Translated Title: The Gregor Strniša’s poetry translated by Katarina Šalamun-Biedrzycka. Author Name: Monika Gawlak, University of Silesia in Katowice, Institute of Slavic Studies, gawlak.monika@gmail.com. Language: Polish. Issue: 1 (1)/2009. Page Range: 227-241.

Povzetek: Poezijo Gregorja Strniše, ki je eden najznamenitejših slovenskih pesnikov XX. stoletja, najobširneje predstavlja Katarina Šalamun-Biedrzycka. Razen pesmi v antologiji Srebro in meh je izdala tudi samostojen izbor njegove poezije Odisej. Pričujoči članek obravnava prevajalske odločitve na treh nivojih — na nivoju izbora zbirk, pesmi ter posameznih prevajalskih preoblikovanj. Na nivoju izbora zbirk prevajalka ne upošteva treh zadnjih, ki najbolj izrazito predstavljajo idejo „vesoljske zavesti”, ki pa je celo najprepoznavnejša značilnost njegove ustvarjalnosti. Bralci prejemniške kulture torej nimajo možnosti za vsaj selektivno spoznanje zbirk, v katerih Strniša najbolj realizira (v okviru lirike) lastno koncepcijo sveta in vesolja. Na nivoju poetike besedil predstavlja prevajalka poezijo Strniše samo kot „stopnje naraščanja groze” in s tem precej zoži perspektivo pogleda na resničnost Strniševega pesniškega sveta samo na plat razsežnosti, ki jih navdihuje eksistencialna filozofija. Konfrontativna analiza besedil izvirnikov in prevodov pa je dokazala precejšnje odklone. Vsekakor pa je treba Katarini Šalamun-Biedrzycki priznati, da je z obravnavanimi prevodi opravila pionirsko delo v približevanju Gregorja Strniše poljskojezičnim bralcem.

Summary: The poetry of Gregor Strniša — one of the greatest Slovenian poet of the XX century — is widely presented in Poland by Katarina Šalamun-Biedrzycka. Apart from poetry anthology Silver and moss she also published independent selection of his poetry Odysseus. Presented article considers the translator’s choices on three levels — chosen poetry volumes, poems and translator’s transformations itself. On the level of chosen poetry volumes the translator omits the last three ones, clearly realizing specific for the artist idea of the „cosmic consciousness”. The circle of receiving audience is being devoided of even selective experience of the volumes’ character, in which Strnisa realizes (on the lyrical range) his conception of the world and universe. On the level of poetics translator presents Strniša’s poems only as „degrees of releasing terror” and at the same time limits the perspective of the created reality only to the dimension inspired by existentialist philosophy. Comparing the original text with the translation has proven that they differ significantly. However, Šalamun-Biedrzycka’s translations undoubtedly deserve merit for their pioneering quality.

Translated Title: Identiteta Čefurja v prevodu romana Gorana Vojnovića Čefurji raus! / Čefur’s identity in translation of Goran Vojnovic’s novel entitled Čefurji raus!. Author Name: Monika Gawlak, Instytut Filologii Słowiańskiej, Uniwersytet Śląski, monika.gawlak@us.edu.pl. Language: Polish. Issue: 2 (1)/2011. Page Range: 13-31. Ključne besede: kulturne bariere v prevodu, identiteta v prevodu, Goran Vojnović, poljski prevodi slovenske literature, Tomasz Łukaszewicz; Key words: cultural barrier in the translation, identity in the translation, Goran Vojnović, polish translations of the Slovenian literature, Tomasz Łukaszewicz.

Resumé: Roman Gorana Vojnovića Čefurji raus! v poljskem prevodu Tomasza Łukaszewicza je za poljskega bralca nedvomno priložnost za soočenje s kulturno drugačnostjo, hkrati pa pred njim odpira pomembno problematiko iskanja identitete v okvirih večkulturnosti. Prevajalec se je lotil zelo težke in ambiciozne naloge. Težave, s katerimi se je moral soočiti, so v primeru prevajan­ja romana, ki se loteva problematike večkulturnosti in subkulture, multiplicirane. Primerjalna analiza izvirnika in prevoda romana je pokazala, da dobiva identiteta čefurja v prevodu univer­zalnejše poteze kot v izvirniku. Do tega je prišlo predvsem zaradi kulturne bariere, ki jo pred­stavlja za prevajalca v primeru tega romana velika raznolikost jezika, pač glede na narodnostno pripadnost literarnih junakov. Ta diferenciacija je nosilka bistvenih informacij in izvir identifika­cije junakov, kar pa je v prevodu zreducirano. Žal ni se prevajalec potrudil, da bi individualiziral govorico junakov z raznimi rejestri jezika in različno močjo slenga, komizma ali vulgarizma. Nekatere prevajalčeve odločitve tudi ali zaostrujejo opozicijo svoji — tuji, na podlagi katere junaki definirajo svoj odnos do okolice in oblikujejo lastno identiteto, ali pa poudarjajo famili­arni značaj relacij, obstoječih na obrobju čefurske družbe. Na stilistični ravni je jezik junakov vulgarnejši in skromnejši glede števila komičnih elementov, zaradi česar se zdi čefur v poljski recepciji bolj obscen in manj senzibilen. Omenjene premike signalizirajo nezadostljive reto-rično-pragmatične kompetence prevajalca. Zaradi nastalih pomenskih izgub postanejo izrazitejše univerzalne lastnosti junaka, roman pa se zdi za sekundarnega sprejemnika atraktiven — saj se z obravnavano problematiko lažje poistoveti.

Summary: Goran Vojnovic’s novel Čefurji raus! in Tomasz Łukaszewicz’s Polish translation is undoubt­edly an opportunity to commune with cultural otherness, and, simultaneously, it touches upon the issue of seeking one’s identity in the face of multiculturalism. The translator undertook a very difficult and ambitious task. In the translation of the novel, which deals with the issue of multi­culturalism and subculture, the difficulties the translator is confronted with are being multiplied. The comparative analysis of the original and the translation of the novel reveals that Čefur’s identity in the translation has gained more universal frames than in the original. It is mainly because of the cultural barrier which, for the translator, is a strong differentiation between main characters’ language in terms of their nationality. It is a means of conveying vital information as well as a source of characters’ identification which in the original is reduced. Unfortunately the translator did not make an attempt to individualize the characters’ speech using, for example, different language registers or elements of slang, humour, or vulgarity. At the same time, some of the translator’s choices either sharpen the opposition friend-stranger on the basis of which the characters define their attitude to the surroundings and shape their own identity or enhance the familiar character of the relations which take place within Čefurian community. At the stylistic level, the main characters’ language is more crude and limited in comic elements. And thus, in the Polish context, Čefur appears to be more obscene and less sensitive. These displacements give evidence to the translator’s inefficient rhetorical and pragmatic abilities. Despite the fact that, as a consequence of semantic losses the universal features of the main character’s identity are clearer, the novel may become attractive to secondary readers because of the possibility of identification with the analysed issue.

Translated Title: The bibliography of translations of Slovenian literature in Poland from 2007 to 2012. Author Name: Joanna Cieślar, Monika Gawlak, University of Silesia in Katowice, Institute of Slavic Studies, gawlak.monika@us.edu.pl. Language: Slovenian, Polish. Issue: 4 (2)/2014. Page Range: 419-450. Key words: Slovenian literature in Poland.

Translated Title: On the Translation of a Title (basing on the Slovenian prose). Author Name: Monika Gawlak, University of Silesia in Katowice, Institute of Slavic Studies, gawlak.monika@gmail.com. Language: Polish. Issue: 6 (1)/2015. Page Range: 56-69. Ključne besede: prevod naslova, svoboda pri prevajanju, prevodi slovenske proze, tujost v prevodu. Key words: title translation, freedom of the interpreter, translating Slovenian prose, foreignness in translation.

Povzetek: Članek obravnava problem svobode prevajalca pri prevajanju naslova proznega dela. To vprašanje se zdi bistveno ne samo zato, ker mora naslov v ciljnem jeziku ohraniti svoje glavne funkcije (identifikacijsko, obvestilno, pragmatično); potrebna sta tudi celovita analiza razmerja med izvirnim naslovom in delom ter upoštevanje „reprezentacijske” vloge naslova v drugotnem kulturnem okolju. Posebna pozornost je namenjena naslavljanju prevodov zbirk kratke proze s poimenovanji, ki so v izhodiščni kulturi že uveljavljeni kot naslovi drugih publikacij (Terra incognita, Noc w Lublanie). Prevajalec s tem zavede bralca in zlorabi prevajalsko svobodo. Članek analizira tudi prevode naslovov, ki ohranjajo značilen element tujosti (Čefurzy raus!), in naslove, ki zelo odstopajo od naslovov izvirnikov (Słońce w dolinie, Białe czereśnie, Pies). Največ možnosti za ustvarjalno svobodo ima prevajalec pri naslovih, ki vsebujejo element tujosti, takih, ki drugotnemu naslovniku ne vzbujajo skoraj nobenih asociacij. Zdi se, da je med omenjenimi praksami še najprimernejša opustitev izvirnega naslova in poimenovanje dela z naslovom, ki je plod interpretacije besedila ali navezave na eno izmed pomembnih tem ali motivov dela. A prevajalčevo svobodo tudi v tem primeru omejujejo pragmatične in etične zahteve. Prevajalca mora pri izbiri novega naslova voditi predvsem želja, da bi delu zagotovil čim širši krog bralcev v novem kulturnem okolju.

Summary: The article concerns the issue of the interpreter’s freedom concerning translations of the titles of prose works. The matter seems important not only because of the necessity of reserving the title’s essential functions (identification, information, pragmatics), not only because of the need of a complex analysis of the original title — work relationship, but also because of the ‘ambassadorial’ role of — this title in the secondary cultural space. Attention was drawn to the praxis of giving the interpreted collections of short stories (Terra Incognita, Noc w Lublanie) titles already existing in the initial culture and given to other publications. It is malpractice and misleading to a secondary reader. Also, the titles with a remaining foreign dominant element (Čefurzy raus!) and titles significantly different from the original titles (Słońce w dolinie, Białe czereśnie, Pies) were discussed. The space of freedom and the opportunity of a creative attitude appears especially in cases of titles containing a the foreign element, those which do not evoke almost any associations to the secondary reader. In these cases, the most appropriate practice seems to be deleting the original title and giving a new one, one dependent on the work’s interpretation or containing its important subject or topos. Then, the interpreter’s freedom is limited due to the nature of pragmatic and moral imperatives. In choosing the new title, the interpreter should be guided principally by the desire to ensure that the work reaches as many readers in the new cultural space as possible.

Translated Title: The bibliography of translations of Slovenian literature in Poland in the year 2014 . Author Name: Monika Gawlak, University of Silesia in Katowice, Institute of Slavic Studies, monika.gawlak@us.edu.pl. Language: Polish, Slovenian. Issue: 6 (2)/2015. Page Range: 181-182. Key words: Slovenian literature in Poland.