Pub Date : 2022-09-20DOI: 10.12797/moap.28.2022.57.02
Julie Loison-Charles
“JE T’AIME MOI NON PLUS”: THE CORRESPONDENCE BETWEEN VLADIMIR NABOKOV AND HIS FRENCH TRANSLATORS The structure of the letters which Vladimir Nabokov sent to his French translators shows how ambivalent his relation to them was: generally, Nabokov starts by praising the beauty of the translation, and then he makes a long list of all the blunders and howlers made by the translator. This article studies three cases. First, the translation of Pale Fire is analysed as a confrontation of two very proud men, in which the famous translator Maurice Edgar Coindreau refuses to be bossed around by the novelist. Then the article presents the translation of Ada or Ardor (entrusted to Gilles Chahine) as the collaboration of “men on the verge of a nervous breakdown”. Finally, it shows the very friendly relationship which Nabokov had with Jarl Priel, the translator of Invitation to a Beheading, whom Nabokov always fiercely defended. Thanks to the correspondence between Nabokov, his translators and publishers, it will become clear that these collaborative translations were in fact “mediated self-translations”. For Nabokov, it was not just about translating his novels: he wanted to remain the full master of his creations.
“JE T'AIME MOI NON PLUS”：弗拉基米尔·纳博科夫和他的法语翻译之间的通信弗拉基米尔·纳博科夫发给他的法语翻译的信件的结构表明了他与他们的关系是多么矛盾：一般来说，纳博科夫一开始称赞翻译的美，然后他列出了一长串翻译犯下的所有错误和咆哮。本文研究了三个案例。首先，《苍白的火焰》的翻译被分析为两个非常骄傲的人的对抗，在这场对抗中，著名翻译家莫里斯·埃德加·科恩德劳拒绝被小说家摆布。然后，文章介绍了Ada或Ardor（委托Gilles Chahine翻译）作为“处于神经崩溃边缘的男人”的合作。最后，它展示了纳博科夫与《斩首邀请》的译者贾尔·普里埃尔之间的友好关系，纳博科夫一直极力为普里埃尔辩护。由于纳博科夫、他的译者和出版商之间的通信，很明显，这些合作翻译实际上是“中介的自我翻译”。对纳博科夫来说，这不仅仅是翻译他的小说：他想成为自己创作的完全大师。
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Pub Date : 2022-09-20DOI: 10.12797/moap.28.2022.57.03
A. Rucińska
TRANSLATOR IN LOVE? CORRESPODENCE BETWEEN JOANNA GUZE AND ALBERT CAMUS We may recognize at least two loves in Joanna Guze’s life: for French language and for Albert Camus, who was her favourite author and whose work she was fortunate to translate. They met once in Paris. Between 1957 and 1958, they exchanged a few letters while Guze, on her own initiative, was translating The Rebel, despite the risk involved in translating or even possessing works of literature from anti-communist countries. As early as in 1960, after Camus’s death, Guze decided to devote a book to him, which was published 44 years later. The aim of this article is to introduce Joanna Guze and her relation with the French Nobel prize winner based on the letters they exchanged.
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Pub Date : 2022-09-20DOI: 10.12797/moap.28.2022.57.05
Joanna Warmuzińska-Rogóż
KRZYSZTOF JAROSZ – A MULTIFUNCTIONAL TRANSLATOR: ABOUT THE FRANKOFONIA LITERARIA COLLECTION This article focuses on the translator’s roles that go beyond the traditional functions of the literary translator. Based on the example of the Frankofonia Literaria series and the works of Ananda Devi published in Polish in Krzysztof Jarosz’s translation, the author of the article demonstrates how the translator “comes out of the shadows,” in particular by serving as an exegete-interpreter and researcher. The translator makes himself visible in paratexts, such as footnotes or an afterword, which constitute a space where he presents himself and allows himself to be seen and read alongside the literary text.
{"title":"Krzysztof Jarosz – traducteur multifonctionnel","authors":"Joanna Warmuzińska-Rogóż","doi":"10.12797/moap.28.2022.57.05","DOIUrl":"https://doi.org/10.12797/moap.28.2022.57.05","url":null,"abstract":"KRZYSZTOF JAROSZ – A MULTIFUNCTIONAL TRANSLATOR: ABOUT THE FRANKOFONIA LITERARIA COLLECTION \u0000This article focuses on the translator’s roles that go beyond the traditional functions of the literary translator. Based on the example of the Frankofonia Literaria series and the works of Ananda Devi published in Polish in Krzysztof Jarosz’s translation, the author of the article demonstrates how the translator “comes out of the shadows,” in particular by serving as an exegete-interpreter and researcher. The translator makes himself visible in paratexts, such as footnotes or an afterword, which constitute a space where he presents himself and allows himself to be seen and read alongside the literary text.","PeriodicalId":36042,"journal":{"name":"Miedzy Oryginalem a Przekladem","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66104275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-20DOI: 10.12797/moap.28.2022.57.04
Regina Solová
“FRIENDS OF POLISH BOOKS” AND “SERVANTS OF EXCELLENCE”: TRANSLATORS’ PROFILES IN THE MONTHLY POLAND (1970-1981) The paper deals with the image of translators in the monthly Poland in the years 1970-1981. Forty articles are analysed with the intention of testing the hypothesis that the promotion of the profiles of translators in the journal was part of a broader campaign launched by the authorities of the Polish People’s Republic to promote the country abroad. The publications in which translators were called “friends of Polish books” and “servants of excellence” were to build a positive image of Poland as a country with an exemplary foreign cultural policy in which translation played an important role. The question to what extent the image-oriented efforts of translators convinced readers about the cultural policy of the Polish People’s Republic remains open.
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Pub Date : 2022-06-30DOI: 10.12797/moap.28.2022.56.05
Joanna Madejczyk
DOES TRANSLATION GUARANTEE THE EXPANSION OF IDEAS IN ANOTHER CULTURE? THE CASE OF L’AMOUR EN PLUS BY ELISABETH BADINTER Translation has certainly contributed to the spread of French feminist thought around the world. There are, however, translations which do not seem to have contributed significantly to the spread of this thought in Poland. This is the case of Elisabeth Badinter’s essay, L’amouren plus: histoire de l’amourmaternel (XVIIe – XXe siècle), published in 1980, which sparked controversy in France. According to the author, the maternal instinct is a social and cultural construct. L’amouren plus was a success and it has been translated into a total of 28 languages. The Polish translation of this work, Historia miłości macierzyńskiej, appeared in 1998, 18 years after the original was published. However, as our study shows, Badinter’s thought is hardly present in Polish works on feminism. Thus, translation does not always guarantee the circulation of the ideas of the original work in another culture or the love of foreign readers.
翻译能保证思想在另一种文化中的传播吗?翻译无疑为法国女权主义思想在世界范围内的传播做出了贡献。然而，有些译本似乎并没有对这种思想在波兰的传播作出重大贡献。伊丽莎白·巴丹特(Elisabeth Badinter)的文章《爱与母性》(L’amouren plus: histoire de L’amourmaternel, xviii - XXe si)就是这样的例子。这篇文章发表于1980年，在法国引发了争议。作者认为，母性本能是一种社会文化建构。《爱加》大获成功，被翻译成28种语言。这部作品的波兰语译本《Historia miłości macierzyńskiej》于1998年问世，比原著出版晚了18年。然而，正如我们的研究所显示的那样，巴丹特的思想几乎没有出现在波兰的女权主义作品中。因此，翻译并不能保证原著的思想在另一种文化中流通，也不能保证外国读者的喜爱。
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Pub Date : 2022-06-30DOI: 10.12797/moap.28.2022.56.07
E. Skibińska
COMMENT LES PÉRITEXTES ÉDITORIAUX ORIENTENT LA LECTURE POLONAISE DE HET VOLKOMEN HUWELIJK (LE MARIAGE PARFAIT) DE THEODOOR H. VAN DE VELDE La première traduction polonaise de Het volkomen huwelijk (Le Mariage Parfait ; Leyde 1926), ouvrage de vulgarisation scientifique qui soulignait l’importance de la bonne connaissance des mécanismes de la sexualité humaine, a été publiée en 1935 et a été rééditée plusieurs fois avant et après la IIe guerre mondiale. En 1972, une nouvelle traduction est sortie chez un éditeur spécialisé en médecine, Państwowe Zakłady Wydawnictw Lekarskich (PZWL). Elle a ensuite connu plusieurs rééditions par différentes maisons d’édition, subissant à chaque fois une modification de sa présentation matérielle, et plus particulièrement de sa couverture, qui est un lieu stratégique pour l’éditeur, à qui appartient la décision des éléments qui s’y trouvent. Cette étude examine les couvertures et autres péritextes éditoriaux des versions successives de la première traduction et de la retraduction, pour montrer comment les transformations matérielles subies par ces éditions laissent entrevoir des changements concernant la fonction assignée à cet ouvrage par les éditeurs respectifs.
THEODOOR H. VAN DE VELDE的HET VOLKOMEN HUWELIJK(完美婚姻)是第一个波兰译本HET VOLKOMEN HUWELIJK(完美婚姻);1935年出版，并在第二次世界大战前后多次再版，这是一本强调充分了解人类性行为机制重要性的普及科学著作。1972年,一个新的翻译输出是一名编辑家医科专业,Państwowe Zakłady Wydawnictw Lekarskich PZWL)。此后，它经历了几次由不同的出版社再版，每次都经历了物理外观的变化，特别是封面，这是出版商的一个战略位置，由出版商决定里面的元素。本研究考察了第一次翻译和重新翻译的连续版本的封面和其他编辑细节，以说明这些版本所经历的物质变化如何预示着各自出版商分配给这本书的功能的变化。
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Pub Date : 2022-06-30DOI: 10.12797/moap.28.2022.56.02
Małgorzata Gaszyńska-Magiera
LOVE IN THE SHADOW OF TRAUMA IN THE NOVEL LE MORT QU’IL FAUT BY JORGE SEMPRÚN AND ITS TRANSLATIONS INTO SPANISH AND POLISH Testimonies of concentration camps prisoners are usually exceptionally emotional. The ways of expressing feelings in this kind of writings is a relatively little explored issue, and the existing case studies focused on linguistic markers of negative emotions, such as horror, despair and gloom. However, the range of feelings expressed in the memories of the survivors is much wider and includes also emotions such as friendship, love, and compassion. The article analyzes excerpts from Jorge Semprún’s novel Le mort qu’il faut, particularly those which show feelings for a woman, and their translations into Spanish and Polish. The purpose of the analysis is to list the techniques used by specialists to translate these passages and to evaluate to what extent they managed to convey their emotional temperature.
乔治SEMPRÚN的小说《死亡》及其西班牙语和波兰语译本中的创伤阴影中的爱情集中营囚犯的证词通常是异常情绪化的。这类作品的情感表达方式是一个相对较少探索的问题，现有的案例研究主要集中在负面情绪的语言标记上，如恐怖、绝望和忧郁。然而，幸存者记忆中表达的情感范围要广泛得多，还包括友谊、爱和同情等情感。本文分析了Jorge Semprún的小说《Le mort qu 'il faut》的节选，特别是那些表达对女人感情的部分，以及它们的西班牙语和波兰语翻译。分析的目的是列出专家在翻译这些段落时使用的技巧，并评估他们在多大程度上传达了他们的情感温度。
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Pub Date : 2022-06-30DOI: 10.12797/moap.28.2022.56.03
J. Jakubowska, Marlena Krupa-Adamczyk
DIALOGUE ABOUT THE MYSTICAL LOVE: SAINT JOHN OF THE CROSS, CYPRIEN DE LA NATIVITÉ DE LA VIERGE AND PAUL VALÉRY This article concerns the timeless dialogue between Saint John of the Cross OCD, Spanish mystic of 16th century, Cyprien de la Nativité de la Vierge OCD, the 17th-century translator of his poems, and Paul Valéry, who delves into their texts as a reader, poet, and translator. Valéry shares his insights about Saint John’s text and its translation by the mentioned French Carmelite monk in the Introduction, which he writes to the jubilee edition of the Spiritual Canticle (1941). In this article we examine the contribution of mentioned three participants to “author-translator-receiver” configuration, focusing on their approach to the poetry, poetic translation, and work on the poetic text.
关于神秘之爱的对话:十字架的圣约翰，CYPRIEN DE LA NATIVITÉ DE LA VIERGE AND PAUL VALÉRYThis文章关注的是16世纪西班牙神秘主义者圣约翰强迫症，17世纪他的诗歌翻译家CYPRIEN DE LA ativit DE LA VIERGE强迫症和保罗·瓦尔格里之间永恒的对话，保罗·瓦尔格里作为读者，诗人和翻译家深入研究他们的文本。valsamry在引言中分享了他对圣约翰文本的见解，以及他在《灵歌》(1941)的禧年版中所提到的法国加尔默罗修士的翻译。在本文中，我们考察了上述三位参与者对“作者-译者-接受者”结构的贡献，重点关注他们对诗歌、诗歌翻译和诗歌文本的研究方法。
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Pub Date : 2022-06-30DOI: 10.12797/moap.28.2022.56.01
Maria Baïraktari
TRANSLATING EROTICISM AND EROTICISM IN TRANSLATION: GAMIANI, OR TWO PASSIONATE NIGHTS TRANSLATED IN GREEK BY ANDREAS STAIKOS Gamiani, or Two Passionate Nights by Alfred de Musset is the characteristic example of violent eroticism that is revealed through a lexico-semantic lace and an explicitly neat stylistics. The author aimed to create a novel imbued with descriptions of pleasure without using a single vulgar word. Our article is dedicated to the question of eroticism in translation through the strategy, the translation priorities and the techniques applied by the Greek translator Andréas Staikos. How does Musset’s lyrical writing and careful stylistics allay the possible issue of taboos in the translation process? What are the translator’s priorities? By drawing examples from his text, we will thus attempt to analyze Staikos’s approaches, which are based on a kind of antinomy concerning the transfer of eroticism at the semantic level and at the stylistic level from one language to another.
翻译中的情色与情色:《GAMIANI》或《两个激情的夜晚》由ANDREAS staikoss译为希腊文《GAMIANI》或《Alfred de Musset》的《两个激情的夜晚》是暴力情色的典型例子，它通过词典语义的花边和明确利落的文体学来揭示。作者的目的是创作一部充满描写快乐的小说，而不用一个粗俗的词。本文通过希腊翻译家andrsamas Staikos的翻译策略、翻译重点和技巧来探讨翻译中的情色问题。穆塞的抒情写作和缜密的文体学是如何化解翻译过程中可能出现的禁忌问题的?翻译人员的优先事项是什么?通过从他的文本中选取例子，我们将尝试分析Staikos的方法，这些方法基于一种关于情色在语义层面和风格层面上从一种语言到另一种语言的转移的矛盾。
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Pub Date : 2022-06-30DOI: 10.12797/moap.28.2022.56.04
M. Kurek, Justyna Ziarkowska
IS POETRY A TRANSLATION? ST. JOHN OF THE CROSS IN THE POLISH TRANSLATIONS OF FEDERICO GARCÍA LORCA AND JUAN GELMAN The article points to the inspirations of the mystical poetry of St. John of the Cross in two 20th-century Spanish language poets, Federico García Lorca and Juan Gelman, in whom it takes a special form of intertexts. The poets refer to others’ words out of a sense of the inadequacy of language and the inexpressibility of feelings that accompany them after the loss of their loved ones – loneliness, despair, abandonment. At the same time, the act of “rewriting” earlier texts as an expression of apophatic theology is present in St. John himself. An analysis of Lorca’s Polish translations, as well as of Gelman’s experimental poems, leads to the conclusion that the complex web of diachronic intertextual references poses a difficult challenge to the translator and requires extensive historical literary and cultural competence.
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