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The abundance of Bible citations in old Lithuanian writings makes it difficult to study their relationships. A user-friendly data platform is required to allow the Bible lines to be grouped according to the characteristics interesting to the researcher. The assessment of similarity of citations is the most problematic. An integrated analysis of vocabulary, syntax, and morphology (and in some cases—spelling) allows it, but this kind of philological research is slow and currently impossible to automate. We succeeded in automating the comparison with a cyclic algorithm. The task of the algorithm is to detect identical compounds in two character sequences and to calculate which part of the compared sequences they cover. The effect of the algorithm and the calculated percentages are mainly determined by the length of the lines, the shortest sequence allowed to be compared, and the transliteration accuracy. Different lengths of the lines (a biblical line can be quoted as a fragment that is comparable to the full line) require the consideration of the chronology of the sources and the selection of corresponding comparative calculation parameters. The most optimal shortest comparable character sequence was determined experimentally.
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Among the text samples from foreign languages in his Essay Towards a Real Character and a Philosophical Language (1668), John Wilkins prints an Old Lithuanian Lord’s prayer whose source is unknown. According to Andreas Müller (1680) it was taken from the ‘London Bible’, i.e., Samuel Bogusław Chyliński’s Old Lithuanian Bible translation of which only a part of the Old Testament had ever been printed (1660–1662). A comparison of Wilkins’ text, here edited for the first time, with all relevant Lithuanian versions of the Lord’s Prayer shows that Chyliński’s handwritten translation of Matthew is indeed the version closest to Wilkins’ text. But the differences, however slight, are significant: Wilkins, who did not speak Lithuanian, could not have modified the text in this way. Taken together, the facts point to the conclusion that Chyliński wrote down an ad hoc translation of the Lord’s Prayer for Wilkins. Johannes Bretke’s spontaneous new translation of a Bible passage in an album entry of 1599 thus would not be an isolated case.
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In der vorliegenden Nummer der Zeitschrift Relations der Kroatischen Schriftstellervereinigung (HDP) werden nun zum vierten Mal Übersetzungen von kroatischen Autorinnen und Autoren, die während des Sommerkollegs „Literarisches Übersetzen“ auf der Insel Premuda entstanden sind, veröffentlicht. Die Zusammenarbeit mit der Kroatischen Schriftstellervereinigung ist eines der zahlreichen erfreulichen Ergebnisse dieses wunderbaren Sommerkollegs, das seit 1996 in der bezaubernden mediterranen Landschaft stattfindet.
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The article discusses the metadramatic aspect of William Shakespeare’s Richard II and the way it is rendered in the contemporary Polish translation by Piotr Kamiński, based on a theoretical reflection off ered by Patrice Pavis. As Richard II is famous as a “play about language”, one of its themes is being exiled from one’s native language. It seems that this metaphor perfectly lends itself to the discussion of drama translation. In fact, owing to Kamiński’s careful handling of this theme, his text might be read as both metadrama and metatranslation. Furthermore, the article looks into the possibility of translations’ influences on the source culture and assesses potential cultural benefits of drama translation.
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Puste kobiety z Windsoru (1842) is the first complete Polish translation of The Merry Wives of Windsor and the first translation by Placyd Jankowski (1810–1872), one of the most extraordinary Shakespeare translators into Polish, who published under the pseudonym of John of Dycalp. His work proves to be an interesting case study on two grounds. First, it is an example of the complexities of translating verbal humor, and secondly, an interesting case of literary rewriting which takes into account the specificity of the target audience to the effect of, as it were, relocating the play from the English countryside to the Polish Kresy (Borderlands). Consequently, it is possible to examine Dycalp’s translation as a linguistic experiment, especially with regards to the parts of Sir Hugh Evans, the Welsh parson, and of Doctor Caius, the French physician. Furthermore, Dycalp’s translation serves as an example of domestication directed at a very specific audience, which adds an unexpected dimension to the issue of multilingualism in Shakespeare’s work as well as to the concept of stage as a broadly understood cultural space.
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This article comments on the use of Konstanty Ildefons Gałczyński’s 1950 translation of A Midsummer Night’s Dream in the rock-opera adaptation created by Leszek Możdżer and Wojciech Kościelniak in 2001. Inspecting the production’s critical reception against the background of the translation’s origin and its position in the canon of Polish renderings of Shakespeare’s plays, I explain the critics’ negative reactions to the merge of this traditional poetic translation with modern scenography and music. Analysing a selection of songs, I identify a number of features of Gałczyński’s text that decide about its functionality in this fairly unusual theatrical test. I also describe the modifications introduced in the translation by the authors of the adaptation in the process of transforming the play’s text into a quasi-libretto.
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Ferge Gábor munkája a lektor ajánlása szerint „komoly gazdagodása filozófiai irodalmunknak”, mert „megszünteti több évtizedes szakmai lemaradásunkat és egyúttal olyan megbízható kézikönyvet ad a jövő tanárgenerációi és tudósai kezébe, amelyre a nemzetközi tudomány is csak elismeréssel tekinthet”, (vii. old.).
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A letter to the editor devoted to Grzegorz Przbinda's translation of Master and Margarita.
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Letter to the editor: Grzegorz Przebinda's polemics with Krzystof Tur on the translation of Bulgakov's Master and Margarita
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The article deals with the up-to-date problem of organization and implementation of the efficient assessment system of future philologists’ translation competence. The author singles out the peculiarities of the university assessment procedures taking into account the students’ current training and future professional activity.
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To speak of an enduring fascination with a military conflict that took place a hundred years ago would be an overstatement. It is more accurate to say that one can detect impressive institutional, scholarly and cultural efforts to perpetuate an empathetic understanding of the countless and varied human experiences in the time of the Great War, as well as an awareness of the scale of its geopolitical impact and the vastness of the social changes it brought into being, giving birth to the modern age.
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The anthropological factor through the activation of the psychological and cognitive mechanisms plays an important role in both the process and product of translation. Identifying the problematic areas, searching for correspondents, feeling uncertain and yet bound to make a decision, the responsibility for which lies on the translator — roughly each stage of working on translation involves not only the use of professional competences, but also certain psychological functions. The present project aims at tracing the impact of the psychological and cognitive characteristics of the translator’s personality on translation strategy and target text. The practical implications of the study concern translation didactics, offering a novel approach to the training of future translators.
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The first issue of the Red Cross Journal was published in January 1914, only eight months before the outbreak of the First World War. This article explores the impact of the war on this publication, as the work of the charity it represented dramatically expanded over the course of the conflict. How did the Journal survive the war, at a time when the Red Cross was deeply involved in supporting soldiers? This article examines the genesis of this publication and its evolving role during the war. This periodical, we argue, not only helped raise awareness of the work carried out by the Red Cross, but it also served practical purposes in the areas of training and funding. This publication reveals an increasingly critical stance towards the British Empire’s enemies in the war, as well as the need for the British Red Cross Society to foster a sense of unity amongst members posted around the world.
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When the United States entered the First World War in April 1917, the Committee of Public Information (CPI) organised several branches of propaganda to advertise and promote the war in hundreds of magazines and newspapers nationwide. One of these organisations was the group of writers known as “the Vigilantes.” This essay examines Fifes and Drums: A Collection of Poems of America at War (1917), published by the Vigilantes a few months after the American declaration of war. The discussion frames the context under which the Vigilantes conceived their poems as well as the main strategies that they employed to poetically portray the role that the United States was to play in the conflict.
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British film propaganda directed at neutral countries was meant to strengthen the pro-British attitude or at least weaken pro-German sentiments in the neutral countries. Directed at the wide strata of neutral societies as well as at intellectual, military and economic elites, factual films from the battle lines were believed not only to counteract German propaganda but also to overshadow hostile actions taken by British government against economic and political freedoms of the neutrals. This article is an attempt at understanding the reasons for the eventual failure of British film propaganda in the Netherlands. While mentioning various conflict areas between the countries, it focuses on cultural entanglements and cultural networks that developed, though precariously, throughout the war. The neglect of existing connections between British and Dutch filmmakers and the hesitant if not hostile attitude of War Office Cinematograph Committee towards expensive adaptations of literary works, and feature films in general, might be perceived, the article argues, as one of the core reasons, along political and economic tensions, why Britain lost the battle for Dutch cinema audiences.
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The end of the First World War in Africa occurred at different times across the continent as the German colonies capitulated and surrendered to the allied forces between 26 August 1914 and 25 November 1918. The experience of each territory was indicative of its colonial development and local conditions. As the war inched across the landscape so people moved between states of peace and conflict, all caught up in some aspect either directly or through the provision of food and other materials. This chapter explores different experiences across the continent and the legacy of the discussions at Versailles.
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This essay interrogates two articles by the Canadian historian Jeff Keshen and the Australian historian Mark Sheftall, which assert that the representations of soldiers in the First World War (Anzacs in Australia, members of the Canadian Expeditionary Forces, the CEF), are comparable. I argue, however, that in reaching their conclusions, these historians have either overlooked or insufficiently considered a number of crucial factors, such as the influence the Australian historian/war correspondent C. E. W. Bean had on the reception of Anzacs, whom he venerated and turned into larger-than-life men who liked fighting and were good at it; the significance of the “convict stain” in Australia; and the omission of women writers’ contributions to the “getting of nationhood” in each country. It further addresses why Canadians have not embraced Vimy (a military victory) as their defining moment in the same way as Australians celebrate the landing at Anzac Cove (a military disaster), from which they continue to derive their sense of national identity. In essence, this essay advances that differences between the two nations’ representations of soldiers far outweigh any similarities.
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This paper will analyze how memoirs and novels of the First World War reflect the challenges which modern warfare poses to realist narrative. Mechanized warfare resists the narrative encoding of experience. In particular, the nature of warfare on the Western Front 1914–1918, characterized by the fragmentation of vision in the trenches and the exposure of soldiers to a continuous sequence of acoustic shocks, had a disruptive effect on perceptions of time and space, and consequently on the rendering of the chronotope in narrative accounts of the fighting. Under the conditions of the Western Front, the order-creating and meaning-creating function of narrative seemed to have become suspended. As I want to show, these challenges account for a fundamental ambivalence in memoirs and novels which have largely been regarded as paradigmatically ‘realistic’ and ‘authentic’ anti-war narratives. Their documentary impetus, i.e. the claim to tell the ‘truth’ about the war, is often countered by textual fragmentation and a “cinematic telescoping of time” (Williams 29), i.e. by a structure which implies that such a ‘truth’ could not really be articulated. In consequence, these texts also explore the relationship between fact and fiction in the attempt at rendering an authentic account of the modern war experience. My examples are Edmund Blunden’s Undertones of War (1928), Robert Graves’s Goodbye to All That (1929) and the novel Generals Die in Bed (1930) by the Canadian Charles Yale Harrison, as well as German examples like Ernst Jünger’s In Stahlgewittern (1920; The Storm of Steel, 1929), Ludwig Renn’s Krieg (1928; War, 1929) and Edlef Köppen’s Heeresbericht (1930; Higher Command, 1931).
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Plutarch’s dialogue Bruta animalia ratione uti mainly reached popularity in humanist circles through a Latin translation made by Giovanni Regio, a young Paduan, in the year 1488. The text of this translation, which is preserved in a paper codex Ms. 958 of the University Library of Padua, was revised and posthumously put into print by Raffaele Regio, Giovanni’s older brother, in the year 1508 in Venice. A comparison of the text of the manuscript with that of the printed version has so far been neglected in philological research. With a detailed analysis, we wish to ascertain how far changes have been effected to the original translation during the revision and try to get an insight into the methods and skills of the young translator. Thereby we shall even be able to trace if there is any further connection of the text with the other two translations of the dialogue, those that were made a few decades earlier by Antonio Cassarino and Lampugnino Birago.
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