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- Dr Aleksandra Wieczorkiewicz is an Assistant Professor at the Faculty of Polish and Classical Philology, Adam Mickiew... moreDr Aleksandra Wieczorkiewicz is an Assistant Professor at the Faculty of Polish and Classical Philology, Adam Mickiewicz University in Poznań, Poland, and a researcher in the AMU Children’s Literature & Culture Research Team. She received her doctorate on the Polish translation reception of works by George MacDonald, J.M. Barrie and Cicely Mary Barker. Her academic interests include English children’s literature of the Golden Age, Polish juvenile writings, and children’s literature translation studies. She has authored two monograph books and more than 20 academic articles and book chapters; she is also a literary and academic translator.edit
Artykuł prezentuje wyniki analizy pierwszego polskiego tłumaczenia powieści Peter Pan in Kensington Gardens J.M. Barriego autorstwa Zofii Rogoszówny pt. Przygody Piotrusia Pana (1913) jako przekładu zapośredniczonego. W oparciu o metodę... more
Artykuł prezentuje wyniki analizy pierwszego polskiego tłumaczenia powieści Peter Pan in Kensington Gardens J.M. Barriego autorstwa Zofii Rogoszówny pt. Przygody Piotrusia Pana (1913) jako przekładu zapośredniczonego. W oparciu o metodę zainspirowaną krytyką tekstów, wewnątrz ramy badań nad przekładem niebezpośrednim, dowiedzione zostaje, że wersja Rogoszówny opierała się na niemieckim tłumaczeniu pt. Peter Pan im Waldpark (1911) autorstwa Irmgard Funcke. Artykuł jest również próbą udzielenia odpowiedzi na pytania o to, jak w wyniku wieloetapowej transmisji tekstu zmienia się profil jego projektowanego odbiorcy; jak za pomocą translatorskich przesunięć tłumaczki „przystosowały” tekst wyjściowy do wrażliwości czytelników (stosując domestykację lub uniwersalizację kulturową); jak zatem – przez pryzmat transferu językowego – scharakteryzować można myślenie o dziecku oraz rolę literatury dla młodych w Anglii, Niemczech i Polsce w początkach XX wieku.
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All children, except one, grow up. Among all the masterpieces of global literature for children, this story surely cannot be defined as a fairytale, even though it tells of wondrous events, a remote island, fairies, mermaids and children... more
All children, except one, grow up. Among all the masterpieces of global literature for children, this story surely cannot be defined as a fairytale, even though it tells of wondrous events, a remote island, fairies, mermaids and children that are able to fly. A journey to Neverland is a flight on the wings of imagination, covered with golden fairy dust, but once the travellers long for homecoming, they shall never see the island again. Peter Pan Or The Boy Who Would Not Grow Up (1904) was a spectacular success of the Scottish playwright James Matthew Barrie, whose own childhood was far away from idyllic happiness. Seven years after its opening night, the play was adapted by the author into a story for the little ones, but there are many themes and thoughts in the book that are stereotypically not meant for children. The experience of real-life (not making-believe) strongly marked the language and style of Peter Pan. The article focuses on the Polish translations of Peter and Wendy b...
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Die Beiträge des Bandes verorten die Übersetzung von Kinder- und Jugendliteratur im Spannungsfeld zwischen Ideologisierung und den aus ihnen ausbrechenden, kreativen re-writings und Transcreations. Auf der einen Seite agieren sowohl die... more
Die Beiträge des Bandes verorten die Übersetzung von Kinder- und Jugendliteratur im Spannungsfeld zwischen Ideologisierung und den aus ihnen ausbrechenden, kreativen re-writings und Transcreations. Auf der einen Seite agieren sowohl die Autor*innen, als auch die Übersetzer*innen von KJL in einem komplexen Feld kommerzieller, medialer, aber auch erziehungspolitischer Gegebenheiten. Oftmals entscheiden außerliterarische Kontexte wie Verlags- oder Erziehungspolitik und das jeweils herrschende ideologische Klima darüber, ob und in welcher Form ein kinderliterarisches Werk in anderen Kulturen Fuß zu fassen vermag. Auf der anderen Seite schaffen Übersetzer*innen kreative re-writings kinderliterarischer Texte, die sich gegen ideologische Vereinnahmung wehren und die ästhetische Autonomie von KJL behaupten. Das Konzept der Transcreation betont die transformativen, transgressiven und kreativen Aspekte der Übersetzung von Kinder- und Jugendliteratur. Der Band versammelt theoretische Zugänge s...
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Choć powszechna opinia głosi, że Bolesław Leśmian jest „poetą nieprzetłumaczalnym”, jego twórczość doczekała się licznych przekładów – między innymi na język rosyjski, niemiecki, angielski czy hebrajski. Niniejsza książka jest próbą... more
Choć powszechna opinia głosi, że Bolesław Leśmian jest „poetą nieprzetłumaczalnym”, jego twórczość doczekała się licznych przekładów – między innymi na język rosyjski, niemiecki, angielski czy hebrajski. Niniejsza książka jest próbą prześledzenia przekładowych wcieleń poezji Leśmiana w angielszczyźnie oraz udzielenia odpowiedzi na pytanie, czy i jak „poeta niemożliwy” – twórca języka idiomatycznego, pełnego neologizmów, poddanego rygorom rytmu i rymu, nasyconego myślą filozoficzną i mocnymi kolorami słowiańskości – może zaistnieć w tłumaczeniu. Rozważania nad związkami myśli Leśmianowskiej z przekładem, aneks zbierający angielskie translacje jego utworów, a przede wszystkim analizy Ballady bezludnej, Dusiołka, Srebronia czy Urszuli Kochanowskiej w tłumaczeniach (m.in. Rochelle Stone, Sandry Celt, Mariana Polaka-Chlabicza i Krzysztofa Bartnickiego) stanowią propozycję czytelniczą dla wszystkich zainteresowanych zarówno poezją autora Łąki, jak i przekładem literackim
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The article focuses on English translations of Bolesław Leśmian’s Urszula Kochanowska, especially those by Marian Polak-Chlabicz and Krzysztof Bartnicki. The author of the article aims to achieve a critical comparison between different... more
The article focuses on English translations of Bolesław Leśmian’s Urszula Kochanowska, especially those by Marian Polak-Chlabicz and Krzysztof Bartnicki. The author of the article aims to achieve a critical comparison between different translation strategies ventured to conquer the diffi culties associated with translating this verse, which is strongly connected with Polish culture and literature. The close-reading of the translations is accompanied by a short outline of Leśmian’s existence in English language along with an attempt to answer the question of whether translating his poetic language is at all possible or is Leśmian’s work an evident proof (as many critics say) of the phenomenon known as untranslatability.
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The article presents a cross-sectional view of the impact of the translations of English-language juvenile literature of the Golden Age on Polish literary production for young readers. This panorama of infl uences and reception modes is... more
The article presents a cross-sectional view of the impact of the translations of English-language juvenile literature of the Golden Age on Polish literary production for young readers. This panorama of infl uences and reception modes is presented in three comparative close-ups, dealing with characters and recipients (English ‘girls’ novels’ and their Polish equivalents), literary convention (adventure novels), and fairytale quality, imagination, and fantasy (Polish literary works inspired by English classic fantasy books). The study shows that Golden Age children’s literature transferred into Polish by means of translation brought new trends, motifs, genres and themes to Polish juvenile literature, signifi cantly contributing to its development.
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Angielska klasyka literatury dziecięcej to dzieła, które przeszły próbę czasu – to książki mądre i piękne, lecz jednocześnie niezwykle trudne w przekładzie. Mniej więcej osiemdziesięcioletnią epokę „złotego wieku” anglojęzycznej... more
Angielska klasyka literatury dziecięcej to dzieła, które przeszły próbę czasu – to książki mądre i piękne, lecz jednocześnie niezwykle trudne w przekładzie. Mniej więcej osiemdziesięcioletnią epokę „złotego wieku” anglojęzycznej literatury dziecięcej otwierają Carrollowskie Alice’s Adventures in Wonderland (1865), a kontynuują dzieła takich twórców, jak L.M. Alcott, J.M. Barrie, L.F. Baum, F.H. Burnett, K. Grahame, R. Kipling, H. Lofting, A.A. Milne, L.M. Montgomery, E. Nesbit, B. Potter, R.L. Stevenson, P.L. Travers czy M. Twain, współtworzące kanon najsłynniejszych dzieł literatury dziecięcej. Z kolei pierwsze polskie przekłady angielskiej klasyki pojawiły się niemal sto pięćdziesiąt lat temu – pod koniec XIX stulecia – i prace nad nimi były kontynuowane przez cały wiek XX aż do dzisiaj, tworząc często rozbudowane serie tłumaczeniowe. W polskiej translatologii brak dotąd ujęć pozwalających zobaczyć kanon anglojęzycznej klasyki dziecięcej i historię jego przekładów w perspektywie i...
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Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is... more
Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is unique not only because of the poetical qualities it represents – rhythmicity, melodiousness, catchiness, melancholy and lyricism equally with pure nonsense, absurdity, grotesque, (black) humour and numerous equivoques and puns, which are characteristic for Wawiłow’s poetical works; above all else Poems for Naughty Children is a collection of translations of the traditional English nursery rhymes, made by Danuta Wawiłow, who claimed more than once that she was a translator long before she had become a writer. The article aims to explore Wawiłow’s translation work which (up to now) remains almost unknown and un-described in Polish theoretical discourse. Moreover, the author presents the outcome of her research conducted to find “missing originals” of tra...
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Peter Pan in Kensington Gardens – elusive and whimsical tale about pre-Neverland life of the Boy Who Would Not Grow Up, non-adult excerpt from the novel originally written for adults, published separately in 1906 as the book for children... more
Peter Pan in Kensington Gardens – elusive and whimsical tale about pre-Neverland life of the Boy Who Would Not Grow Up, non-adult excerpt from the novel originally written for adults, published separately in 1906 as the book for children – collects and combines many translation difficulties which can be found in children’s classics. That is, first and foremost, dual (or multi) address of the text, whose virtual reader is situated – like Peter Pan himself – between childhood and adulthood. Secondly, complex narration interlacing different voices, multiplicity of stylisations, brisk humour and lyricism mixed with nostalgia. For Barrie’s translators a great challenge is also the language of his novel – precise, ironic, immersed in actuality of place and time, full of linguistic invention and poetic qualities. Simultaneously, the novel gains interesting contexts in Barrie’s later works concentrated on Peter Pan – through Kensington Gardens a straight path leads to the Neverland. Peter Pan in Kensington Gardens was translated into Polish only twice – by Zofia Rogoszówna in 1913 and by Maciej Słomczyński in 1991. This two translations, telling the Peter’s story in two different and somehow antithetical voices, can be analysed not only in terms of narrative and linguistic issues but also in terms of literary conventions influencing the translation, translator’s censorship, and the ways translators understand their role towards the texts (translator-moralist versus impartial objectivist). The main aim of the article is to present translation challenges in Barrie’s novel and analyse different strategies engaged in translation process. This critical perspective will be complemented with practical attitude developed while working on new Polish translation of Peter Pan in Kensinton Gardens, created with the willingness to restore and refresh this slightly forgotten masterpiece to the Polish reader.
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Celem artykułu jest zarysowanie biograficznego i interpretacyjnego tła dzieł Arthura Rackhama oraz analiza jego wybranych ilustracji do powieści Peter Pan in Kensington Gardens, skupiona na badaniu zależności pomiędzy tekstem a grafiką:... more
Celem artykułu jest zarysowanie biograficznego i interpretacyjnego tła dzieł Arthura Rackhama oraz analiza jego wybranych ilustracji do powieści Peter Pan in Kensington Gardens, skupiona na badaniu zależności pomiędzy tekstem a grafiką: na jakich płaszczyznach wyobraźnia ilustratora spotyka się z wizją pisarską; jak obrazy – tak ważne w książce dla dzieci – wpływają na interpretację tekstu literackiego i w jakim sensie same są jego interpretacją. Niezwykle istotna jest tu również kategoria nastrojowości tworzącej się na styku słowa i obrazu oraz rozumienie ilustracji jako „przekładu intersemiotycznego”, gdyż analiza dzieł Rackhama (i Barriego) została dokonana także z perspektywy tłumacza, by pokazać, jak istotna w literaturze dziecięcej jest korelacja pomiędzy przekładem a obrazem, jaką rolę w procesie translatorskim pełni ilustracja.
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By the great Mississippi River. Meeting of cultures and languages in translation – the case of Mark Twain’s "Adventures of Huckleberry Finn" The Explanatory in the first edition of his famous novel "Adventures of Huckleberry Finn (Tom... more
By the great Mississippi River. Meeting of cultures and languages in translation – the case of Mark Twain’s "Adventures of Huckleberry Finn" The Explanatory in the first edition of his famous novel "Adventures of Huckleberry Finn (Tom Sawyer’s Comrade)" (1884), clearly shows the importance of linguistic and cultural diversity in Mark Twain’s writing. The aim of this paper is to analyse the treatment of dialectal variety in the Polish translations of the novel (Prażmowska – 1898, Tarnowska – 1955, Konsztowicz – 1997, Kuligowska – 1997, Batko – 2003, Machay – 2008) and the resulting difficult topics (especially the use of the word nigger and its translational implications). This case study is complemented by a practical perspective, which presents the results of workshop with a group of students of the Faculty of Polish and Classical Philology, Adam Mickiewicz University of Poznań, which prove that the linguistic mastery of the author of Adventures of Huckleberry Finn can be rendered in Polish in many different ways.
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Peter Pan in Kensington Gardens – elusive and whimsical tale about pre-Neverland life of the Boy Who Would Not Grow Up, non-adult excerpt from the novel originally written for adults, published separately in 1906 as the book for children... more
Peter Pan in Kensington Gardens – elusive and whimsical tale about pre-Neverland life of the Boy Who Would Not Grow Up, non-adult excerpt from the novel originally written for adults, published separately in 1906 as the book for children – collects and combines many translation difficulties which can be found in children’s classics. That is, first and foremost, dual (or multi) address of the text, whose virtual reader is situated – like Peter Pan himself – between childhood and adulthood. Secondly, complex narration interlacing different voices, multiplicity of stylisations, brisk humour and lyricism mixed with nostalgia. For Barrie’s translators a great challenge is also the language of his novel – precise, ironic, immersed in actuality of place and time, full of linguistic invention and poetic qualities. Simultaneously, the novel gains interesting contexts in Barrie’s later works concentrated on Peter Pan – through Kensington Gardens a straight path leads to the Neverland.
Peter Pan in Kensington Gardens was translated into Polish only twice – by Zofia Rogoszówna in 1913 and by Maciej Słomczyński in 1991. This two translations, telling the Peter’s story in two different and somehow antithetical voices, can be analysed not only in terms of narrative and linguistic issues but also in terms of literary conventions influencing the translation, translator’s censorship, and the ways translators understand their role towards the texts (translator-moralist versus impartial objectivist). The main aim of the article is to present translation challenges in Barrie’s novel and analyse different strategies engaged in translation process. This critical perspective will be complemented with practical attitude developed while working on new Polish translation of Peter Pan in Kensinton Gardens, created with the willingness to restore and refresh this slightly forgotten masterpiece to the Polish reader.
Peter Pan in Kensington Gardens was translated into Polish only twice – by Zofia Rogoszówna in 1913 and by Maciej Słomczyński in 1991. This two translations, telling the Peter’s story in two different and somehow antithetical voices, can be analysed not only in terms of narrative and linguistic issues but also in terms of literary conventions influencing the translation, translator’s censorship, and the ways translators understand their role towards the texts (translator-moralist versus impartial objectivist). The main aim of the article is to present translation challenges in Barrie’s novel and analyse different strategies engaged in translation process. This critical perspective will be complemented with practical attitude developed while working on new Polish translation of Peter Pan in Kensinton Gardens, created with the willingness to restore and refresh this slightly forgotten masterpiece to the Polish reader.
Research Interests:
The article focuses on the English translations of Urszula Kochanowska, the poem by Bolesław Leśmian, especially those created by Marian Polak-Chlabicz and Krzysztof Bartnicki. The author of the article tries to achieve a critical... more
The article focuses on the English translations of Urszula Kochanowska, the
poem by Bolesław Leśmian, especially those created by Marian Polak-Chlabicz
and Krzysztof Bartnicki. The author of the article tries to achieve a critical
comparison between different translation strategies ventured to conquer the
difficulties associated with translating this verse which is strongly connected
with Polish culture and literature. The close-reading of the translations
is accompanied by short outline of Leśmian’s existence in English language
along with an attempt to answer the question whether translating his poetic
language is at all possible or is Leśmian’s work an evident proof (as many
critics say) of the phenomenon known as untranslatability.
poem by Bolesław Leśmian, especially those created by Marian Polak-Chlabicz
and Krzysztof Bartnicki. The author of the article tries to achieve a critical
comparison between different translation strategies ventured to conquer the
difficulties associated with translating this verse which is strongly connected
with Polish culture and literature. The close-reading of the translations
is accompanied by short outline of Leśmian’s existence in English language
along with an attempt to answer the question whether translating his poetic
language is at all possible or is Leśmian’s work an evident proof (as many
critics say) of the phenomenon known as untranslatability.
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The aim of the article is to conduct a comparative analysis of intertextual filiations between a debut book of Polish writer Stefania Szuchowa, titled Tajemnice motyli [The Secrets of Butterflies] (1920), and James Matthew Barrie’s... more
The aim of the article is to conduct a comparative analysis of intertextual filiations
between a debut book of Polish writer Stefania Szuchowa, titled Tajemnice motyli
[The Secrets of Butterflies] (1920), and James Matthew Barrie’s Peter Pan in Kensington
Gardens (1906) which first appeared in Poland in 1913 as Przygody Piotrusia
Pana [Peter Pan’s Adventures] thanks to the translation by Zofia Rogoszówna. As
an essential context to this study, the author of the paper presents an almost unknown
biography of Szuchowa who debuted as a writer during the interwar period
– a prolific and intensive time in Polish publishing for children, including both
original and translated books. This analysis of intertextual relations connecting
the works by Barrie and Szuchowa is supplemented by a comparative study of striking
resemblances between Stefan Norblin’s illustrations to the first edition of Tajemnice
motyli and Arthur Rackham’s graphics to Peter Pan in Kensington Gardens.
between a debut book of Polish writer Stefania Szuchowa, titled Tajemnice motyli
[The Secrets of Butterflies] (1920), and James Matthew Barrie’s Peter Pan in Kensington
Gardens (1906) which first appeared in Poland in 1913 as Przygody Piotrusia
Pana [Peter Pan’s Adventures] thanks to the translation by Zofia Rogoszówna. As
an essential context to this study, the author of the paper presents an almost unknown
biography of Szuchowa who debuted as a writer during the interwar period
– a prolific and intensive time in Polish publishing for children, including both
original and translated books. This analysis of intertextual relations connecting
the works by Barrie and Szuchowa is supplemented by a comparative study of striking
resemblances between Stefan Norblin’s illustrations to the first edition of Tajemnice
motyli and Arthur Rackham’s graphics to Peter Pan in Kensington Gardens.
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Artykuł skupia się na twórczości poetyckiej Michaela Ondaatjego, który w Polsce rozpoznawany jest przede wszystkim jako autor powieści "Angielski pacjent", a jako poeta jest właściwie nieznany. Autorka analizuje polskie przekłady jednego... more
Artykuł skupia się na twórczości poetyckiej Michaela Ondaatjego, który w Polsce rozpoznawany jest przede wszystkim jako autor powieści "Angielski pacjent", a jako poeta jest właściwie nieznany. Autorka analizuje polskie przekłady jednego z najsłynniejszych wierszy poety, "The Cinammon Peeler", skupiając się na krytycznym porównaniu strategii translatorskich przyjętych przez tłumaczy tego niełatwego, bo zanurzonego w języku i kulturze postkolonialnej utworu.
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A "Small" History of Translation. The Golden Age of English Literature for Children in Polish Translations: An Outline The Golden Age of English-language literature for children began about 1865, when Alice's Adventures in Wonderland was... more
A "Small" History of Translation. The Golden Age of English Literature for Children in Polish Translations: An Outline The Golden Age of English-language literature for children began about 1865, when Alice's Adventures in Wonderland was published, and it continued with the works of writers such as or Mark Twain. The first Polish translations of English children's classics, in turn, appeared at the end of the 19 th century and continued to be published throughout the 20 th century. The main aim of the article is twofold. First, it proposes to create an outline of the history of Polish translations of English classical books for children, in the temporal perspective (from 1870s, when the first translations were published, up to now) as well as in terms of the quantity of translated works. Secondly, it attempts to answer the question about mutual influences between cultures, writers and works of art (in translation) and suggests the hypothesis that the masterpieces of Polish children's literature were somehow "caused" and inspired by the translations of children's classics created before them. Keywords: Golden Age of English literature for children, children's classics in translation, history of literary translation in Poland Słowa kluczowe: "złoty wiek" angielskiej literatury dla dzieci, klasyka dziecięca w tłumaczeniu, historia przekładu literackiego w Polsce
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The main aim of the article is to draw an outline of Arthur Rackham’s illustrations’ biographical and interpretational background along with an analysis of his chosen illustrations to Barrie’s novel, driven by investigating relations... more
The main aim of the article is to draw an outline of Arthur Rackham’s illustrations’ biographical and interpretational background along with an analysis of his chosen illustrations to Barrie’s novel, driven by investigating relations between text and pictures: in which points artist’s vision meets the vision of the writer; how pictures – so essential in books for children – shape the interpretation of literary text and how far the illustration themselves can be understood as text’s interpretation. Also vital is an issue of illustration atmosphere created on the verges of words and pictures – along with notion of intersemiotic translation, as the analysis of Rackham’s (and Barrie’s) pieces of art is conducted from the translator’s perspective, to show how important in literature for children is the correlation between picture and translated text and how illustration can shape the process of translation itself.
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Wszystkie drogi na mapie Grahame’owskiej Arkadii prowadzą do domu, bowiem dom – przestrzeń przyjazna, swojska i zaciszna – znajduje się w centrum świata opowieści, który jednocześnie został przez pisarza pomyślany jako świat iście... more
Wszystkie drogi na mapie Grahame’owskiej Arkadii prowadzą do domu, bowiem dom – przestrzeń przyjazna, swojska i zaciszna – znajduje się w centrum świata opowieści, który jednocześnie został przez pisarza pomyślany jako świat iście angielski, zawierający w sobie esencję i sedno wyobrażenia o angielskiej tożsamości. Dom z opowieści Grahame’a to prawdziwy „raj na ziemi”, to przestrzeń przytulna i doskonale urządzona, mieszcząca w sobie „wszystko, co potrzebne”: kominek z trzaskającym ogniem, lampę rzucającą mleczne światło na znajomy, wygodny fotel, kredens i spiżarnię. Nikt, tak jak pisarze angielscy, nie potrafił chyba oddać dyskretnego uroku i urody domowego zacisza, nikt też, tak jak oni, nie celebruje w literaturze myślenia o domu, który zajmuje w zbiorowym imaginarium miejsce centralne. Dom jest żywą istotą, posiadającą niepowtarzalną duszę; jest przestrzenią bezpieczną i oswojoną, całym światem „zamkniętym w czterech ścianach, odgrodzonym od ogromnej, srogiej Natury”, a także najistotniejszym punktem na każdej mapie, gdyż to od niego zaczyna się, ale i w nim szczęśliwie się kończy, każda – nawet największa – przygoda. Celem artykułu jest przybliżenie literackich reprezentacjoi przestrzeni domowej w klasycznej angielskiej opowieści dla dziecij, jaką jest "The Wind in the Willows" Kennetha Grahame’a, ze zwróceniem szczególnej uwagi na kontekst biograficzny i graficzny powieści.
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Rozmowa z Markiem Bieńczykiem.
The talk with Marek Bieńczyk.
The talk with Marek Bieńczyk.
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The article focuses on the cycle of short pieces of prose which are classified among the early works of James Joyce. The Epiphanies are a kind of artistic transcript of reality by which the author was surrounded and which was speaking to... more
The article focuses on the cycle of short pieces of prose which are classified among the early works of James Joyce. The Epiphanies are a kind of artistic transcript of reality by which the author was surrounded and which was speaking to him through symbols, gestures, behaviour, appearances, phenomena and, most of all, through the alchemy of words and human language. Joyce’s epiphanies – poetic pieces in the form of sketch or description, records of memorable phase of mind itself or short dramatic dialogues with author’s stage directions, sudden manifestations of vulgarity of speech or gesture – started the literary career of epiphany. As a separate entirety,
a separate piece of work collected and rewritten by Joyce himself scrupulously
on separate sheets of paper, some of the epiphanies were also woven by the author into his narrations and short stories. The epiphanies, slightly changed or in their intact form, became an integral part of Joyce’s novels: Stephen Hero, Portrait of the Artist as a Young Man and Ulysses. The article analyses the chosen epiphanies (1 and 11) through the “translation kaleidoscope” and tries to achieve a critical comparison between different Polish translations. Analysing translations of the whole cycle, created by Maciej Słomczyński (James Joyce, Dzieła zebrane, vol.1, 1995) and Adam Poprawa (“Literatura na Świecie” 2007: 11–12) and searching for epiphanies hidden
in Joyce’s great novels translated into Polish by different translators, the article presents The Epiphanies in various dimensions, various interpretations and various spaces.
a separate piece of work collected and rewritten by Joyce himself scrupulously
on separate sheets of paper, some of the epiphanies were also woven by the author into his narrations and short stories. The epiphanies, slightly changed or in their intact form, became an integral part of Joyce’s novels: Stephen Hero, Portrait of the Artist as a Young Man and Ulysses. The article analyses the chosen epiphanies (1 and 11) through the “translation kaleidoscope” and tries to achieve a critical comparison between different Polish translations. Analysing translations of the whole cycle, created by Maciej Słomczyński (James Joyce, Dzieła zebrane, vol.1, 1995) and Adam Poprawa (“Literatura na Świecie” 2007: 11–12) and searching for epiphanies hidden
in Joyce’s great novels translated into Polish by different translators, the article presents The Epiphanies in various dimensions, various interpretations and various spaces.
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Rozmowa z Maciejem Płazą o jego przekładzie powieści „The Wind in the Willows” Kennetha Grahame'a.
The talk with Maciej Płaza, translator of Kenneth Grahame's „The Wind in the Willows” into Polish.
The talk with Maciej Płaza, translator of Kenneth Grahame's „The Wind in the Willows” into Polish.
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It is impossible to imagine London without its royal parks. One of the most beautiful among them is Kensington Gardens, forever connected with the figure of a boy who didn’t want to grow up: Peter Pan. This article provides an... more
It is impossible to imagine London without its royal parks. One of the most beautiful among them is Kensington Gardens, forever connected with the figure of a boy who didn’t want to grow up: Peter Pan. This article provides an interpretation of James Matthew Barrie’s novel Peter Pan in Kensington Gardens (1906), centred mainly around literary portrayals of garden space, which becomes an embodiment of the paradise of childhood: Arcadia, a pleasant place, locus amoenus, allowing one to exist beyond evanescence, growing up and sadness. Kensington Gardens are London’s green island, primeval Neverland, where the fairy-tale and the magic are rooted: during a day it creates a playing space for “human children,” whereas at night it goes under the rule
of Queen Mab and mysterious fairies. The outline of various interpretation paths which can be followed in Kensington Gardens are accompanied by the reproductions and analyses of Arthur Rackham’s illustrations, which in an outstanding way capture the whimsical genius of the author of Peter Pan.
of Queen Mab and mysterious fairies. The outline of various interpretation paths which can be followed in Kensington Gardens are accompanied by the reproductions and analyses of Arthur Rackham’s illustrations, which in an outstanding way capture the whimsical genius of the author of Peter Pan.
Research Interests:
The classics of English children’s literature are works that have survived the test of time. These are wise and beautiful books that are simultaneously exceptionally challenging to translate. The eighty-year period of the “Golden Age” of... more
The classics of English children’s literature are works that have survived the test of time. These are wise and beautiful books that are simultaneously exceptionally challenging to translate. The eighty-year period of the “Golden Age” of English-language children’s literature was inaugurated with Carroll’s Alice’s Adventures in Wonderland (1865) and continued with works by authors such as Louisa May Alcott, J.M. Barrie, L. Frank Baum, Frances H. Burnett, Kenneth Grahame, Rudyard Kipling, Hugh Lofting, A. A. Milne, L.M. Montgomery, Edith Nesbit, Beatrix Potter, R.L. Stevenson, P. L. Travers and Mark Twain, who together comprise the canon of best-known literary works for children. The first Polish translations of these English-language classics appeared, in turn, around 150 years ago, towards the end of the nineteenth century. The work of translating the canon has continued throughout the entire twentieth century and into the present day, frequently producing substantial translation sets for individual titles. Polish translation theory has thus far lacked a means for treating the English-language canon and the history of its translations from any other perspective but that of close-reading and comparative analysis of the original and translated texts of individual titles. This essay’s objective is to propose the model of the macropoetics of translation, which might facilitate research on Polish translations of English-language masterpieces for younger readers in the form of overviews, profiles, and intersections, leveraging perspectives that are quantitative (the volume of translations), chronological (how they emerged over time) and qualitative (their reception and critical status), all in keeping with Franco Moretti’s proposition of “distant reading.”
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Angielska klasyka literatury dziecięcej to dzieła, które przeszły próbę czasu – to książki mądre i piękne, lecz jednocześnie niezwykle trudne w przekładzie. Mniej więcej osiemdziesięcioletnią epokę „złotego wieku” anglojęzycznej... more
Angielska klasyka literatury dziecięcej to dzieła, które przeszły próbę czasu – to książki mądre i piękne, lecz jednocześnie niezwykle trudne w przekładzie. Mniej więcej osiemdziesięcioletnią epokę „złotego wieku” anglojęzycznej literatury dziecięcej otwierają Carrollowskie "Alice’s Adventures in Wonderland" (1865), a kontynuują dzieła takich twórców, jak L.M. Alcott, J.M. Barrie, L.F. Baum, F.H. Burnett, K. Grahame, R. Kipling, H. Lofting, A.A. Milne, L.M. Montgomery, E. Nesbit, B. Potter, R.L. Stevenson, P.L. Travers czy M. Twain, współtworzące kanon najsłynniejszych dzieł literatury dziecięcej. Z kolei pierwsze polskie przekłady angielskiej klasyki pojawiły się niemal sto pięćdziesiąt lat temu – pod koniec XIX stulecia – i prace nad nimi były kontynuowane przez cały wiek XX aż do dzisiaj, tworząc często rozbudowane
serie tłumaczeniowe. W polskiej translatologii brak dotąd ujęć pozwalających zobaczyć kanon anglojęzycznej klasyki dziecięcej i historię jego przekładów w perspektywie innej niż bliska, komparatystyczna analiza oryginału i tłumaczeń wybranych tekstów literackich. Celem niniejszego szkicu jest zaproponowanie modelu makropoetyki przekładu, który umożliwiłby badanie polskich tłumaczeń anglojęzycznych arcydzieł dla najmłodszych w oddaleniach, przekrojach
i profilach, uwzględniających perspektywę ilościową (rozmiary serii translatorskich), czasową (ich przyrastanie w czasie) oraz jakościową (recepcję i ocenę krytyki), wpisując się jednocześnie w przedstawioną przez Franco Morettiego propozycję „czytania oddalonego” [distant reading].
serie tłumaczeniowe. W polskiej translatologii brak dotąd ujęć pozwalających zobaczyć kanon anglojęzycznej klasyki dziecięcej i historię jego przekładów w perspektywie innej niż bliska, komparatystyczna analiza oryginału i tłumaczeń wybranych tekstów literackich. Celem niniejszego szkicu jest zaproponowanie modelu makropoetyki przekładu, który umożliwiłby badanie polskich tłumaczeń anglojęzycznych arcydzieł dla najmłodszych w oddaleniach, przekrojach
i profilach, uwzględniających perspektywę ilościową (rozmiary serii translatorskich), czasową (ich przyrastanie w czasie) oraz jakościową (recepcję i ocenę krytyki), wpisując się jednocześnie w przedstawioną przez Franco Morettiego propozycję „czytania oddalonego” [distant reading].
Research Interests:
Among all Polish romantic writers Zygmunt Krasiński was the one whom southern Italian landscape enticed the most. His experiences from Italian voyage were written down in his correspondence, especially in the letters to Delfina Potocka –... more
Among all Polish romantic writers Zygmunt Krasiński was the one whom southern Italian landscape enticed the most. His experiences from Italian voyage were written down in his correspondence, especially in the letters to Delfina Potocka – for her Krasiński dedicated Sicilian diary, the collection of never-sent letters intended as a romantic gift for the lady. On the one hand the Diary is a conventional romantic work, but on the other it breaks the convention – because the journey to Sicily is the journey to the end of the (European) culture, civilisation and world. Sicily, the land of finis terrae, the place of different turns, is a fascinating lecture demanding the response from those who encounter it. It is the New World in which one must find the way to one’s heart and identity – and, in the end, it is terrestrial Paradise, exotic country of One thousand and one nights: in short – the land of thousand views, thousand perspectives and thousand readings. The main purpose of the paper is to present romantic lecture of Sicily – its landscape, architecture and character – taken by Krasiński in correspondence to Delfina, and to look into writer’s attitude towards this “sophisticated land”, which is revealed in the dialogues with reality, poetic self-aggrandizement and arrangement of the presented world.
Research Interests:
"All children, except one, grow up". Among all the masterpieces of global literature for children, this story surely cannot be defined as a fairytale, even though it tells of wondrous events, a remote island, fairies, mermaids and... more
"All children, except one, grow up". Among all the masterpieces of global literature
for children, this story surely cannot be defined as a fairytale, even
though it tells of wondrous events, a remote island, fairies, mermaids and
children that are able to fly. A journey to Neverland is a flight on the wings
of imagination, covered with golden fairy dust, but once the travellers long
for homecoming, they shall never see the island again. Peter Pan Or The Boy
Who Would Not Grow Up (1904) was a spectacular success of the Scottish
playwright James Matthew Barrie, whose own childhood was far away from
idyllic happiness. Seven years after its opening night, the play was adapted
by the author into a story for the little ones, but there are many themes and
thoughts in the book that are stereotypically not meant for children. The
experience of real-life (not making-believe) strongly marked the language
and style of Peter Pan. The article focuses on the Polish translations of Peter
and Wendy by J.M. Barrie, especially those created by Maciej Słomczyński
(Przygody Piotrusia Pana, 2010) and Michał Rusinek (Piotruś Pan i Wendy,
2006). The author of the article analyses selected fragments of the texts and
tries to establish a critical comparison between different translation strategies,
showing that translator’s work with such a masterpiece is full of both
challenges and surprises.
for children, this story surely cannot be defined as a fairytale, even
though it tells of wondrous events, a remote island, fairies, mermaids and
children that are able to fly. A journey to Neverland is a flight on the wings
of imagination, covered with golden fairy dust, but once the travellers long
for homecoming, they shall never see the island again. Peter Pan Or The Boy
Who Would Not Grow Up (1904) was a spectacular success of the Scottish
playwright James Matthew Barrie, whose own childhood was far away from
idyllic happiness. Seven years after its opening night, the play was adapted
by the author into a story for the little ones, but there are many themes and
thoughts in the book that are stereotypically not meant for children. The
experience of real-life (not making-believe) strongly marked the language
and style of Peter Pan. The article focuses on the Polish translations of Peter
and Wendy by J.M. Barrie, especially those created by Maciej Słomczyński
(Przygody Piotrusia Pana, 2010) and Michał Rusinek (Piotruś Pan i Wendy,
2006). The author of the article analyses selected fragments of the texts and
tries to establish a critical comparison between different translation strategies,
showing that translator’s work with such a masterpiece is full of both
challenges and surprises.
Research Interests:
Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is... more
Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is unique not only because of the poetical qualities it represents – rhythmicity, melodiousness, catchiness, melancholy and lyricism equally with pure nonsense, absurdity, grotesque, (black) humour and numerous equivoques and puns, which are characteristic for Wawiłow’s poetical works; above all else Poems for Naughty Children is a collection of translations of the traditional English nursery rhymes, made by Danuta Wawiłow, who claimed more than once that she was a translator long before she had become a writer. The article aims to explore Wawiłow’s translation work which (up to now) remains almost unknown and un-described in Polish theoretical discourse. Moreover, the author presents the outcome of her research conducted to find “missing originals” of translated nursery rhymes, offers the classification of them and undertakes critical reflection over translation strategy adopted by Danuta Wawiłow.
Research Interests:
Bolesław Leśmian is an impossible writer – according to Edward Balcerzan, “a poet with no masters, a master with no followers.” Additionally, he is usually considered as an untranslatable poet: the creator of his own idiomatic language,... more
Bolesław Leśmian is an impossible writer – according to Edward Balcerzan, “a poet with no masters, a master with no followers.” Additionally, he is usually considered as an untranslatable poet: the creator of his own idiomatic language, fraught with neologisms, archaisms, and dialectisms and subjected to the rigours of rhythm and rhyme, permeated with philosophical thought and vivid colours of the Slavic world – in short, an evident proof of the existence of the phenomenon known as untranslatability. But is it quite so? The main objective of the article is to present some difficulties connected with translating Leśmian’s poety into English at the example of the translations of Leśmian’s ballade “Dusiołek” (by Rochelle Stone, Marian Polak-Chlabicz, and Krzysztof Bartnicki) and to compare the translation strategies adopted by their authors.
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Choć powszechna opinia głosi, że Bolesław Leśmian jest „poetą nieprzetłumaczalnym”, jego twórczość doczekała się licznych przekładów – między innymi na język rosyjski, niemiecki, angielski czy hebrajski. Niniejsza książka jest próbą... more
Choć powszechna opinia głosi, że Bolesław Leśmian jest „poetą nieprzetłumaczalnym”, jego twórczość doczekała się licznych przekładów – między innymi na język rosyjski, niemiecki, angielski czy hebrajski. Niniejsza książka jest próbą prześledzenia przekładowych wcieleń poezji Leśmiana w angielszczyźnie oraz udzielenia odpowiedzi na pytanie, czy i jak „poeta niemożliwy” – twórca języka idiomatycznego, pełnego neologizmów, poddanego rygorom rytmu i rymu, nasyconego myślą filozoficzną i mocnymi kolorami słowiańskości – może zaistnieć w tłumaczeniu. Rozważania nad związkami myśli Leśmianowskiej z przekładem, aneks zbierający angielskie translacje jego utworów, a przede wszystkim analizy Ballady bezludnej, Dusiołka, Srebronia czy Urszuli Kochanowskiej w tłumaczeniach (m.in. Rochelle Stone, Sandry Celt, Mariana Polaka-Chlabicza i Krzysztofa Bartnickiego) stanowią propozycję czytelniczą dla wszystkich zainteresowanych zarówno poezją autora Łąki, jak i przekładem literackim.
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„All children, except one, grow up”. Among all the authors of global classic literature for children James Matthew Barrie is definitely an outstanding writer, known as the creator of the story about Peter Pan – the boy who would not grow... more
„All children, except one, grow up”. Among all the authors of global classic literature for children James Matthew Barrie is definitely an outstanding writer, known as the creator of the story about Peter Pan – the boy who would not grow up and who lives on the fantastical island of Neverland. However, the eternal boy not always lived on Never Never Land – although he is (and forever will be) „young”, he is not devoid of the past: his story begins in Kensington Gardens. The book is divided into three parts. The opening part is an interpretative essay, in the first instance devoted to James Matthew Barrie himself (who’s biography – unknown in Poland – is essential to understand his work). Subsequently the essay considers textual and generic flexibility of Peter Pan and presents a comprehensive interpretation of Peter Pan in Kensington Gardens (1906) – Barrie’s very first work dedicated to the boy who would not grow up, which somehow forms the origin and prefiguration of famous Peter Pan and Wendy (1911); finally, it offers an exploration of various mythological, cultural and literary motives from which the figure of Peter Pan originates. The second section is a piece of literary translation criticism; it focuses on the two existing Polish translations of Peter Pan in Kensington Gardens: Przygody Piotrusia Pana (1913) by Zofia Rogoszówna and Piotruś Pan w Ogrodach Kensingtońskich (1991) by Maciej Słomczyński. This part consists of a comparative analysis of translations mentioned above; the main challenges that Barrie’s works pose to the translator are highlighted here and translation strategies adopted by Rogoszówna and Słomczyński are critically compared. The third part – central and the most extensive – presents the new translation of Peter Pan in Kensington Gardens, prepared by the author of the monograph in the 110th anniversary of the publication of the original text. The translation is accompanied by Arthur Rackham’s Edwardian illustrations which perfectly capture Barrie’s elusive and whimsical genius, and by the brief afterward written by the youngest translator of Peter Pan in Kensington Gardens.