subject of the present discussion is the cubist model of literary translation, which assumes a multilateral perspective in simultanism, expressed in rotation of the original text through various historical timespaces, styles, poetics, conventions, registers, and varieties of an ethnic language (or several languages) in the field of target text, nullification of the oppositions between domestication and exoticisation, archaising and modernising, and maximisation of reader’s reception: reader’s multilingual and multicultural competences. The “eclipticity” of relation between source and target text, peculiar to the cubist model, as well as the nonlinear (stereometric) approach to original, metonymic and juxtapositional translation technique, and ironic modality, all lead, in cubist translation, to the requirement of intertextual confrontation with the original, which is necessary of an assessment of scale, value, and range of a translation experiment.Item Imagi-natio. Przekład a wspólnota wyobrażona(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Bilczewski, TomaszThe article proposes a short review of studies presenting the development and intellectual background of the notion of national community from the perspective of major civilizational transformations of the last fifty years (including books by Ulf Hannerz, Robert Reich, and Kenichi Ohmae). In this perspective, the discussion focuses on historical and theoretical aspects of functioning of translation in community making process. The discussion also explores relations between translation and imagination, especially in the context of the notions of imagined communities by Benedict Anderson, and cultural translation by Homi Bhabha. Both notions stress the dimensions of translational and translatological activity, which can be discussed in the categories of critical activity and a sort of political activity.Item Obraz rzeczy – słowo – słowo Innego(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Tabakowska, ElżbietaThe author attempts to determine the role of imagination in (literary) translation Definitions of various types of imagination, taken from dictionary, or discussed in psychological works, are referred to in relation to processes occurring in the mind of a recipient of text (the readertranslator and the intended reader of translation) confronted with the original, defined as “the Other’s word.” The discussion is illustrated by three selected examples of relations between imagination and foreign cultural determinants: a poet’s reference to an outdated, idealised cognitive model, reference to the Other’s realities of material culture, and grammatical determination of a cultural cognitive model. The article ends with conclusions related to the notion of translation equivalence.Item Wycieczki inferencyjne tłumacza z wyobraźnią w tle(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Tokarz, BożenaIn a literary work, signals that trigger reader’s inferential excursions allow the reader’s imagination to identify with and control the represented world. They constitute an important element of sense-generating mechanism. Thanks to imagination, the translator imitates the inferential mechanism of the original on various level’s of the text’s structure, activating the imagination of the reader. The translator’s imagination is bi- or multivalent in having the linguistic-semiotic, literary, and cultural quality. Although it manifests itself in language, it goes beyond the boundaries of language. Imagination is a form of consciousness which has no object of its own, and a medium connecting a specific non-imaginary knowledge with representations. It constitutes a mind faculty shaped on the basis of sensory and mental perception. It is derived from individual principles of perception and cognition data processing. It usually requires a stymulus to activate the capabilities of the imagining subject. As a mind faculty, imagination is based on the mental capability common to all people, which is the ability to create chains of associations. Translator’s respect for inferential excursions in the original text is necessary for retaining the original meaning, regardless of whether they occur on the phonetic-phonological level (as in Ionesco’s "The Chairs"), or on the level of image-semantic and syntactic relations (as in translation of Apollinaire’s "Zone"), or on the level of syntax (as in translation of Mrożek’s short stories into Slovenian), or on the level of cultural communication (as in Slovenian translation of Gombrowicz’s "Trans- -Atlantic").Item Zwoływanie wyobraźni(Wydawnictwo Poznańskie Studia Polonistyczne i Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2014) Balcerzan, EdwardThe term “imagination” has numerous meaning: colloquial, paraliterary, scientific. They all refer to auto-communication, which is a conversation of an individual with him or herself, when our mind faculties: memory, intuition, observation, intelligence, knowledge – and imagination, too – compete for dominance or strive for harmonious cooperation. Similarly to the generally understood imagination, its particular, important species (literary imagination) requires internal classification, because it is always an imagination of role: of the author, the reader, the expert, the performer, the censor, the distributor, or sometimes of the translator. The question of translator’s and author’s status provokes a comparison between author’s and translator’s imagination: they share some qualities, but also have decidedly different ones. The opposition between created nature and creating nature, which is a notion used by Józef Czechowicz, might be helpful in capturing the similarities and differences. But this opposition, too, demands a literary and historical context. The author created by the romantic myth seems someone gifted with imagination creating literary worlds, which are limitless, whereas the author of realist works, especially diaries, must give priority to observation, when a piece of external, empirical reality is described and recorded. Baroque, romanticism, realism, expressionism, avant- garde, postmodernism differ in their canons of imagination. The creative process by the author of an original work becomes a negotiation between innovations of authorial fantasy and recreation of the canon. The translator is under much stronger pressure from his or her times, because his or her objectives and tasks are different. Usually, knowledge is enough for a translator: linguistic, historical, literary, common, encyclopaedic, specialised. If knowledge fails, the translator reaches out to imagination as an instrument for interpretation of source text, but this happens only when the text is ambiguous and rich in images. Be it as it may, the quality and range of translator’s activity are determined by someone else’s imagination, accumulated in the translated work, and present in its rhetorics.