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The review of: Ante Križić, Tomislav Majić, Milan Pranjić: Duvanjski pojmovnik, Naša ognjišta, Tomislavgrad, 2018.
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The review of: Ante Križić, Tomislav Majić, Milan Pranjić: Duvanjski pojmovnik, Naša ognjišta, Tomislavgrad, 2018.
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The article discusses Aleksander Barszczewski’s contribution in studies on national ouvre. Aleksander Barszczewski – professor of the University of Warsaw, Doctor of Philology is both a poet and a scholar, and many of his works are devoted to the study of the way figurative means and stylistic devices of folk art are used in fiction. He appreciates Romanticism as a trend in literature and art. Aleksander Barszczewski proves that national fantasy is of peasant and gentry origin. Moreover, he translates national tales into Polish. The researcher also focuses on poetry in Belarusian national rituals.
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In The Crowd: a “Study of the Popular Mind” (1895), Gustavele Bon wrote: “It is only the uniformity of the environment that creates the apparent uniformity of characters. I have shown elsewhere that all mental constitutions contain possibilities of character which may be manifested in consequence of a sudden change of environment”. The present paper understands the concept of “literary space” not only as “setting” or “territory.” A three-dimensional reality cannot convincingly delineate the entire universe of a narrative. At the beginning of the 20thcentury, Albert Einstein introduced a new variable into the equation – time. Thus, “literary space” or, if we are to use le Bon`s terminology, “environment”, in our understanding, also encompasses the concept of time. Both novels that we analyse are set during the Second World War. Regarding the proxemics, however, they diverge fundamentally. While in “The Book Thief” (Markus Zusak), the nine-year-old Liesel Meminger shapes the space, in “Between the Shades of Gray” (Ruta Sepetys), the fifteen-year-old LinaVilkasis shaped by the space. What does it take for a character to subdue the space-time, and how does the reader perceive the connection a character has with the space he/she occupies? Both characters being children, an analogy between the way they occupy/ let themselves being occupied by space proves to be relevant and insightful. They both step outside the comfort zone forcibly and have to handle the fundamental threat the war poses, i.e. losing humanity. They both find refuge in writing or reading. While Liesel Meminger designes a space of tranquillity, subjected to her own will and desire (a basement where she shelters Max), Lina Vilkas`s private space is shrinking by the day. It seems like a minor detail, but, for what it is worth, it might be a significant twist in the narrative.
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The research is the continuation of the previous investigations devoted to the attribution of an anonymous author of the publication “Pictures from officer life” in issue no. 41 of “Grazhdanin” in 1873. He was one of Dostoevsky’s correspondents Nikolay Aleksandrovich Shakhov, the officer of the 1st Labe Guard of the Ekaterinoslav Regiment of His Majesty. In course of further researches in Russian archives new materials for the biography of the author who attracted attention of the editors of “Grazhdanin” Fedor Dostoevsky were found. The revealed sources of an epistolary and official character supplement Nikolay Shakhov’s biography. This article expands the idea of him as about one of Dostoevsky’s correspondents, the author of the daily, as well as about a remarkable individual who achieved wide popularity thanks to his active public work as a philanthropist.
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This paper highlights the need for raising translation studentsʼ awareness of issues related to the thematic structure of source and target texts. This is a problematic area which significantly affects the quality of translations, especially from English into Polish, the latter having more flexible word order and thus opening more syntactic possibilities. An especially useful tool that may help to address this issue is the theory of Functional Sentence Perspective (FSP) developed by the Prague School. Despite the fact that it is quite elaborate, it may be trimmed to fit more practicallyoriented translation classes. Based on examples from student translations, the paper shows that such notions as communicative dynamism, context dependence/independence, competitors of the verb, setting vs. specification, Presentation Scale vs. Quality Scale, and potentiality can help trainee translators to correctly identify the hierarchy of carriers of communicative dynamism in their source texts and then make informed translation choices.
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The present paper aims at demonstrating how the initial norms adopted by translators, affecting their operational norms, impact the hermeneutic potential and process of canonization of the target text—or, in other words, how the consistency of Gombrowicz’s philosophy as it is expressed in his works in the Polish language transforms when translated into English. Opening with an overview of the canonization of translated literature and canonical authors’ “signature words,” the paper concentrates on one of landmark Gombrowicz’s terms, the word pupa, and its function in the immanent poetics of the philosopher’s work and in his global vision of the human condition. Against such a backdrop, an analysis of the consequences of the English translator’s choice concerning this term is provided, simultaneously revealing the importance of “signature words” in the process of canonization of a translated text.
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The main purpose of this paper dedicated to those Polish Bible scholars who seem to ignore new achievements of the theory of translation is to show that a conscious definition of the translation strategy (most notably, its scopos and its projected reader) is a capital issue in the Bible translation studies. The author aims to convince persons who may not be devoted admirers of poetry – a frequent case among Bible scholars – that poetry should not anymore be considered merely a “beautiful form” supplementing the omnipotent sense anymore. In his analysis of the first and successive editions of the Millenium Bible the author criticizes the commentaries to the Psalms which he calls “antipoetic” and therefore dissonant with the translated texts.
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The article concerns footnotes to literary texts translated from English into Polish in which translators waive their invisibility and clearly underline their presence in the text, as if demanding attention and entering into dialogue with the author. The context for these considerations is provided by contemporary trends in literature, the concept of the death of the author, and the postulate of translator’s loyalty. A number of functions of footnotes are distinguished, e.g. correcting the author’s mistakes, adding information or guessing the author’s intentions. Also the form of the footnotes is peculiar: often stylistically or emotionally marked, humorous, sometimes ironic. The analysis of the collected material suggests that translators refuse to be invisible intermediaries or the author’s loyal servants, but become overt co-authors of the text who have power over it.
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This analysis takes as its subject jokes about Poles that appeared in two US-American sitcoms: The Big Bang Theory (Teoria wielkiego podrywu) and 2 Broke Girls (Dwie spłukane dziewczyny), as well as their official Polish TV translations made for Comedy Central Polska channel. The selected examples refer to Polish traditions, history, and stereotypes about Polish people. They were divided into three categories according to their subject: a joke based on a stereotype, jokes making Poles look exotic, and jokes referring to Polish-Jewish relations, and the history of World War II. The aim here is accordingly: to characterize the original jokes, to analyze their official Polish voice-over translation, and to consider the potential differences in the reception of given fragments by the sourceculture and target-culture viewers. This paper refers to the characteristics of sitcom as a text genre and Eugene A. Nida and Charlesa R. Taber’s theory of functional equivalence.
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The new rendition of a text whose previous translation has already entered the literary canon of a given language can be a challenge. The existence of a rooted translation in one literary system can constitute an obstacle for the future translators of a given text. The influence of such a commonly accepted translation, ingrained in the minds of readers, can be seen as an example of manipulation. The examination of the two Polish renditions of the same book – Winnie-the-Pooh by A.A. Milne can further prove this point. While the first translation, done by Irena Tuwim, was considered a great success and entered the Polish literary canon, the next translator – Monika Adamczyk had to deal with numerous criticisms and the readers’ rejection because her version of the book was significantly different from her predecessor’s.
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Contrary to a view that is widely held among spoken language interpreters, according to which interpreting should be performed into one’s native language, sign language interpreters prefer to interpret from spoken language to sign language, that is from their A language to their B language. This article explores origins of this phenomenon. It discusses three groups of factors due to which interpreting into sign language is likely to be perceived as easier than into spoken language.
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This article presents a study on the equivalence of written translation in the context of the assessment of the credibility of witness testimony. Part one examines psychological criteria for assessing the credibility of testimony and linguistic indicators of deception that formed the theoretical basis of the study. Translations gathered during the study were analyzed linguistically and compared with original in order to categorize the errors and mistakes made by translators before and after learning the criteria of statements credibility assessment in training. The article also presents a comparative analysis of the assessments made by expert judges with regard to both the original testimonies and the translations thereof. The results of the statistical analysis showed that there are certain differences in the assessment of an original and its translation, and knowledge of the criteria for determining the credibility of a witness’s testimony has a positive impact on translation equivalence.
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There is already a wide range of studies that aim at understanding the different ways in which the Holocaust is presented in Israeli cinema. Although these studies present a wide spectrum of themes, processes, and points of view regarding this issue, this rich corpus of research does not include references to the various ways in which Polish-Jewish relations are portrayed in Israeli films. This article is interested in opening scholarly discussion on the ways in which Jewish-Polish relations are presented in several documentary and fictional Israeli films: Aba’le Bo La-lonapark (Daddy Come to the Amusement Park), directed by Nitza Gonen in 1995; Spring 1941, directed by Uri Barbash in 2007; Pizza b’Auschwitz (Pizza in Auschwitz) by Mosh Zimmerman in 2008; Ema shel Valentina (Valentina’s Mother), directed by Arik Lubzki and Matti Hararri in 2009; and Hakatayim (Past Life) directed by Avi Nesher in 2016. A discussion on the perception of Polish Jewish relations at this collection of films can add an additional angle to the topic of Polish-Jewish relations during and after the Second World War.
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The article focuses on both theoretical and artistic activities of Bracha L. Ettinger, an Israeli artist, author of the matrixial theory, psychoanalyst, feminist, and daughter of Holocaust survivors. It endeavours to prove that Ettinger’s artistic gesture – on the one hand – stands for almost-borderless closeness to traumatic events and – on the other hand – may occasion the viewer’s suspension between such notions as now and then or presence and absence. To specify, it attempts to demonstrate that gesture can move the viewer towards the traumatic experience of the Other. As Ettinger herself admits that in her case art and theory are strongly interconnected, this article follows a similar path, trying to show how these two instances affect each other in a productive way. The article begins with an introduction to Ettinger’s artistic technique, the notion of trauma(s) in her oeuvre, and the matrixial take on memory. It moves on to the interpretation of chosen paintings from Ettinger’s most famous series, Eurydice, based on the 1942 picture of the execution of naked women in the Mizocz ghetto, and of selected works of art with a mother theme; these artworks are read through the prism of, among others, the trauma of the World and the fort/da game. Lastly, the article hints at ethical implications of chosen Ettingerian concepts that apply to the aesthetic practice.
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An Israeli artist of the Second Generation or the postgeneration, Haim Maor uses in his art. various means of expression, such as painting, installation, photography, or performance, and creates biographical art. In numerous works, he uses words or texts in Hebrew, Yiddish, English, German, Polish, and Arabic. In this article, the author focuses mainly on these works of art in which Haim Maor – in a way close to conceptualism, postconceptualism, and concrete poetry – uses words, especially those in Hebrew and Yiddish. The author refers to the presence of tension in this art between the official language of the young and proud country of Israel (Hebrew) and the language of diaspora, despised by Israeli elites (Yiddish). Works by Maor evoke the Shoah mainly by means of references to familial stories. In the article, the author tackles the motif of memory found in this art, putting it in the context of post‑ Holocaust art and the notion of postmemory (Marianne Hirsch), and showing the way in which the attitude towards the tragedy of the Shoah transformed in Israel. Maor’s art criticises the myths functioning in Israeli society, such as the myth of “beautiful” death. Using not only the research of Israeli Zionist historians (Anita Shapira) and so‑ called new historians (Shlomo Sand, Tom Segev, Ilan Pappé, Idith Zertal) but also the texts of left‑wing publicists and writers (David Grossman, Amos Oz, Ari Shavit), the author attempts to depict the way in which art works through the same problems which historians, writers, and journalists face.
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The article is an attempt at a creative reading (one that employs figures and other works by the discussed writer) of Miriam Akavia’s autobiography entitled My Own Vineyard… Indicated in the title of the article, the most significant theoretical reference here is Aleksandra Ubertowska’s Holokaust. Auto (tanato) grafie. This article uses the Derridean notion of quasi‑genre modified by Ubertowska to interpret an important identity‑ related work by Akavia, a writer whose formative experience was the Holocaust.
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The article contains reflections on Miriam Akavia’s prose, with a special emphasis on her last book, written in 2005 and entitled Moje powroty [My Returns]. The main theme of Akavia’s oeuvre was her biography: her childhood in Cracow before the Second World War, experiences during the occupation, the Holocaust, and her life in Israel after the war. Her method of writing was traditional; she used conventional and topical forms of expression as vehicles for expressing her attachment to such values as home, family, native land (along with her home town Cracow), and new adoptive country.
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The article presents an interpretation of David Grossman’s novel See Under: Love in the context of alternativae history. Revealing the problems related to depicting the Holocaust, the story becomes a critique of our culture. It shows how four distinct parts are related, creating a vision of the dark sphere of our “I” hidden from the world: an alternative version of a story about ourselves is a sui generis reckoning with the concept of humanity dominant in our European community.
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