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The aim of the article is to present the strategy of political manipulation in the paratexts which contain the translations of Italian literature in Poland of Stalinist era. To demonstrate different editorial procedures, the analysis takes into consideration two most significant examples: three editions of the novel by Renata Viganò entitled "Agnese va a morire" (the first two from 1951, the third from 1955) and the publication of a fragment of the novel by Elio Vittorini entitled "Sempione strizza l’occhio al Frejus" in “Przekrój” magazine in 1953. The selection of these examples shows a specific modal frame into which the translations of Italian Literature were forced. Due to that procedure, the Italian novel could be read in connection with other propaganda texts which constitute the intertextual context, determine the interpretation key and intensify the propaganda message.
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The article is a short analysis of Italian editions of two novels by Marek Krajewski: "Death in Breslau" and "The End of the World in Breslau", which were translated by Valentina Parisi for Einaudi publishing house. Some aspects of the translations were compared to the original − for example topographical names, colloquial phrases and the use of footnotes. The article discusses a few of the translator’s choices. Some of them are assessed as right, some − as doubtful or mistaken. All in all though, the translator’s work is rated as successful.
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"Bar Sport" by Stefano Benni is a magnificent example of a text filled with homeliness as it describes the author’s compatriots and their drawbacks, far-fetched ambitions and forbidden desires by means of a humorous, paradoxical deformation. In this process, functioning as a kind of a collective, amusing psychotherapy, Benni creates a micro universe in a little bar occupied by bizarre individuals, where, like in a magnifying glass, clearly appears a picture of an average Italian, which prevails in the common, collective imagination of Italians themselves. Therefore this text becomes particularly exotic and incomprehensive for foreigners, due to a width of the so-called ‘silence margin’, which forces the translator to commit heavy interferences in the text or footnotes in order to fill in the informational void that follows it.
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The poetry by Tadeusz Miciński (1873–1918), particularly prone to misreadings because of its complexity, has never been very popular in Italy. Nevertheless, translators’ attention to Miciński’s writings is worth being studied from the comparative point of view. Firstly, limited reception of Miciński’s writings in foreign context may suggest various considerations on literary and non-literary reasons of its „absence” in Italian culture (such as unsuccessful translation or hermeticism of the text). Moreover, careful reading of the Italian versions may broaden horizons of eventual reflection on translatability or non-translatability of a literary text.
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The article examines various theories concerning literary translation. Authoress focuses attention on Hans Georg Gadamer’s, George Steiner’s, Umberto Eco’s and Peter Torop’s points of view on literary translation. There are also presented other fundamental problems of contemporary translation studies: the cultural importance of translation-dialogue, untranslatability of languages-cultures.
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The aim of this article is to present a short history of Polish sonnet from the end of the 1500s to the beginning of the 1800s, paying special attention to the translations from Italian. Although first Polish sonnets by Jan Kochanowski were his original composition, the translations from Italian had a very strong influence on Polish poets for as long as to the beginning of the Nineteenth Century. The most eminent authors of sonnets were also translators themselves: in the 1600s free translations of Giambattista Marino had crucial influence on Polish literature. While the translations in the 1500s and 1600s appear very faithful to the Italian form of the sonnet, the few sonnets written in the 1700s tend to be closer to the Polish metric. The return to the sonnet’s classic form took place at the beginning of nineteenth century. The transformations of Polish translators’ attitude towards sonnet’s form are interpreted according to I. Even-Zohar’s literary polysystem theory and J. Holmes’s concept of poetry translation.
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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.
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