This article is a commentary on the changing reception of Bulgarian literature in Poland in 2018 and 2019. Using Pierre Bourdieu’s theory of the literary field, it shows the mechanisms of recognition by the main actors within the field, including publishers, media, and others. The analysis focuses on three books translated from Bulgarian to Polish in 2018: Sofia Berlin, by Plamen Doynov, and Koniec minotaurów (The End of the Minotaurs) and Fizyka smutku (The Physics of Sorrow), both by Georgi Gospodinov. The analysis is made on two levels. One is generic, owing to the fact that two of the three books are poetry. The second is authorial, as two of the books are by the same author.

This article discusses Olga Tokarczuk’s presence in Bulgaria, drawing on R. Cudak’s theory of reception while presenting translations, strategies of publication and promotion, literary and critical reflection, and non-literary forms of reception. Widescale, effective, and multi-dimensional promotion, reliable translation (S. Borisova, D. Hamze, H. Simeonova-Mitova, G. Krastev), as well as the openness and interest of readers, have created possibilities for an increase in the popularity of Olga Tokarczuk’s works in Bulgaria within the last two decades. The development in Bulgarian culture of critical and literary thought surrounding Tokarczuk’s works (M. Grigorova) is accompanied by the presence of book translations and other selected texts in leading newspapers and magazines („Literaturen vestnik”, „Panorama”, „Kultura”), constituting a significant platform for the popularization of Polish literature.

This article summarizes and discusses the body of translations from Croatian literature published in Poland in 2018. The most significant offering to appear on the Polish market that year was a multilingual collection of mid-career poetry by Dorta Jagić entitled The Portrait of The Body, containing Croatian originals and their translations into Polish (by M. Wierzbicka) and English (by D. Šodan, M. Đurđević). “Synoptic” editions (bilingual or multilingual) allow the reader to view both the original and its translation, which has three major benefits: it contributes to a better circulation of texts; enables deziluzionist reading (the awareness of the difference between the original and the translation); and establishes an intertextual bond between the collected texts.

In this commentary, we will limit ourselves to presenting the reception of Czech literature in Poland and Polish literature in the Czech Republic in the year 2018. Czech and Polish literature reaches its readers across their respective borders in several ways: via translations of books by well-known and esteemed writers; through representatives of the younger generation; and as translations of prose and poetry published in magazines. The reception of Polish and Czech literature has been very positive; specifically, there is a growing interest among Polish readers in Czech literary offerings.

The bibliography of Polish literature translated into Czech in 2018 is characterized by a tendency to publish popular and commercially attractive titles: genre fiction and literature for children. The author is concerned with sample passages from Ziemowit Szczerek’s translations of prose published in the A2 literary magazine and discusses possible consequences for the target language of the euphemisation of slang and vulgarisms in the translation of gonzo journalism texts.

This article presents 21st-century Macedonian prose as it appears in contemporary Polish translation. Novels and stories by Macedonian authors are evidence of the great degreee to which this literature has recently developed. Topics under consideration include an analysis of the fine quality of modern Macedonian prose, as well as the high attainment of its Polish translators, who, using their own translation strategies, successfully transfer one cultural code to another.

This article is about the specific language that the translator is faced with translating The Cyberiad by Stanisław Lem and some of the difficulties that are caused by the conception of the whole book. Considering that it is a science-fiction, it is natural that the main problems are neologisms made by Lem, but it appears that it is not the only one. We are trying to make an outline of the whole process of translating The Cyberiad, underlining some of the difficulties that the translator in Macedonian language could have come upon. Analyses contains of problems with word formation, poetic language, phraseology, archaisms and neologisms.

Since the turn of the millennium, Serbian drama has been increasingly valued and recognized in the post-Yugoslav region and in Europe. In recent years, the process of globalization has become progressively stronger, with an improved infrastructure for promotion that has made possible the crossing of material and symbolic boundaries. This in turn has led to transformations in artistic expression, as well as increasing opportunities for mobility, co-productions, and translations. The status of the drama has been somewhat problematic because of its situation between literature and theatre. Its heterogeneous nature has required the development of an appropriate method of presentation. The performative/stage reading has emerged as a compelling answer.

This article focuses on the career of Jerzy Pleśniarowicz, the well-known poet of the Józef Czechowicz group and Polish translator of Slavic literatures, as well as dramatist and theatre director. A discussion of the output of this poet and translator is accompanied by an analysis of his Polish translations of Slovak poetry presented in the 2018 volume Wiersze i przekłady wierszy (Poems and Translated Poems). The article considers Pleśniarowicz’s translation choices, elucidates his translation strategies, and discusses the contemporary significance of this poetry within the Polish sphere of reception.

Translators’ footnotes typically serve as an instrument to explain culture-related expressions that are difficult to transmit through a foreign language. The Slovak translation of The Issa Valley includes eighty eight footnotes from the translator which fulfil a range of functions. The author of this paper categorizes and analyses the footnotes in order to assess their impact, both on the reader and on the perception of the translation by the receiving culture.

This article discusses Drago Jančar’s 1997 essay, Adam Michnik ali premišljevanje o Poljski (Adam Michnik; Or, Reflections on Poland). The essay was translated into Polish first by Joanna Pomorska (2001) and then, about two decades later, by Nikodem Szczygłowski. The aim of the article is to interpret Jančar’s essay in light of ongoing changes to the political situation in Europe and to evaluate to what extent the political context influences the interpretation of the work in question.

This article reviews the body of Slovenian translations of Polish literature in 2018, discussing their reception and presentations, including a somewhat belated response to The Books of Jacob by recent Polish Nobel prize winner Olga Tokarczuk. Seven book translations from Polish were published in 2018, including two books of poetry, one festival chapbook, two novels, and two picture books for toddlers. It appears that in 2018, the world of translation from Polish to Slovenian witnessed a slight shift in publishers’ interests from prose to poetry. It is as yet uncertain whether this change will establish itself as a long-term trend, but so far it is certain that the tendency has continued into 2019. Therefore, this article deals with the translations of Polish poetry of 2018 from a slightly broader perspective, including some editions from the following year.