Russian translation studies emerged at the beginning of the 20th century. Its formation and evolution led to social transformations and the development of scientific thought in such areas as linguistics, philosophy, psychology, communication theory, etc. Various translation models and scientific paradigms replacing each other throughout the development of Russian translation studies reflect its interdisciplinary status. The plurality of approaches to understanding translation leads to the need to build a systemological model based on the synthesis of a set of data, perceived as something whole. This approach makes it possible to identify various types of links within such a complex object as a translation.
The paper is situated within the stream of culture-oriented translation studies, which intend to track confrontation between the addressee and the cultural context alien to him/her. It is within the line of contemporary humanities research, which aims at focusing on cultural and behavioural differentiation of societies. The subject of the current analysis is the Russian verb govet‘ (говеть), which belongs to the group of realogisms – names of specific elements of foreign reality, in particular, referring to the sphere of Orthodox religious rituals as transferred in translations. The corpus for analysis comprises 11 literary works from the 19th and 20th century, which were used to extract contexts containing the analyzed lexeme based on the Russian National Corpus together with its renderings into Polish. The analysis demonstrates different degree of transfer of particular elements of semantic structure, a diversity of techniques of translation used in the process as well as the implementation of syntactic changes as a vehicle for avoiding searching for an equivalent for the Russian lexeme. The conclusion of the study is that Polish translations have a tendency for cultural adaptation and fail to underline the distinctive nature of the Orthodox religious tradition.
The article deals with the issue of multimodal media discourse in translation. It is based on Russian articles originating from different media and their Polish translations published in bi-weekly “Forum”.
Analysis of selected examples revealed that graphic elements contribute to global sense of the message, however usually these are different in the translated texts.
Three bilingual corpora of literary texts are employed to compile the dictionary (the Russian National Corpus, the Polish-Russian and Russian-Polish Corpus of Warsaw University, and the Home Corpus). The latter covers texts which are not created by the two former corpora, but which will be cited in the proposed dictionary. Four entries are given in detail (1 otmorozok; 2 (uzh) chto-chto, a …; 3 travit' anekdoty, and 4 tozhe mne …).
The article considers three Polish translations of the Igor Severyain’s poem It passed by the sea. The analysis takes into account the lexical and semantic phenomena typical of this Russian ego-futurist (neologisms, the structure of the verse, the unexpectness of images). It turns out, however, that in this case the the translator’s decisions depends primarily on the purpose of the translation and the manner of the author of the target text.
The article focuses on three translations of Alexander Pushkin's poem "The Winter Morning". The translations made by N. Panin (1888), by his contemporary C.E. Turner (1899), and the most recent translation by R. Clarke (2016) were taken for the analysis. The translations of this poem are interesting for analysis because the poem is based on antitheses. The article examines the pairs "frost" - "sun", "stormy evening" - "sunny morning", "darkness" - "radiance", the key concepts of Russian culture "melancholy" and "fun", the Russian realia "oven". The texts of the translations were analyzed with the help of the close reading technique. The research showed that a translator can also act as a researcher. R. Clarke introduced into his translation a reality that was lacking in the original text. Thus, the mily bereg mentioned in the poem becomes a certain place near the Bernovo estate, where Pushkin came as a guest.
The subject of the study are translator's footnotes in a specific type of crime literature – retro crime novel. The author discusses its genre features and analyzes the types of translator's footnotes and their content. The translation includes linguistic, encyclopedic and editorial footnotes. On the basis of their analysis, we can speak of a certain strategy: striving to explain the general background of retro crime story (epoch), and to a lesser extent local (the city and associated with it proper names).
Paratext is a term introduced by G. Genette to describe the elements that function around the main text, i.e. for example titles, forewords, epigraphs, translator’s and author’s comments. Genette’a paratext theory is developed by contemporary researches. Currently paratexts are examined taking into account the broadly understood extralinguistic context. In this article the subject of research is mainly the author’s and the translator’s paratexts. Our researches were conducted on the works by Victor Pelevin – one of the most popular Russian writers of recent years.
The research is focused on the means of localizing the deictic center of a narrative in Russian translations of prose in English. Comparative analysis of translated variants and originals shows the approximating trend (widespread, but not universal) in Russian texts, marked by inserting proximal deictic words like ‘today’, ‘here’, ‘now’ in the passages concerning past events, employing historic present instead of past tense forms. These changes are usually made within the segments of narrative with internal focalization. The approximation is influenced by specific features of Russian grammar system (there are no strict rules for sequence of tenses, no constructions with Complex Object etc.) and by different narrative tradition (historic present is not so marked stylistically, and more widespread). Making the deictic center closer to the readers in Russian translations is often connected with translator’s strategy highlighting author’s devices for internal focalization in a narrative.
The purpose of the presented article is to analyze the specifics of the translation of a modern Russian literary text - the story-memoir of O.O. Pavlov Pupils into Czech. The authors presented the translation as a transfer of non-equivalent vocabulary, realities into another language while maintaining semantic and formal-aesthetic equivalence. The article considers controversial or ambiguous solutions for translating selected realities that carry national connotations based on specific adaptation techniques (transcription, analog, description, generalization, tracing, omission).
When translating novels from one language into another, a translator faces a number of difficulties. This is primarily due to the differences in the mentality of nations. A special area of the national mentality is the idea of a meal, feasts, which are some of the central spheres of human life. Understanding of the identity of these processes is not an easy task for translators from a different cultural background. Comparing the Russian, Greek and French traditions of the meal, we find many divergent elements in the sequence of the arrival of dishes on the table, in the composition of dishes, in the sets of dishes and table setting, etc. This article considers these fragments of text, which often cause difficulties for translators.
The article is devoted to Russian translation of the book Inni ludzie by Dorota Masłowska that has been done for the purposes of theatrical adaptation. Particular focus is put on the genre specificity of the text and its specific linguistic, narrative and cultural indicators, some of which have not been reflected in the Russian version. Text orientation towards a different recipient results in the transition of certain threads affecting interpretation of the text. An image of the Pole depicted in the translated theatrical adaptation is softened in comparison with the original text and issues related to the collective Polish awareness sound more universal.
The present article focuses on the problem of inter- and intralingual translation – or, more precisely, its adaptation. Adaptation is considered here in terms of the translation studies as well as the theatre studies – as a transfer of written text into the language of theatre. The research materials are A. Chekov’s play “The Cherry Orchard”, its translation into Polish made by Agnieszka Lubomira Piotrowska and its stage realization. The performance was staged by the Georgian director David Mgebrishvili in 2017 in Teatr Nowy in Zabrze, Poland. The author analyses the ways of transferring the sounds, which are thought to be a typical motive in Czekhov’s works.
10.31261/pr
Język Polski
Русский
English