The article discusses the specificity of the translation series of Sergiusz Piasecki’s novel Kochanek Wielkiej Niedźwiedzicy (Lover of the Great Bear) presented in Belarusian. Attention is paid to the paratextual determinants of the three translations and the translator’s decisions to convey elements reflecting the linguistic and cultural specificity of the Polish-Soviet borderland in the first half of the 1920s. Piasecki’s work, rooted in the traditions of multiculturalism, was also examined in terms of its reception by contemporary Belarusian audiences.

W artykule omówiono przekład Kodeksu supraskiego na język polski w kategoriach zdarzenia hermeneutycznego i wydarzenia publicznego. Przywołano najważniejsze informacje o tym zabytku, zwanym także Kodeksem Retki, przypomniano o losach księgi i opisano polski przekład kodeksu. Warto wspomnieć, że Kodeks supraski to cyrylicki rękopis z końca X lub początku XI wieku, który powstał na północno-wschodnich terenach pierwszego państwa bułgarskiego, najprawdopodobniej w środowisku nazwanym presławską szkołą piśmienniczą. To pergaminowa księga liturgiczna – mineja czytana (lekcyjna) na miesiąc marzec, zawierająca teksty żywotów świętych oraz homilie na Wielki Tydzień i Wielkanoc. Kodeks supraski jest cyrylickim zabytkiem piśmienniczym, największym zachowanym rękopisem staro-cerkiewno-słowiańskim i najstarszym dziełem literackim znajdującym się na terenie Polski. Został odnaleziony w 1823 roku w monasterze w Supraślu przez Michała Bobrowskiego. W 2007 roku został wpisany na listę Pamięci Świata UNESCO w 2007 roku. Celem rozważań nie jest drobiazgowe omówienie polskiego przekładu tego zabytku, lecz uwypuklenie jego potencjału komunikacyjnego, dialogicznego i interkulturowego; wyeksponowanie jego zaistnienia w optyce zdarzenia hermeneutycznego i wydarzenia publicznego.

The article is an attempt to apply the theory of intersemiotic and intercultural translation to film adaptation. The authoress analyses Vinek Brešan’s film Witnesses (Svjedoci, 2003), based on Jurica Pavičić’s novel Plaster sheep (Ovce od gipsa, 1997), pointing out and describing three formal and semantic operations (inversion, amplification, transaccentuation), which had a significant impact on the shape of the film. The study leads her to the conclusion that the adaptation, although it preserves the meanings of the novel, corrects their hierarchy. Brešan’s film introduces more strongly than the book – more strongly through the nature of its medium and its typical tools, but also through its documentary formula, inversion of the order of events and a number of amplification procedures – as visible and audible what has not been shown on screen before, namely Croatian war crimes.

The article proposes an approach to metaphorical meaning from the point of view of the theory of profiling, developed within the Polish tradition of cognitive science. The focus of the article, however, lies on the various types of relations that arise between the tenor and vehicle of metaphor on the interlingual plane, depending on the profile. Within these relations, various translation problems emerge, including metaphorical false friends. The article also presents the possibilities, offered by
taking profiles into account when selecting a translat.

This article examines Dubravka Đurić’s work through the lens of performativity and translation, demonstrating how her poetry and performances become sites of linguistic and identity transgression. Multilingualism, voice, and intertextuality serve as tools of poetic “post-translation”.

This paper analyses the translation of Momo Kapor’s novel Notes from an Ane (Zapiski pewnej Anny). The novel translated by Hanna Kirchner was published in Polish in 1979. The Polish edition is a selection of texts from two novels – Белешке једне Ане (Notes from an Ane) and Хеј, нисам ти то причала (Hey, I Didn’t Tell You That). The language of the main character’s monologues deserves special attention. Never­theless, the teenage character’s adventures, the relationships between young people and adults, interactions with parents and the environment, as well as the search for love, friendship and a place in life remain universal themes that continue to hold appeal for contemporary readers.

This article brings an idea on the subject of a mythopoetic approach to the characters from Slavic mythology in translations of poems by Sergey Gorodetsky into Polish. We are going to take a closer look at an poem: Рожество Ярилы (1905) – Jariła (1971). Our task is to analyse the translation and to track to what extent the translator reflected the specificity of the character from mythology (Russian Ярила) presented in the original, and how much has the character’s image got changed in the translation. We will also show how specific translational actions influence the perception of the lyrical situation shown in the poem. Finally, we will examine the extent to which equilinearity and equirythmicality have been preserved in the above-mentioned example.

The paper discusses the destruction of rhythms, one of the deforming tendencies identified by Antoine Berman, in Krzysztof Klinger’s translation of Virginia Woolf’s stream-of-consciousness novel To the Lighthouse. It demonstrates how the modifications of syntax and punctuation impact the novel’s rhythm and, consequently, its meaning, particularly regarding the creation of a stream of consciousness. In this way, the article aims to prove the importance of preserving rhythm in the translation of prose.

This article presents selected contemporary answers to the old question of the need for literary translation from Slovak into Czech. It also draws attention to the implications of the question of the legitimacy of this translation. To describe the place occupied by translated Slovak literature in the Czech literary field, I propose the practical application of the language of sociology of literature.

The paper analyzes the translation equivalents of the English intensifier very in Polish, Croatian and Serbian language. The research material was collected from two Polish, and Croatian and Serbian translations of the English children’s novel “Winnie the Pooh” by A. A. Milne. The aim of the work is to present different translation solutions related to the intensification of meaning. The article is focused on the analysis of non-literal equivalents of the source intensifier.

As an outstanding expert on the history of Croatian-Polish cultural relations from the 20th century to the present – who consistently highlights and emphasizes theatre as their most important aspect – literary scholar and translator Leszek Małczak is undoubtedly particularly interested in dramatic and theatrical themes. This is confirmed by his works, in which he explores specific periods of theatrical connections and the reception of drama and theatre or analyses individual translations of Croatian dramas into Polish. Having achieved an impressive scientific output both in scope and significance, and having been continuously present in Croatian humanities for the past twenty years while actively participating in the most important theatre studies conferences in Croatia, the Polish Croatist has made a significant contribution to theatre studies through his scholarly work.