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GÁSPÁRI LÁSZLÓ: A FUNKCIONÁLIS ALAKZATELMÉLET VÁZLATA. Pázmány Péter Katolikus Egyetem Magyar Nyelvészeti Tanszékének Kiadványai 6. Piliscsaba 2003. 168 l
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It is hard to speak about the general literacy in a broader sense of the word, without being aware of the relevance of the orthography. Thus, it is very important to respect the orthographic rules and this leads to promotion and affirmation of the Macedonian language norm. Bearing in mind that the written practice still shows numerous deviations from the orthography of the compound adjectives (without hyphen), this paper aims to explore the reason for this situation. The research has qualitative paradigm and a descriptive design. The sample consists of the Macedonian language curricula and textbooks for primary and secondary education in order to get an insight of what is said there for the orthography of the compound adjectives. Also, the sample consists of several crucial orthographic rules for the orthography of the compound adjectives excerpted from the latest edition of the Orthography of the Macedonian language in order to analyze their preciseness, and clearness for the native speakers of the Macedonian language. The written practice is represented through various electronic sources (newspapers, portals). The methods used for processing the data and drawing conclusions are analysis, synthesis and comparison. The research indicates that the various mistakes regarding the orthography of the compound adjectives are present due to the small number of rules in the Macedonian language curricula and the textbook, the impreciseness of some rules in the Orthography due to the lack of respect for the orthographic rules from the native speakers of the Macedonian language.
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The paper discusses the names of months and the peculiarities of their functioning in fiction and first of all in the poetic discourse. The aesthetic potential of the names of the months is rather high. The presence of archaic names of months allows to create oppositions at the level of modern and old names. In the poetic discourse, metonymies and metaphors with the use of names of months are often found. Metonymic transfers are based on models „the month name – the season“, „the month name – the certain event“ and others. Metaphors, built on the opposition of month names actualize nuclear implicational semes which reflect the most typical features of a month, and thus, a steady connotative background accumulates. One month is opposed to another on the basis of the semantic actualization “cold/warm”, but primarily on the basis of associative evaluation semes „better/worse“. Personification reflects the characteristic features of the month, actualizing the category of gender. This group of vocabulary is involved in occasional word formation.
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Approximately 75% of book publications of Polish literature in Slovenian in the years 1987—2014 include an afterword written by the translator, who expresses in it his concept of translation as a linked text. Slovenian translators place the original in the center of the reflection on translation, attributing the translation a cognitive, mediating and sometimes artistically inspirational function. This testifies to the translators’ responsibility for the reception of the translated literature, and to their historical and literary integrity, as well as to the publishers’ diligence.
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The article deals with the role of comment (as a kind of paratext), which gains a particular status in translation, becoming an additional medium between the author/translator / editor and the primary text and the secondary recipient as well as their cultural universe. This seems important because the translated text is to function in a new environment, a new cultural space; it is supposed to find its way to a new audience, and thus this type of expressions “support” translation in its most important role of a link in cross-cultural communication.
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This article talks about short autobiographical stories in the collection Book of My Lives by Aleksandar Hemon. What makes this book a piece of art, how it works translated into Bosnian from English, when it was written in English with Bosnian background and cultural experience, as well as how it translates into Polish constitutes the basis for this article. Analyzing how publishers use titles, notes on the author, and other paratextual elements here is first step in the understanding how Hemon creates his work from Bosnian and American experiences and memories.
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Milivoj Slaviček (1929—2012) is one of the Croatian poets that are most often translated into Polish. Polish translations of his poems are accompanied by paratexts (elements that function around a specific text: titles, prefaces, afterwords, footnotes,autobiographical notes, reviews, etc.). Here, we shall take a closer look on two Slaviček’s poems in both the original version and in Polish translation together with the accompanying paratexts, which will allow us to determine patterns in this regard within the series of translations.
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The article discusses paratexts in Polish translations of M. Crnjanski’s poetry and prose. The corpus of the article includes the Polish translations, which were published in six volumes. Various types of paratexts of the translations have been analyzed here: the translator’s paratexts and the editor’s paratexts, verbal and non-verbal paratexts, introductions and notes.
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This article deals with the relevance of paratexts in translation based on the example of the afterword in the Czech translation of Herta Müller’s novel Herztier [The Land of Green Plums], titled Srdce bestie and written by Radka Denemarková, a writer and translator famous not only in her homeland. Therefore, he analyses the different functions of the afterword, especially as a commentary on the translator’s choices and, consequently, as an insight into the worldview inscribed into the original language. A particular interest is paid to the translator who, in view of her literary predispositions that are clearly visible not only in the afterword, could be described as the “second author”.
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The article concerns the issue of intensification in Polish and Slovak reviews of Pavol Rankov’s prose. The review, as a form accompanying the main text, is treated as paratext. The linguistic category of intensification can be expressed in the text by the variety of linguistic means: derivational, morphological, lexical, and stylistic. These structures, with the collateral “intensifiers”, were cited and analysed in this study.
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Translational literature in Poland and Czechoslovakia in the 1950’s was influenced by the contemporary re-evaluation of national literature canon. The authors of introductions to the translations were required to be ideologically consistent. The promotion of Czech literature in Poland and of Polish literature in Czechoslovakia was conducted in a selective fashion that determined certain interpretations and values. The introductions were supposed to orientate the readers to a particular interpretation of a given translation, filtered by their awareness of doctrinal intertext.
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The article presents an analysis of the non-linguistic translator’s notes in four translations of the novella Balada o trobenti in oblaku (The Ballad of the Trumpet and the Cloud) by a Slovenian writer, Ciril Kosmač. The translator’s notes are analysed with regard to their content (functions) and typology (partly also formal features). The analysis reveals a clear difference in the use of this translation technique in the selected translations, resulting also, to a certain degree, from the distance between the source and target cultures.
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The aim of this article is to present different strategies and types of translator’s notes used in the translations of Polish novels Wojna polsko-ruska pod flagą biało-czerwoną (White and Red in the UK or Snow White and Russian Red in the US) by Dorota Masłowska, Lubiewo (Lovetown) by Michał Witkowski and Gnój (Muck) by Wojciech Kuczok. In the first part of the paper, the authors will concentrate on the place of footnotes in the structure of text and their symbolic meaning. Moreover, a closer investigation of semantics of translators’ comments will follow.
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The main goal of the article is to analyse the translator’s footnotes in the Polish translation of the Drago Jančar’s essays. There are different opinions about footnotes. Some some people consider them a discredit to the translator, while others think them a sign of erudition. Footnotes should help the reader of the target culture to understand the original text culture. It is important to create footnotes cautiously.
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This article defines the relationship between the Croatian author of the Romantic period Medo Pucić and Adam Mickiewicz through the analysis of Pucić’s biography and a biographical article he wrote for an Italian literary journal La Favilla along with a translation of an excerpt from Forefathers’ Eve. The relationship between the two poets is incorporated into the wider context of the Croatian-Polish literary connections of the first half of the 19th century.
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The conspiracy mission of Marin Držić is being analyzed in the context of sovereignty and political state of exception, from Schmitt to Agamben, as well as in the light of recent historical interpretations, from Jeličić and Pupačić to Tatarin and Kunčević. Držić’s letters to Cosimo I. and Francesco Medici are thus situated in the context of renaissance diplomatic thought. Based on some possibilities in their Croatian stylizations (Čale vs. Batistić), their political and theological semantics is revised.
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